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Furuno LS-6100 6 英寸钻石铃声器操作员指南说明书

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Native Instruments MASCHINE MK3 用户手册说明书

The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (25)1.1MASCHINE Documentation (26)1.2Document Conventions (27)1.3New Features in MASCHINE 2.8 (29)1.4New Features in MASCHINE 2.7.10 (31)1.5New Features in MASCHINE 2.7.8 (31)1.6New Features in MASCHINE 2.7.7 (32)1.7New Features in MASCHINE 2.7.4 (33)1.8New Features in MASCHINE 2.7.3 (36)2Quick Reference (38)2.1Using Your Controller (38)2.1.1Controller Modes and Mode Pinning (38)2.1.2Controlling the Software Views from Your Controller (40)2.2MASCHINE Project Overview (43)2.2.1Sound Content (44)2.2.2Arrangement (45)2.3MASCHINE Hardware Overview (48)2.3.1MASCHINE Hardware Overview (48)2.3.1.1Control Section (50)2.3.1.2Edit Section (53)2.3.1.3Performance Section (54)2.3.1.4Group Section (56)2.3.1.5Transport Section (56)2.3.1.6Pad Section (58)2.3.1.7Rear Panel (63)2.4MASCHINE Software Overview (65)2.4.1Header (66)2.4.2Browser (68)2.4.3Arranger (70)2.4.4Control Area (73)2.4.5Pattern Editor (74)3Basic Concepts (76)3.1Important Names and Concepts (76)3.2Adjusting the MASCHINE User Interface (79)3.2.1Adjusting the Size of the Interface (79)3.2.2Switching between Ideas View and Song View (80)3.2.3Showing/Hiding the Browser (81)3.2.4Showing/Hiding the Control Lane (81)3.3Common Operations (82)3.3.1Using the 4-Directional Push Encoder (82)3.3.2Pinning a Mode on the Controller (83)3.3.3Adjusting Volume, Swing, and Tempo (84)3.3.4Undo/Redo (87)3.3.5List Overlay for Selectors (89)3.3.6Zoom and Scroll Overlays (90)3.3.7Focusing on a Group or a Sound (91)3.3.8Switching Between the Master, Group, and Sound Level (96)3.3.9Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.973.3.9.1Extended Navigate Mode on Your Controller (102)3.3.10Navigating the Software Using the Controller (105)3.3.11Using Two or More Hardware Controllers (106)3.3.12Touch Auto-Write Option (108)3.4Native Kontrol Standard (110)3.5Stand-Alone and Plug-in Mode (111)3.5.1Differences between Stand-Alone and Plug-in Mode (112)3.5.2Switching Instances (113)3.5.3Controlling Various Instances with Different Controllers (114)3.6Host Integration (114)3.6.1Setting up Host Integration (115)3.6.1.1Setting up Ableton Live (macOS) (115)3.6.1.2Setting up Ableton Live (Windows) (116)3.6.1.3Setting up Apple Logic Pro X (116)3.6.2Integration with Ableton Live (117)3.6.3Integration with Apple Logic Pro X (119)3.7Preferences (120)3.7.1Preferences – General Page (121)3.7.2Preferences – Audio Page (126)3.7.3Preferences – MIDI Page (130)3.7.4Preferences – Default Page (133)3.7.5Preferences – Library Page (137)3.7.6Preferences – Plug-ins Page (145)3.7.7Preferences – Hardware Page (150)3.7.8Preferences – Colors Page (154)3.8Integrating MASCHINE into a MIDI Setup (156)3.8.1Connecting External MIDI Equipment (156)3.8.2Sync to External MIDI Clock (157)3.8.3Send MIDI Clock (158)3.9Syncing MASCHINE using Ableton Link (159)3.9.1Connecting to a Network (159)3.9.2Joining and Leaving a Link Session (159)3.10Using a Pedal with the MASCHINE Controller (160)3.11File Management on the MASCHINE Controller (161)4Browser (163)4.1Browser Basics (163)4.1.1The MASCHINE Library (163)4.1.2Browsing the Library vs. Browsing Your Hard Disks (164)4.2Searching and Loading Files from the Library (165)4.2.1Overview of the Library Pane (165)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (170)4.2.2.1[MK3] Browsing by Product Category Using the Controller (174)4.2.2.2[MK3] Browsing by Product Vendor Using the Controller (174)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (175)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (179)4.2.4Selecting a File Type (180)4.2.5Choosing Between Factory and User Content (181)4.2.6Selecting Type and Character Tags (182)4.2.7List and Tag Overlays in the Browser (186)4.2.8Performing a Text Search (188)4.2.9Loading a File from the Result List (188)4.3Additional Browsing Tools (193)4.3.1Loading the Selected Files Automatically (193)4.3.2Auditioning Instrument Presets (195)4.3.3Auditioning Samples (196)4.3.4Loading Groups with Patterns (197)4.3.5Loading Groups with Routing (198)4.3.6Displaying File Information (198)4.4Using Favorites in the Browser (199)4.5Editing the Files’ Tags and Properties (203)4.5.1Attribute Editor Basics (203)4.5.2The Bank Page (205)4.5.3The Types and Characters Pages (205)4.5.4The Properties Page (208)4.6Loading and Importing Files from Your File System (209)4.6.1Overview of the FILES Pane (209)4.6.2Using Favorites (211)4.6.3Using the Location Bar (212)4.6.4Navigating to Recent Locations (213)4.6.5Using the Result List (214)4.6.6Importing Files to the MASCHINE Library (217)4.7Locating Missing Samples (219)4.8Using Quick Browse (221)5Managing Sounds, Groups, and Your Project (225)5.1Overview of the Sounds, Groups, and Master (225)5.1.1The Sound, Group, and Master Channels (226)5.1.2Similarities and Differences in Handling Sounds and Groups (227)5.1.3Selecting Multiple Sounds or Groups (228)5.2Managing Sounds (233)5.2.1Loading Sounds (235)5.2.2Pre-listening to Sounds (236)5.2.3Renaming Sound Slots (237)5.2.4Changing the Sound’s Color (237)5.2.5Saving Sounds (239)5.2.6Copying and Pasting Sounds (241)5.2.7Moving Sounds (244)5.2.8Resetting Sound Slots (245)5.3Managing Groups (247)5.3.1Creating Groups (248)5.3.2Loading Groups (249)5.3.3Renaming Groups (251)5.3.4Changing the Group’s Color (251)5.3.5Saving Groups (253)5.3.6Copying and Pasting Groups (255)5.3.7Reordering Groups (258)5.3.8Deleting Groups (259)5.4Exporting MASCHINE Objects and Audio (260)5.4.1Saving a Group with its Samples (261)5.4.2Saving a Project with its Samples (262)5.4.3Exporting Audio (264)5.5Importing Third-Party File Formats (270)5.5.1Loading REX Files into Sound Slots (270)5.5.2Importing MPC Programs to Groups (271)6Playing on the Controller (275)6.1Adjusting the Pads (275)6.1.1The Pad View in the Software (275)6.1.2Choosing a Pad Input Mode (277)6.1.3Adjusting the Base Key (280)6.1.4Using Choke Groups (282)6.1.5Using Link Groups (284)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (286)6.3Playing Tools (287)6.3.1Mute and Solo (288)6.3.2Choke All Notes (292)6.3.3Groove (293)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (295)6.3.5Tap Tempo (299)6.4Performance Features (300)6.4.1Overview of the Perform Features (300)6.4.2Selecting a Scale and Creating Chords (303)6.4.3Scale and Chord Parameters (303)6.4.4Creating Arpeggios and Repeated Notes (316)6.4.5Swing on Note Repeat / Arp Output (321)6.5Using Lock Snapshots (322)6.5.1Creating a Lock Snapshot (322)6.5.2Using Extended Lock (323)6.5.3Updating a Lock Snapshot (323)6.5.4Recalling a Lock Snapshot (324)6.5.5Morphing Between Lock Snapshots (324)6.5.6Deleting a Lock Snapshot (325)6.5.7Triggering Lock Snapshots via MIDI (326)6.6Using the Smart Strip (327)6.6.1Pitch Mode (328)6.6.2Modulation Mode (328)6.6.3Perform Mode (328)6.6.4Notes Mode (329)7Working with Plug-ins (330)7.1Plug-in Overview (330)7.1.1Plug-in Basics (330)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (334)7.1.3Loading, Removing, and Replacing a Plug-in (335)7.1.3.1Browser Plug-in Slot Selection (341)7.1.4Adjusting the Plug-in Parameters (344)7.1.5Bypassing Plug-in Slots (344)7.1.6Using Side-Chain (346)7.1.7Moving Plug-ins (346)7.1.8Alternative: the Plug-in Strip (348)7.1.9Saving and Recalling Plug-in Presets (348)7.1.9.1Saving Plug-in Presets (349)7.1.9.2Recalling Plug-in Presets (350)7.1.9.3Removing a Default Plug-in Preset (351)7.2The Sampler Plug-in (352)7.2.1Page 1: Voice Settings / Engine (354)7.2.2Page 2: Pitch / Envelope (356)7.2.3Page 3: FX / Filter (359)7.2.4Page 4: Modulation (361)7.2.5Page 5: LFO (363)7.2.6Page 6: Velocity / Modwheel (365)7.3Using Native Instruments and External Plug-ins (367)7.3.1Opening/Closing Plug-in Windows (367)7.3.2Using the VST/AU Plug-in Parameters (370)7.3.3Setting Up Your Own Parameter Pages (371)7.3.4Using VST/AU Plug-in Presets (376)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (378)8Using the Audio Plug-in (380)8.1Loading a Loop into the Audio Plug-in (384)8.2Editing Audio in the Audio Plug-in (385)8.3Using Loop Mode (386)8.4Using Gate Mode (388)9Using the Drumsynths (390)9.1Drumsynths – General Handling (391)9.1.1Engines: Many Different Drums per Drumsynth (391)9.1.2Common Parameter Organization (391)9.1.3Shared Parameters (394)9.1.4Various Velocity Responses (394)9.1.5Pitch Range, Tuning, and MIDI Notes (394)9.2The Kicks (395)9.2.1Kick – Sub (397)9.2.2Kick – Tronic (399)9.2.3Kick – Dusty (402)9.2.4Kick – Grit (403)9.2.5Kick – Rasper (406)9.2.6Kick – Snappy (407)9.2.7Kick – Bold (409)9.2.8Kick – Maple (411)9.2.9Kick – Push (412)9.3The Snares (414)9.3.1Snare – Volt (416)9.3.2Snare – Bit (418)9.3.3Snare – Pow (420)9.3.4Snare – Sharp (421)9.3.5Snare – Airy (423)9.3.6Snare – Vintage (425)9.3.7Snare – Chrome (427)9.3.8Snare – Iron (429)9.3.9Snare – Clap (431)9.3.10Snare – Breaker (433)9.4The Hi-hats (435)9.4.1Hi-hat – Silver (436)9.4.2Hi-hat – Circuit (438)9.4.3Hi-hat – Memory (440)9.4.4Hi-hat – Hybrid (442)9.4.5Creating a Pattern with Closed and Open Hi-hats (444)9.5The Toms (445)9.5.1Tom – Tronic (447)9.5.2Tom – Fractal (449)9.5.3Tom – Floor (453)9.5.4Tom – High (455)9.6The Percussions (456)9.6.1Percussion – Fractal (458)9.6.2Percussion – Kettle (461)9.6.3Percussion – Shaker (463)9.7The Cymbals (467)9.7.1Cymbal – Crash (469)9.7.2Cymbal – Ride (471)10Using the Bass Synth (474)10.1Bass Synth – General Handling (475)10.1.1Parameter Organization (475)10.1.2Bass Synth Parameters (477)11Working with Patterns (479)11.1Pattern Basics (479)11.1.1Pattern Editor Overview (480)11.1.2Navigating the Event Area (486)11.1.3Following the Playback Position in the Pattern (488)11.1.4Jumping to Another Playback Position in the Pattern (489)11.1.5Group View and Keyboard View (491)11.1.6Adjusting the Arrange Grid and the Pattern Length (493)11.1.7Adjusting the Step Grid and the Nudge Grid (497)11.2Recording Patterns in Real Time (501)11.2.1Recording Your Patterns Live (501)11.2.2The Record Prepare Mode (504)11.2.3Using the Metronome (505)11.2.4Recording with Count-in (506)11.2.5Quantizing while Recording (508)11.3Recording Patterns with the Step Sequencer (508)11.3.1Step Mode Basics (508)11.3.2Editing Events in Step Mode (511)11.3.3Recording Modulation in Step Mode (513)11.4Editing Events (514)11.4.1Editing Events with the Mouse: an Overview (514)11.4.2Creating Events/Notes (517)11.4.3Selecting Events/Notes (518)11.4.4Editing Selected Events/Notes (526)11.4.5Deleting Events/Notes (532)11.4.6Cut, Copy, and Paste Events/Notes (535)11.4.7Quantizing Events/Notes (538)11.4.8Quantization While Playing (540)11.4.9Doubling a Pattern (541)11.4.10Adding Variation to Patterns (541)11.5Recording and Editing Modulation (546)11.5.1Which Parameters Are Modulatable? (547)11.5.2Recording Modulation (548)11.5.3Creating and Editing Modulation in the Control Lane (550)11.6Creating MIDI Tracks from Scratch in MASCHINE (555)11.7Managing Patterns (557)11.7.1The Pattern Manager and Pattern Mode (558)11.7.2Selecting Patterns and Pattern Banks (560)11.7.3Creating Patterns (563)11.7.4Deleting Patterns (565)11.7.5Creating and Deleting Pattern Banks (566)11.7.6Naming Patterns (568)11.7.7Changing the Pattern’s Color (570)11.7.8Duplicating, Copying, and Pasting Patterns (571)11.7.9Moving Patterns (574)11.7.10Adjusting Pattern Length in Fine Increments (575)11.8Importing/Exporting Audio and MIDI to/from Patterns (576)11.8.1Exporting Audio from Patterns (576)11.8.2Exporting MIDI from Patterns (577)11.8.3Importing MIDI to Patterns (580)12Audio Routing, Remote Control, and Macro Controls (589)12.1Audio Routing in MASCHINE (590)12.1.1Sending External Audio to Sounds (591)12.1.2Configuring the Main Output of Sounds and Groups (596)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (601)12.1.4Configuring the Master and Cue Outputs of MASCHINE (605)12.1.5Mono Audio Inputs (610)12.1.5.1Configuring External Inputs for Sounds in Mix View (611)12.2Using MIDI Control and Host Automation (614)12.2.1Triggering Sounds via MIDI Notes (615)12.2.2Triggering Scenes via MIDI (622)12.2.3Controlling Parameters via MIDI and Host Automation (623)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (631)12.2.5Sending MIDI from Sounds (632)12.3Creating Custom Sets of Parameters with the Macro Controls (636)12.3.1Macro Control Overview (637)12.3.2Assigning Macro Controls Using the Software (638)12.3.3Assigning Macro Controls Using the Controller (644)13Controlling Your Mix (646)13.1Mix View Basics (646)13.1.1Switching between Arrange View and Mix View (646)13.1.2Mix View Elements (647)13.2The Mixer (649)13.2.1Displaying Groups vs. Displaying Sounds (650)13.2.2Adjusting the Mixer Layout (652)13.2.3Selecting Channel Strips (653)13.2.4Managing Your Channels in the Mixer (654)13.2.5Adjusting Settings in the Channel Strips (656)13.2.6Using the Cue Bus (660)13.3The Plug-in Chain (662)13.4The Plug-in Strip (663)13.4.1The Plug-in Header (665)13.4.2Panels for Drumsynths and Internal Effects (667)13.4.3Panel for the Sampler (668)13.4.4Custom Panels for Native Instruments Plug-ins (671)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (675)13.5Controlling Your Mix from the Controller (677)13.5.1Navigating Your Channels in Mix Mode (678)13.5.2Adjusting the Level and Pan in Mix Mode (679)13.5.3Mute and Solo in Mix Mode (680)13.5.4Plug-in Icons in Mix Mode (680)14Using Effects (681)14.1Applying Effects to a Sound, a Group or the Master (681)14.1.1Adding an Effect (681)14.1.2Other Operations on Effects (690)14.1.3Using the Side-Chain Input (692)14.2Applying Effects to External Audio (695)14.2.1Step 1: Configure MASCHINE Audio Inputs (695)14.2.2Step 2: Set up a Sound to Receive the External Input (698)14.2.3Step 3: Load an Effect to Process an Input (700)14.3Creating a Send Effect (701)14.3.1Step 1: Set Up a Sound or Group as Send Effect (702)14.3.2Step 2: Route Audio to the Send Effect (706)14.3.3 A Few Notes on Send Effects (708)14.4Creating Multi-Effects (709)15Effect Reference (712)15.1Dynamics (713)15.1.1Compressor (713)15.1.2Gate (717)15.1.3Transient Master (721)15.1.4Limiter (723)15.1.5Maximizer (727)15.2Filtering Effects (730)15.2.1EQ (730)15.2.2Filter (733)15.2.3Cabinet (737)15.3Modulation Effects (738)15.3.1Chorus (738)15.3.2Flanger (740)15.3.3FM (742)15.3.4Freq Shifter (743)15.3.5Phaser (745)15.4Spatial and Reverb Effects (747)15.4.1Ice (747)15.4.2Metaverb (749)15.4.3Reflex (750)15.4.4Reverb (Legacy) (752)15.4.5Reverb (754)15.4.5.1Reverb Room (754)15.4.5.2Reverb Hall (757)15.4.5.3Plate Reverb (760)15.5Delays (762)15.5.1Beat Delay (762)15.5.2Grain Delay (765)15.5.3Grain Stretch (767)15.5.4Resochord (769)15.6Distortion Effects (771)15.6.1Distortion (771)15.6.2Lofi (774)15.6.3Saturator (775)15.7Perform FX (779)15.7.1Filter (780)15.7.2Flanger (782)15.7.3Burst Echo (785)15.7.4Reso Echo (787)15.7.5Ring (790)15.7.6Stutter (792)15.7.7Tremolo (795)15.7.8Scratcher (798)16Working with the Arranger (801)16.1Arranger Basics (801)16.1.1Navigating Song View (804)16.1.2Following the Playback Position in Your Project (806)16.1.3Performing with Scenes and Sections using the Pads (807)16.2Using Ideas View (811)16.2.1Scene Overview (811)16.2.2Creating Scenes (813)16.2.3Assigning and Removing Patterns (813)16.2.4Selecting Scenes (817)16.2.5Deleting Scenes (818)16.2.6Creating and Deleting Scene Banks (820)16.2.7Clearing Scenes (820)16.2.8Duplicating Scenes (821)16.2.9Reordering Scenes (822)16.2.10Making Scenes Unique (824)16.2.11Appending Scenes to Arrangement (825)16.2.12Naming Scenes (826)16.2.13Changing the Color of a Scene (827)16.3Using Song View (828)16.3.1Section Management Overview (828)16.3.2Creating Sections (833)16.3.3Assigning a Scene to a Section (834)16.3.4Selecting Sections and Section Banks (835)16.3.5Reorganizing Sections (839)16.3.6Adjusting the Length of a Section (840)16.3.6.1Adjusting the Length of a Section Using the Software (841)16.3.6.2Adjusting the Length of a Section Using the Controller (843)16.3.7Clearing a Pattern in Song View (843)16.3.8Duplicating Sections (844)16.3.8.1Making Sections Unique (845)16.3.9Removing Sections (846)16.3.10Renaming Scenes (848)16.3.11Clearing Sections (849)16.3.12Creating and Deleting Section Banks (850)16.3.13Working with Patterns in Song view (850)16.3.13.1Creating a Pattern in Song View (850)16.3.13.2Selecting a Pattern in Song View (850)16.3.13.3Clearing a Pattern in Song View (851)16.3.13.4Renaming a Pattern in Song View (851)16.3.13.5Coloring a Pattern in Song View (851)16.3.13.6Removing a Pattern in Song View (852)16.3.13.7Duplicating a Pattern in Song View (852)16.3.14Enabling Auto Length (852)16.3.15Looping (853)16.3.15.1Setting the Loop Range in the Software (854)16.4Playing with Sections (855)16.4.1Jumping to another Playback Position in Your Project (855)16.5Triggering Sections or Scenes via MIDI (856)16.6The Arrange Grid (858)16.7Quick Grid (860)17Sampling and Sample Mapping (862)17.1Opening the Sample Editor (862)17.2Recording Audio (863)17.2.1Opening the Record Page (863)17.2.2Selecting the Source and the Recording Mode (865)17.2.3Arming, Starting, and Stopping the Recording (868)17.2.5Using the Footswitch for Recording Audio (871)17.2.6Checking Your Recordings (872)17.2.7Location and Name of Your Recorded Samples (876)17.3Editing a Sample (876)17.3.1Using the Edit Page (877)17.3.2Audio Editing Functions (882)17.4Slicing a Sample (890)17.4.1Opening the Slice Page (891)17.4.2Adjusting the Slicing Settings (893)17.4.3Live Slicing (898)17.4.3.1Live Slicing Using the Controller (898)17.4.3.2Delete All Slices (899)17.4.4Manually Adjusting Your Slices (899)17.4.5Applying the Slicing (906)17.5Mapping Samples to Zones (912)17.5.1Opening the Zone Page (912)17.5.2Zone Page Overview (913)17.5.3Selecting and Managing Zones in the Zone List (915)17.5.4Selecting and Editing Zones in the Map View (920)17.5.5Editing Zones in the Sample View (924)17.5.6Adjusting the Zone Settings (927)17.5.7Adding Samples to the Sample Map (934)18Appendix: Tips for Playing Live (937)18.1Preparations (937)18.1.1Focus on the Hardware (937)18.1.2Customize the Pads of the Hardware (937)18.1.3Check Your CPU Power Before Playing (937)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (938)18.1.5Consider Using a Limiter on Your Master (938)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (938)18.1.7Improvise (938)18.2Basic Techniques (938)18.2.1Use Mute and Solo (938)18.2.2Use Scene Mode and Tweak the Loop Range (939)18.2.3Create Variations of Your Drum Patterns in the Step Sequencer (939)18.2.4Use Note Repeat (939)18.2.5Set Up Your Own Multi-effect Groups and Automate Them (939)18.3Special Tricks (940)18.3.1Changing Pattern Length for Variation (940)18.3.2Using Loops to Cycle Through Samples (940)18.3.3Using Loops to Cycle Through Samples (940)18.3.4Load Long Audio Files and Play with the Start Point (940)19Troubleshooting (941)19.1Knowledge Base (941)19.2Technical Support (941)19.3Registration Support (942)19.4User Forum (942)20Glossary (943)Index (951)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE Getting Started: This document provides a practical approach to MASCHINE viaa set of tutorials covering easy and more advanced tasks in order to help you familiarizeyourself with MASCHINE.2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:▪Controller Editor Manual: Besides using your MASCHINE hardware controller together withits dedicated MASCHINE software, you can also use it as a powerful and highly versatileMIDI controller to pilot any other MIDI-capable application or device. This is made possibleby the Controller Editor software, an application that allows you to precisely define all MIDIassignments for your MASCHINE controller. The Controller Editor was installed during theMASCHINE installation procedure. For more information on this, please refer to the Con-troller Editor Manual available as a PDF file via the Help menu of Controller Editor.▪Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues. The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information can be expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and paths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in the software is printed in blue. Whenever you see this formatting applied, you will find the same text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.Unlabeled Buttons on the ControllerThe buttons and knobs above and below the displays on your MASCHINE controller do not have labels.。

beta三元UA2500迷你专业音响系列讲述说明书

、4INSTALLATIONS76.2m m446mm 441mm435.7mm 430.5mm482.4m m465.0m m 446m m 425m m 433.0m m 87.9m ma i r f l o w a i r f l o wai r f l o wa i r f l o w、5FRONT PANELUA SERIES R PRO DESIGN Beta Three UA2500B R I D G EP E A KS I G N A L0-2-4-6-8-10-12-14-16-18-20-240-2-4-6-8-10-12-14-16-18-20-24CHBCHA POWER ONOUTPUT ASSIGNMENT:BRIDGE MONO OUTPUT:CHA :PIN1+ : SIGNAL CHA:PIN 1+ :PIN 1 - :PIN 2+ :PIN 2 - : CHA SIGNALCHA GND CHB SIGNAL CHB GND CHB:PIN 1+ :PIN 1 - :PIN 2+ :PIN 2 - :CHB SIGNAL CHB GND GND PIN2+ : 1234567896、REAR PANEL1、 air input port2、 signal indicator of channel A3、 overload indicator of channel A4、 bridge indicator of channel5、 overload indicator of channel B 1、signal input of channel A(XLR JACK)2、signal input of channel A(1/4″mic jack)3、switch of working modes4、limiters5、signal output of channel B(binding post)6、signal output of channel A(binding post)7、fuse 6、 signal indicator of channel B 7、 power switch 8、 gain adjustment pots of channel A 9、 gain adjustment pots of channel B8、signal input of channel B(XLR plug)9、signal input of channel B(1/4″mic jack)10、filter switch 11、 grounding switch 12、signal output of channel A(NL4 JACK)13、signal output of channel B(NL4 JACK)14、cableCHABRIDGE INCHB PIN1:SIGNAL GND PIN2:SIGNAL +PIN3: SIGNAL -BRIDGE PARALLEL STEREO MODE LF FILTER GROUND CLIPLIMITER ON OFF 50HZ 25HZ ON OFF CHB OUTPUT CHA OUTPUT POWER CABLE FUSE INPUT-B +-A +-+5HZ B R I D G E 1234567891011121314CAUTIONRISK OF ELECTRIC SHOCKDO NOT OPEN!Special design for big power ！、7POWER SUPPLYThe XLR jack and 1/4″microphone jack in same channel are paralleled;Input the signal from either connectors and output the signal for connecting next amplifier; If the amplifiers connected are too many, the sound quality may be affected;Please do not input the signal from two connectors in same channel at the same time.Input connectors8、Please assure the local voltage comply with the voltage indicated on rear panel before connecting power supply ();Please assure the cable and jack of power supply not damaged before connecting power supply; Put off the plug after power off;AC 120V,50Hz/60Hz Output connectorsThe binding post and NL4 jack in same channel of ＂UA series ＂amplifier are paralleled;Do not connect loads to the two connectors at the same time;The red end of binding post is connected with anode of speaker, the black end connected with cathode of speaker;Only the load suited with the power and impedance of amplifier can be connected with the output connectors of amplifier.INPUT/OUTPUT CONNECTORS1> :Limiter setup 2> LF cutting setup:、9L F F I L T E R 50HZ 25HZ 5HZ+1-2-3-4-5-60dB -120 30 40 50 60 80 100 200 300 400 500 HzAs the below drawing, when switch is OFF, the limit is off,the limit c ircuit i s o ut o f w ork, if input signal is too strong,output can cause clip distortion and also raise overload onloudspeakerAs the below drawing, when the switch is ON, the limit ison, if the input signal is too strong, the limit circuit cancontrol the gain and reduce the distortion, also control theaverage output power, but it does not affect peak power,protect the loudspeaker and assure the dynamic of music.Note: Please set to "ON" position when using.When LF cutting is at 50Hz,it equals discrete a 50Hzhigh pass filter on input, the signal lower than 50Hz willbe accordingly attenuated, then can reduce thenoneffective swing and lower the distortion.Like the right drawing: When LF cutting is at 25Hz, it equals discrete a 25Hz high pass filter on input circuit, it just attenuate the signal lower than 25Hz.Like the right drawing:FUNCTION SETUP AND CABLE CONNECTINGL F F I L T E R 50HZ 25HZ 5HZ +1-2-3-4-5-60dB-120 30 40 50 60 80 100 200 300 400 500 HzC L I P L I M I T E R OFF ON C L I P L I M I T E R OFF ONUnder the bridge mode, The output voltage is so high enough to make a electronic shock. Please power off the unit before operate it under bridge mode.、1011、12、Please follow the steps during using the equipment1> Starta、Setup the f unction a nd c onnection a ccording t o t he a bove f unction s etup a ndconnecting;b、Check if the output cable is short circuit and the load is too low;c、Check if the local voltage complies with the user's manual;d、Be sure the switch of power supply at "0" and the volume is the lowest;e、Connect the power supply, turn on the equipment of sound source, pre and effectequipment and assure these equipments work in order;f、 Turn on the switch of power supply(put it at"1"position);g、Adjust the knob of volume clockwise to right position.2> Offa、Adjust the knob of volume unti-clockwise to the lowest;b、Turn off the switch of power supply on the front panel(put it at "0"position);c、Turn off the pre and effect equipments, sound source equipments;1>If signal indicator flashes, it means if there is signal output in two channels2>If peak indicator flashes, it means that the input voltage is too high. You should turndown the volume;3>If the peak indicator always lights,it means faults.The reason is like this: loading is toolow,short on loading,temperature is too high.You should check it after power off. Turn on again if no abnormity;4>If bridge indicator lights, it means the amplifier is under the bridged mode.;Perfect protection function can prevent the damage for amplifier and speaker caused by short circuit and output DC and overheat.1>Short circuit protection: when the load at the output end is short circuit, the equipmentcan cut off the signal and protect the equipment;2>Output DC protection: when the equipment has faults and there is DC in output signal,the equipment can cut off output automatically and avoid damage for speaker caused by DC;3>Overheat protection: If the temperature of heat sink is over the allowed temperature,the sensor will cut off the output ,avoid damage caused by high temperature a nd p rotect the a mplifier.OPERATIONSINDICATORS ON FRONT PANELPROTECTION FUNCTION、13Trouble SNTroublele shootings Check if the power plug and jack are connected well.Check if the music signal cable is connected well.If the power jack correspondswith .AC 110V,50Hz/60Hz Check if the power of music source is turned on and the volume is turned on.Check if the fuse on rear panel is broken.If the volume pots is turned on.If the music source output is too big.If the CLIP LIMITER is at the "ON"position.Check if there is any short circuit in outputconnectons and if the load is correct. The restart.If the LF FILTER on rear panel is at the LF 50Hz or at LF 25Hz, setup the switch at appropriate place.Check if the switch of MODE on rear panel isat the PARALLEL,please put it at PARALLEL if it not at the position.Check the input signal can comply with voltage, please enhance the input signal if not sufficient.11223312311111Check if input SIGNAL voltage is suited, please enhance the input SIGNAL if not sufficient.2Check the local voltage is same as the voltage of the equipment.Check if the setup and connection are accordant with the user manual.No voice, Power indicator lights off No voice, Power indicator Lights, Signal indicator Light off CLIP indicator last slighting on, Voice is abnormal The bass is not sufficient No voice on one channel under paralleled mono mode Output of bridge is too low Burning the fuse when start Others 9TROUBLES AND TROUBLE SHOOTINGS。

绝对珍藏-100万首汽车高清音乐

马丁·音频 XP118 可携带自主电源子频道说明书

Compact Self-Powered SubwooferFeatures• Compact, self-powered subwoofer• 1 x 18” (460mm) driver with 4” (100mm) voice coil• 2000W of Class D amplification• Global power supply with PFC (Power Factor Correction)• Onboard DSP with rotary control interface• Multi-function display for metering, control and function selection • Peak and RMS limiters•Bluetooth® control and streaming option • Durable plywood enclosure• Screw-free, perforated steel grille• Integral ergonomic handles• 35mm pole-mount socketApplications• Portable sound reinforcement• Live music clubs• Nightclubs, bars and restaurants• Corporate AV, hotels and casinos• Mobile DJ’s• Weddings and parties• HoW installations• Rehearsal studiosThe XP118 is a compact, high performance subwoofer for indoor use with the XP12 and XP15 full-range loudspeakers. It extends the low frequency operating range of the combined system down to 42Hz and can be used singly, stacked in omni or cardioid mode, or flown via integral M10 insets. It features a long-excursion 18” (460mm)/4” (100mm) voice coil driver in a compact enclosure that has four reflex ports with a large frontal area to reduce turbulent air noise at very high levels.A convection-cooled Class D amplifier module delivers 2000W peak output to the driver for maximum low frequency extension and chest-thumping punch. Crossover, EQ, metering and control functions are provided by onboard DSP via a rotary encoder interface and multi-function colour screen on the rear panel.The XP118 enclosure is built for the road, constructed from durable plywood and finished in textured black paint. A perforated steel grille protects the driver, and the enclosure has a 35mm pole-mount socket in the top surface and two ergonomic side handles.Compact Self-Powered SubwooferTechnical SpecificationsNotes(1) Measured on-axis in half (2pi) space at 2 metres, then referred to1 metre.(2) AES Standard ANSI S4.26-1984.(3) Measured in half (2pi) space at 2 metres with 1 watt input, usingband limited pink noise, then referred to 1 metre.(4) Measured in half (2pi) space at 2 metres using band limited pinknoise, then referred to 1 metre.(5) Measured on-axis in open (4pi) space at 2 metres, then referredto 1 metre.(6) Measured in open (4pi) space at 2 metres with 1 watt input,using band limited pink noise, then referred to 1 metre.(7) Measured in open (4pi) space at 2 metres using band limitedpink noise, then referred to 1 metre.(8) Measured in open (4pi) space at 2 metres with 2.83v input, usingband limited pink noise, then referred to 1 metre.(9) Calculated at 1 metre.(10) Measured in half (2pi) space at 2 metres with 2.83V input, usingband limited pink noise.Trade Descriptions ActDue to Martin Audio’s policy of continuing improvement, we reserve the right to alter these specifications without prior notice. Martin Audio is committed to refining state of the art sound reinforcement, combining in-depth product and field applications research with advanced manufacturing techniques. Every Martin Audio product is built to the highest manufacturing standards and rigorously tested to ensure that it meets the performance criteria specified in the design.Acoustics TYPE Compact, direct radiating powered subwoofer FREQUENCY RESPONSE (1) 42Hz –150Hz ±3dB -10dB @ 38Hz DRIVER 18” (460mm)/4” (100mm) voice coil, long excursion, ferrite magnet MAXIMUM SPL(9) 131dB continuous / 137dB peak (half space)D SPERS I ON OmnidirectionalCROSSOVER 100Hz, active Module Audio In/Out INPUT CONNECTORS 2 x female XLR/ ¼” jack combo MIC/LINE INPUT IMPEDANCE 8 k Ω balanced ¼” JACK TS INPUT IMPEDANCE 1 M Ω unbalanced MIX OUTPUT CONNECTOR 1 x male XLR MIX OUTPUT IMPEDANCE 600Ω balanced Internal Processing Input channel EQ 3 band Speaker EQ 4 presets, including cardioid mode Protection Peak and RMS limiting, amplifier thermal protection Amplifier Module TYPE Class D, Bridged Tied PEAK OUTPUT POWER 2000W total AVERAGE EFFICIENCY 89%COOLING ConvectionMAXIMUM AMBIENT TEMPERATURE 35°C (95°F) for full output Power Supply TYPE Switch-mode, fixed frequency with PFC AC INPUT OPERATING RANGE 100 – 240V ~ AC, 50 - 60Hz POWER FACTOR > 0.98NOMINAL POWER CONSUMPTION 1000W Max MAINS CONNECTOR 3-pin IEC Mechanical。

Scale User's Manual

; Screen shows
detection message
while scale detects
its load and auto‐zero itself.
Power Off
) Press
for 1 second
to power off scale.
; Display shows
power‐off message.
Chinese GB/T 11883‐2002 Class III Equivalent to OIML R76 100% F.S. ±50% F.S. ±2% F.S. 0.5e/s
≤10 seconds
Sable and no action in 3 sec. Sable and no action in 3 min. 100% F.S. + 9e
Â Inspect shackle and hook before using. Â When the scale runs out of power, replace the
battery with full ones.
Â Do NOT use the scale under thunder or rain. Â Do NOT attempt to repair the scale yourself.
1. Introduction
Notice
Before you use the scale, please read this manual through carefully, and keep it properly for future use.
Safety Guide
For good performance and precise measurement, be careful with daily operation and maintenance. Note the following instructions:

AM6200 95高功率中高频扬声器系统说明书

AM6200/95High Power Mid-High Frequency Loudspeaker with Rotatable HornKey Features:᭤90°x 50°Coverage, rotatable for use in either vertical or horizontal orientation. ᭤CMCD™ Cone Midrange Compression Driver provides low midrange distortion, increased sensitivity,extended bandwidth and improved phase coherency.᭤PT™ Progressive Transition Waveguide for excellent pattern control with low distortion.᭤Bi-Amp/Passive Switchable.᭤Optional planar array frame kits for a number of array conﬁgurations (see AE Series Array Guide).Applications:Use with LF and/or subwooferreinforcement in applications such as:᭤Performing arts facilities ᭤Theatrical sound design ᭤Auditoriums᭤Houses of worship ᭤Live clubs᭤Dance-clubs/discotheques ᭤Sports facilities᭤Themed entertainment venues Use without LF or subwoofer reinforcement in:᭤Voice-only PA᭤Delay ﬁll applicationsAM6200/95 is a high power mid-high frequency loudspeaker systemcomprised of one 200 mm (8 in) CMCD Cone Midrange Compression Driver and one 38 mm (1.5 in) exit/75mm (3in) voice-coil HF compression dri-ver. The multi-band PT Progressive Transition mid-high frequency wave-guide provides well-controlled 90°by 50°coverage and is rotatable for cabi-net positioning in either horizontal or vertical orientation. High-slopecrossovers minimize band overlap and well-controlled off-axis response enhances arrayability.The cabinet is ﬁtted with M10threaded suspension points. Pre-engineered array bracketry is available.AM6200/95 is part of JBL’s AE Application Engineered Series, aversatile family of loudspeakers for a wide variety of ﬁxed installation applications.Speciﬁcations:System:Frequency Range 1(-10 dB):200 Hz – 19 kHz Frequency Response 1(±3 dB):250 Hz – 17 kHzCoverage Pattern:90°x 50°, rotatable waveguide Directivity Factor (Q):10Directivity Index (DI):10 dBCrossover Modes:Bi-amp/Passive switchablePassive Crossover Slopes 2:Passive mode: 4th order (24 dB/oct) Linkwitz-Riley HP & LP, 2.1 kHzTransducer Power Rating (AES)3:MF: 350 W (1400 W peak), 100 hrs HF: 75 W (300 W peak), 2 hrsLong-Term System Power Rating (IEC)4:MF/HF: 350 W (1400 W peak), 100 hrs Maximum SPL 5:Bi-amp mode:MF: 133 dB-SPL cont avg (139 dB peak)HF: 132 dB-SPL cont avg (138 dB peak)Passive mode:MF/HF: 132 dB-SPL cont avg (138 dB peak)System Sensitivity (1W @ 1m):Passive mode: 108 dB SPLTransducers:Midrange Driver:JBL CMCD-81H Cone Midrange Compression Driver with integral200 mm (8 in) diameter Differential Drive ®dual voice-coil inter-nal driverNominal Impedance:8 ohms Sensitivity (1W @ 1m):108 dB SPLHigh Frequency Driver:JBL 2431H, 38 mm (1.5 in) exit compression driver, 75mm(3in) voice coilNominal Impedance:8 ohms Sensitivity (1W @ 1m):113 dB SPLWaveguide:PT-K95MHPhysical:Enclosure:Trapezoidal with 15 degree side angles, 16 mm (5/8 in) exteriorgrade 11-ply Finnish birch plywoodSuspension Attachment:13 points (3 top, 3 bottom, 2 each side, 3 rear), M10 threadedhardwareFinish:Black DuraFlex™ ﬁnish. White available upon request.Grille:Powder coated 14 gauge perforated steel, with acoustically trans-parent black foam backing.Input Connector:NL4 Neutrik Speakon ®and CE-compliant covered barrier stripterminals. Barrier terminals accept up to 5.2 sq mm (10 AWG)wire or max width 9 mm (.375 in) spade lugs. Speakon in paral-lel with barrier strip for loop-through.Environmental Speciﬁcations:Mil-Std 810; IP-x3 per IEC529.Dimensions (H x W x D in 548 x 561 x 657 mm vertical cabinet orientation):(21.6 x 22.1 x 25.9 in)Net Weight:29.0 kg (64 lb)Optional Accessories: M10 x 35 mm forged shoulder eyebolts with washersOptional planar array frame kit. See AE Series Bracket GuideBi-amp mode, with recommended active tuning.Resultant engineered acoustical response of crossover network and components. AES standard, one decade pink noise with 6 dB crest factor within device's operational band, free air, long-term 100 hr rating.IEC standard, full bandwidth pink noise with 6 dB crest factor, 100 hours.Calculated based on power rating and sensitivity, exclusive of power compression.JBL continually engages in research related to product improvement. Changes introduced into existing products without notice are anexpression of that philosophy.᭤AM6200/95 High Power Mid-High Frequency Loudspeaker with Rotatable HornHorizontal 1/3 Octave PolarsSS AM6200/95CRP 5M 10/04᭤AM6200/95 High Power Mid-High Frequency Loudspeaker with Rotatable HornVertical 1/3 Octave PolarsJBL Professional8500 Balboa Boulevard, P.O. Box 2200Northridge, California 91329 U.S.A.©Copyright 2002 JBL ProfessionalAHarman International Company。

摩托拉拉MAXTRAC系列产品 spare parts list说明书

MAXTRAC SeriesParts ListParts ListHLN5226B Extra Stability Mount, used with non-locking trunnionHLN5189A Non-locking Trunnion (for 820/840 series only)HLN9450A Floor Mount, 45 Degrees/60 Degrees Wedge (for100/300 model only)HLN9404A Installation Sleeve Mounting Hardware (for 35 and 60watt and low band models) for use with HLN9450AQuick Release Slide MountThe quick release slide mounts are easy to install and are availablewith a variety of mounting brackets which allow installation in anylocation within a vehicle.RLN4091A Slide Mount Kit; includes vehicle mount (RLN4092A),radio mount (RLN4093A), and mounting hardwareRLN4092A Vehicle Mount Only, with hardwareRLN4093A Radio Mount Only, with hardwareRLN4094A Bracket for high power/lowband radioRLN4077A Angle Bracket with 20 degrees Fixed Angle and 50Degrees SwivelRLN4078A Flat Bracket with 50 Degrees SwivelHSN4019BAlarm AccessoriesHLN9328C External Alarm Relay Cable, (MAXTRAC 300—16 pin connector and 800 MHz display models only)HLN9374C External Alarm Relay Cable, (MAXTRAC 100–5 pin connector and 800 MHz non-display models and 900 MHz models)RLN5132A Emergency Alarm PushbuttonHLN9330B Emergency Alarm FootswitchHLN3199C High Power Control StationPackage(25-60 watt models)Control Station AccessoriesHPN4002B Power Supply(1- 25 watt)HPN4001B Power Supply(25-60 watt)HMN3000B Standard DesktopMicrophone, blackHMN1038E Desktop Microphone,beigeHLN5292BR Base Station TrayHKN4139A Power Cable for low power control stationHKN9455A Power Cable for high power control stationNOTE: Accessories are available for all MAXTRAC series radios unless otherwise specified.HKN9327AHLN9330B HLN3199CHLN5292BRHPN4002BRRA4935A3dB, roof top w/14 ft. cable (890-960 MHz) RAF4003ARM3dB, roof top w/22 ft. cable (860-960 MHz)VHFHAD4006A1/4 Wave, roof top (136-144 MHz)HAD4007A1/4 Wave, roof top (144-152 MHz)HAD4008A1/4 Wave, roof top (150.8-162 MHz) HAD4009A1/4 Wave, roof top (162-174 MHz) RAD4010ARB3dB, roof top (136-174 MHz)UHFHAE4002A1/4 Wave, roof top (403-430 MHz) HAE4003A1/4 Wave, roof top (450-470 MHz) HAE4004A1/4 Wave, roof top (470-512 MHz) HAE4010A3.5dB, roof top (406-420 MHz)HAE4011A3.5dB, roof top (450-470 MHz)HAE4012A3.5dB, roof top (470-495 MHz)HAE4013A3.5dB, roof top (494-512 MHz)Low BandRAB4002ARB1/4 Wave Base Loaded Antenna (29.7-36.0 MHz)RAB4003ARB1/4 Wave Base Loaded Antenna (36-42 MHz )RAB4004ARB1/4 Wave Base Loaded Antenna (42-50 MHz)Antenna Adapter5880367B22Mini-UHF to UHF Antenna Adapter 2880376E84Mini-UHF Antenna Connector6680387A72T-8 Torx Bit6680387A74T-10 Torx Bit6680387A75T-15 Torx Bit6680387A77T-25 Torx BitInsertion and Extraction ToolHAE4013ARSX4043A6680163F01cable, radio programming cable, and a 9 volt snap type battery(6082728J01) or wall mount power supply, order separately.RLN4008E Radio Interface BoxTest AdapterUsed to manually key radio. Must beattached to Program/Test CableRLN4137A Test AdapterWall Mount Power SupplyUsed to supply power to RadioInterface Box.0180357A57Wall Mounted PowerSupply (110 volts)0180358A56Wall Mounted PowerSupply(220 volts)Program/Test Cable3080070N01Required to program radio; acts as a link betweenRadio Interface Box and radio.VCO Test CableProvides interface between RF board and test equipment.3080373B41VCO Test CableProgramming SoftwareUtilizing your personal computer, this software enables you to add/orreprogram frequencies as your requirements change. Compatiblewith IBM XT, AT, Model 30, 50, 60 and 80. Requires Radio InterfaceBox and proper cables; order separately.ConventionalRVN4019K Programming Software, 3-1⁄2˝ Diskette, Includes Binderand Manual.Duplex, TrunkedRVN4043P Programming Software, 3-1⁄2˝ Diskette. Includes Binderand Manual.Service Manuals6880102W84Service Manual, Low, UHF, VHF, and 800 MHzRLN4008E0180357A57RLN4137A。

Kustom Sienna65电子吉他电鸣器说明书

OWNER’S MANUALThank you for purchasing the Kustom Sienna65model acoustic/electric guitar amplifier. Kustom has listened to musicians throughout the world and stands proudly behind each and every one we make.Flexible,feature laden,great sounding,able to adapt to all kinds of music,this amplifier really delivers what you have been looking and waiting for. Whatever style you choose,it’s ready!Kustom,with a30-year tradition of excellence,proudly delivers a rugged and dependable amp designed and engineered in the USA.Again,thank you for your purchase.Please take a few minutes to learn about all of the built-in professional features.2ENGLISHDangerExposure to extremely high noise levels may cause a permanent hearing loss.Individuals vary considerably to noise induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a sufficient time.The ernment'sOccupational Safety and Health Administration (OSHA)has specified the following permissible noise level exposures:According to OSHA,any exposure in the above permissible limits could result in some hearing loss.Ear plugs or protectors in the ear canal or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss.If exposure in excess of the limits as put forth above,to insure against potentially harmful exposure to high sound pressure levels,it is recommended that all persons exposed to equipment capable of inducing high sound pressure levels,such as this amplification system,be protected by hearing protectors while this unit is in operation.DURATION PER DAY (HOURS)864321SOUND LEVEL (dB)90939597100103THIS SYMBOL IS INTENDED TO ALERT THE USER TO THEPRESENCE OF NON-INSULATED "DANGEROUS VOLTAGE"WITHIN THEPRODUCT'S ENCLOSURE THAT MAY BE OF SUFFICIENT MAGNITUDE TO CONSTITUTE A RISKOF ELECTRIC SHOCK TO PERSONS.THIS SYMBOL IS INTENDED TO ALERT THE USER TO THE PRESENCE OF IMPORTANT OPERATING AND MAINTENANCE (SERVICING)INSTRUCTIONS IN THE LITERATURE ACCOMPANYING THE UNIT. 1.Read all safety and operating instructions before using this product.2.All safety and operating instructions should be kept for future reference.3.Read and understand all warnings listed on the operating instructions.4.Follow all operating instructions to operate this product.5.This product should not be used near water,i.e.Bathtub,sink,swimming pool,wet basement,etc.6.Only use dry cloth to clean this product.7.Do not block any ventilation openings,It should not be placed flat against a wall or placed in a built-in enclosure that will impede the flow of cooling air.8.Do not install this product near any heat sources ;such as,radiators,heat registers,stove or other apparatus (including heat producing amplifiers)that produce heat.9.Do not defeat the safety purpose of the polarized or grounding-type plug.A polarized plug has two blades with one wider than the 0ther.A grounding-type plug has two blades and a third grounding prong.The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet,consult an electrician for replacement of the obsolete outlet.10.Protect the power cord being walked on or pinched,particularly at Plugs,convenience receptacles and the point where they exit from the apparatus.Do not break the ground pin of the power supply cord.11.Only use attachments specified by the manufacturer.12.Use only with the cart,stand,tripod,bracket,or table specified by the manufacturer or sold with the apparatus.When a cart is used,use caution when moving cart/apparatus combination to avoid injury from tip-over.13.Unplug this apparatus during lightning storms or when unused for long periods of time.14.Care should be taken so that objects do not fall and liquids are not spilled into the unit through the ventilation ports or any other openings.15.Refer all servicing to qualified service personnel.Servicing is required when the apparatus has been damaged in any way;such as,power-supply cord or plug is damaged,liquid has been spilled or objects have fallen into the apparatus,the apparatus has been exposed to rain or moisture,does not operate normally or has been dropped.16.WARNING:To reduce the risk of fire or electric shock,do not expose this apparatus to rain or moisture.IMPORTANT SAFETY INSTRUCTIONSCAUTION:TO REDUCE THE RISK OF ELECTRIC SHOCK,DONOT REMOVE CHASSIS.NO USER-SERVICEABLE PARTS INSIDE.REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.AVIS:RISQUE DE CHOC ELECTRIQUE-NE PAS OUVRIR.APPARATUS SHALL NOT BE EXPOSED TO DRIPPING OR SPLASHING AND THAT NO OBJECTS FILLED WITH LIQUIDS,SUCH AS VASES,SHALL BE PLACED ON THE APPARATUS.Kustom Inc.,4940Delhi Pike,Cincinnati,OH USA (800)999-5558Fax:(513)347-2192/•1.)Microphone Input-this is a3cond.XLR input jack for plugging in Lo-Z microphones.It is intended for microphones and has15V Phantom Power for condensor microphones.2.)Piezo Input-this is a1/4”2conductor input jack for plugging in your instrument.It is intended for an acoustic/electric guitar with a piezo-electric pickup.3.)Active Input-this is a1/4”2conductor input jack for plugging in your instrument and will place a-20db pad in the circuit which will allow use of active on-board electronics from pre-amplified guitars.This will help keep the signal extremely clean.4.)Gain1-this control is the preamp input for the microphone input.Slowly increase the control to increase the volume.5.)Effect On/Off-this switch will turn the effects for the microphone channel on and off.6.)Bass-this control is the bass control for the microphone channel.It is passive and set to shelve frequencies at100Hz. Turning it fully clockwise,the signal is unaltered.Turning it counterclockwise,the low will be rolled off-12db.7.)Middle-this control is the midrange control for the instrument channeI.It is passive and set to shelve frequencies at1KHz.Turning it fully clockwise,the signal is unaltered.Turning it counterclockwise,the middle will be rolled off-12db.8.)Phase Reversal On/Off-this switch will reverse the phase on pins2&3for the microphone to help with feedback or overly loud bass frequencies from the microphone channel.9.)Treble-this is the high frequency tone control for the microphone channel.It is passive and set to shelve frequencies at3KHz.Turning it fully clockwise,the signal is unaltered.Turning it counterclockwise,the highs will be rolled off-12db.10.)Gain2-this control is the preamp input for the instrument input.Slowly increase this control to increase the volume on the instrument inputs.11.)Effects On/Off-this switch will turn the reverb for the instrument channel on and off.12.)Bass-this control is the bass control.It is passive and set to shelve frequencies at100Hz.Turning it fully clockwise,the signal is unaltered.Turning it counterclockwise,the low will be rolled off-12db.13.)Treble-this is the high frequency tone control.It is passive and set to shelve frequencies at3KHz on the instrument channel.Turning it fully clockwise,the signal is unaltered.Turning it counterclockwise,the highs will be rolled off-12db.14.)Feedback On/Off-this switch will engage the Feedback control.15.)Feedback-this control is a cut filter notch with an extremely narrow width.It sweeps between50Hz&500Hz and“fine tunes”the midrange of the acoustic guitar.This helps elimate unwanted“ringing”tones.16.)Master Volume-this is the overall volume level control for the amplifier.To keep distortion at a minimum,we suggest you turn this up between1/2and2/3,then bring up the individual channels.17.)Effects On/Off-this switch will turn the digital effects for the entire unit on and off.18.)Effects Level-this control adds the digital effects and mixes them into the main signal.19.)Effects Program-this control selects between the different digital effects.Effects include:4Reverbs,1Delay,1Chorus,2 Chorus&Reverb.20.)Jewel Light-this jewel light lets you know that the amplifier is on.21.)Power-this switch turns on and off the AC power to the amp.Back Panel-(not pictured)Speaker Out-this is a2conductor1/4”speaker output jack.This will disconnect the internal speaker and allow an external speaker cabinet to be employed.Rating is8ohms.Line Output-this is a2conductor1/4”line output jack.This will allow an external amplifier or mixing board to be supplied with the signal from this amp.Effects Loop I/O-these are two2-conductor1/4”jacks.These will allow an external effects device or equalizer to be patched back in before the power amp section in this amp.One is send and the other is return.Footswitch Jack-this is a2conductor1/4”jack.This is for hooking up a footswitch to turn on/off the onboard digital effects.3Suggested Settings(These settings are general starting points.They are designed toget you close to the sound you are looking for.If the control is notshown,then it doesn’t apply to this particular sound.)Standard Single Input Setup-in this setup your acoustic/electric guitar is plugged into input 2.(Remember,if you are using an active guitar or pre-amplified guitar,select the active input. We also suggest that you turn its output level to about mid-way up and this will give you a cleaner sound as well as giving you available headroom for leads.)The tone controls follow both inputs.Of course,you can adjust the tone controls to any desired sound,but in this setup we suggest these tone control settings.It will deliver a clear,clean sound that has enough top end clarity to cut through.Add low and low mid for a beefier presence,but be careful as this can“muddy up”the sound.Adjust the reverb and chorus to suit the music or to your taste.Standard Dual Input Setup-in this setup two inputs are utilized.Guitar is plugged into guitar input jack and a Hi-Z microphone is plugged into mic/line Input.Assuming you are also using a microphone,plug it into the mic/line jack and slowly turn up the mic/line volume control. Balancing the two types of inputs gives you a much more natural acoustic guitar sound.You could also plug in any combination of inputs such as:keyboards,microphones or other guitars.This can also be a basic mini-PA system.It could be used for plugging in a CD player or cassette deck and a microphone for singing.It can be used for playing over prerecorded tapes with mixing capabilities.As mentioned earlier,you can adjust the tone controls to any desired sound,but in this setup we suggest these tone control settings.Of course it depends on the listening environment.It will deliver a clear,clean sound that has enough top end clarity to let the acoustic sound cut through.Adjust the reverb to suit the music or to your taste.4。

摩托拉电子PM1500专业系列手机通信设备说明书

Standard and Dual Control Head Packages Available P25 Interoperability CapablePerformance in Critical SituationsSafety, productivity, and efﬁciency demand reliable communication. Challenges increase across wideareas and in communities that are growinggeographically. For the people who keep government and commercial institutions functioning, staying linked is a vital need. Motorola has speciﬁcally designed the PM1500 Professional Series two-way mobile radio to meet the needs of public safety, public works, utility, transportation and construction professionals. The PM1500 offers durability, extensive signaling, and a standard external speaker for users who communicate under tough, loud conditions and must depend on clear communication.255 Channels Multicolored LED Indicators Large Channel and Push Button On/Off Volume Knobs Backlit 8-Character Alphanumeric Display User friendly icons and soft menu so you easily view status and access features. Display for viewing of channel names and Caller ID Programmable Emergency Button Alerts dispatcher in an emergency situation4 Programmable ButtonsEasy access to favorite features. Optional key-pad microphone allows you to scroll through the menu and access up to 16 programmable features7.5 Watt External Speaker Allows for clear, crisp communication in loud environmentsDual Control Head OptionEnables multiple radio control heads to belocated within the same vehicle. Available with independent volume and backlight display P25 Conventional Upgradeable A single software upgrade makes this radio P25 Interoperable and able to interact with other networks in times of crisisPM1500 Standard Package Palm Microphone 7.5 Watt External Speaker Mounting Hardware 20 Ft. Power Cable 17 Ft. Remote Mount Cable Ignition Sense Cable User Guide CD2-Y ear Standard WarrantyPM1500 Dual Control Head Standard Package Also Includes Two Palm Microphones One 7.5 Watt External Speaker One 13 Watt External Speaker Two 17 Ft. Remote Mount Cables Additional Mounting BracketStandard Features2External Speaker HSN4038AStubby, Roof MountAntenna HAD4007AFoot Switch HLN5113BExternalAlarm Cable HKN4258CKeypad Microphone HMN4079C20 Foot Power CordHKN4192BQuality that delivers under tough conditions...For a stronger, more efﬁcient community.Additional PM1500 Features allow you to send and receive information in a variety of wayswith Quik-Call II™ , MDC1200, and DTMF SignalingSelective Call – Send and receive calls from a speciﬁc group or individual Call Alert – Send and receive alerts of incoming callsMDC1200 Signaling Only Features:Push-to-T alk ID – Identify your callsEmergency (Encode/Decode) – Alerts dispatcher in urgent situations Status/Message (Encode) – Allows radio to send pre-programmed messages Selective Radio Inhibit (Decode) – Allows system owner to disable stolen or missing radiosRadio Check (Decode) – Lets others check your radio statusPM1500 Programmable FeaturesChoose up to 16. Top features include: EmergencyAlerts dispatcher in urgent situationsRepeater T alkaroundUnit-to-unit communication, bypassing the repeater Channel ScanMonitors the scan list channels for any activity Zone Up/Zone DownAllows you to select alternate zones DimSets preferred volume level for radio speaker Nuisance Channel DeleteTemporarily deletes a speciﬁc channel from your scan mode if you no longer want to hear activity on that channelPM1500 Accessories:Customizing one radio or an entire ﬂeetMicrophone To manage menus and converse conveniently SpeakersIdeal for extremely noisyenvironmentsPower CablesProviding power to suityour needs SwitchesFootswitches improve operating convenienceand safety Alarm CableExternal alarm cable foradded securityAntennasOptimize range and quality for different conﬁgurationsFor a complete listing of accessories and availability contact us today.3SPECIFICATIONSMOTOROLA and the Stylized M Logo are registered in the U.S. Patent and Trademark Ofﬁce. All other product or service names are the property of their registered owners. © Motorola, Inc. 2007.MD-EUPM1500BROCHA 5/07Accelerated Life T estMotorola’s Accelerated Life Test (ALT) is a developmental process of rigorous laboratory testing that simulates years of ﬁeld use. Motorola has a ﬁrm commitment to quality and reliability. These radios have been designed, manufactured and tested to achieve high levels of component and workmanship quality. Motorola radios are designed to minimize costly repairs and downtime.,。

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