FORMULA SOUND NN106 Multi Input Mixer User Manual

FORMULA SOUND NN106 Multi Input Mixer

NN106 INTRODUCTION

• The features and layout of the NN106 are intended to provide the user with a creative tool suitable for DJ mixing, live mixing and home studio mixing.
• The NN106 has 6 channels, each channel has four inputs selectable by a rotary switch, the fourth input is fed from a single dual stereo USB input. There is also a seventh input which is the console microphone input.
• Channel 1 and 2 each have a low impedance microphone input on XLR sockets, stereo line input on RCA phono sockets, balanced line input on ¼” jacks and one of the two stereo USB inputs. A recessed switch selects USB stereo channel 1 or USB stereo channel 2. Phantom power (17V) is available for the microphones (recessed switch) and gain adjustment (recessed).
• Channels 3 to 6 each have a low impedance microphone input on XLR sockets, stereo line input on RCA phono sockets, phono input on RCA phono sockets and one of the two stereo USB inputs. A recessed switch selects USB stereo channel 1 or USB stereo channel 2. Phantom power is available for the microphones (recessed switch) and gain adjustment (recessed).
• Each channel has a 4 position input select switch, clip indicator LED, gain control, 3 band “full kill” EQ, FX loop select switch, AUX switch, XFA switch, XFB switch, cue switch and channel fader.
• The FX loop switch sends the signal to the FX LOOP stage in the output section, and then onto the FX loop jack sockets, if nothing is connected to the jack sockets the signal is automatically returned to the channel via the FX LOOP stage wet/dry control. If more than one channel has the FX loop selected then the facility is disabled, this is because if multiple FX switches are enabled there would be multiple sends and multiple returns without a disable mechanism so we have included circuitry to sense when more than one FX switch is selected.
• The FX LOOP stage includes selectable variable frequency high and low pass filters and a selectable compressor. The variable frequency high pass filter is adjustable from 20Hz to 2Khz; the variable frequency low pass filter is adjustable from 20Khz to 2Khz.
• The compressor threshold is indicated by an LED and the threshold and ratio may be adjusted by recessed pots in the base of the unit.
• The MIC in each channel has selectable phantom power, gain control and a recessed switch that allows the MIC to be put on a separate MIC bus or following the normal routing. There is a recessed switch in the base of the unit that allows the MIC buss to be included in the booth or to be fed post booth (as the console MIC), if the MIC buss is fed post booth then it will also operate the voiceover circuit along with the console MIC.
• Channels 1 – 6 are assignable to cross fader, however if MIC is selected and the MIC is selected to the MIC buss then the MIC signal will not be assigned to the cross fader. The cross fader has a fader curve control located just above the cross fader.
• The console MIC is upper right on the NN106 and includes recessed  phantom power switch and recessed gain trim. There is volume control, 3  band EQ (+5dB to -26dB); MIC ON/OFF switch and cue switch on the front panel.
• The master output is balanced stereo on XLR’s which may be strapped for unbalanced operation with no loss of signal, master level is indicated on a stereo 12 LED meter with volume control below the meter. There is an insert (stereo jack) in the master output enabled by a push switch and a VOICEOVER facility enabled by a switch and operated by the console MIC plus any channel MIC selected to the MIC buss providing the MIC buss is set to be out of the booth.
• The booth output is also balanced stereo on XLR’s, the booth level is indicated on a stereo 12 LED meter with volume control below the meter. There is also a balance pan control and mono select switch for the booth.
• The AUX output is balanced stereo on dual jack sockets with a level control on the front panel.
• There are two headphone outputs (1/4” jack and 3.5mm jack) with volume control and cue balance pots, a split switch is also fitted.
• There is a balanced stereo zone output with connection for remote zone control panel (remote panel not included), the zone output may be switched to mono via recessed switch.
• There is also record output on RCA phono sockets plus mono and sub bass on balanced ¼” 3 pole jacks. Remote mute connection is on a 2 pin connector.

Mechanical and Power Supply

• Dimensions (Excluding. Knobs & connectors):
  • Width 342mm (13.5″)
  • Height 355.3mm (14″-8RU)
  • Depth 110mm (4.33″).
• Power Supply
  • There is a fully regulated power supply that is designed to operate on 220-240Vac or 110-120Vac. Voltage is factory set.
  • THE POWER SUPPLY MUST HAVE A MAINS EARTH CONNECTION, THE EARTH OF THE MIXER IS TESTED BEFORE SHIPPING HOWEVER THE USER MUST ENSURE THE POWER SUPPLY THE MIXER IS CONNECTED TO HAS A FULLY FUNCTIONAL EARTH CONNECTION.
  • DAMAGE MAY RESULT IF THE UNIT IS CONNECTED TO THE WRONG SUPPLY VOLTAGE.
• Fuses
  • Mains fuse sizes are 1A anti-surge for 220-240Vac and 2A anti-surge for 110-120Vac operation.
  • It is important for safety reasons that the correct fuse ratings are always used.
• Appendixes:
  • Appendix 1 – Front panel detail
  • Appendix 2 – Back panel detail
  • Appendix 3 – Base adjustments
  • Appendix 4 – USB
  • Appendix 5 – Technical Specification

Input Channels

• All channels have 4 inputs, the required input is selected on a rotary input select switch at the top of the channel.
• Each channel has a MIC input, line input and a feed from one of the 2 USB stereo inputs. There is a single USB connector located in the output section, this takes two stereo USB inputs which are routed to all the channels, a recessed switch adjacent to the channel fader allows each channel to be set to either USB1 or USB2 (the first or second USB stereo channel).
• The MIC input can be routed to a MIC buss by a recessed switch below the bass EQ control on the front panel, this MIC buss has a further control (through the back panel) allowing it to be included in the booth or routed to the master output (bypassing the booth) along with the console MIC. If the MIC buss is bypassing the booth the MIC buss will act with the console mic in operating the voiceover facility (described later).
• There is a clip indicator LED located between the input select and channel gain controls.
• There is a GAIN control on each channel to adjust the input level and a linear channel fader to control the level sent to the output.
• All channels have a “full kill” 3 band EQ, FX loop switch, AUX send switch and a CUE select switch for headphone monitoring.
• There are also switches to assign the channel to one side of the cross fader marked XFA (left) and XFB (right).

Channels

• All channels have 4 inputs selected by a rotary channel input select switch at the top of the channel. Channels 1 & 2 have MIC, balanced line, line and USB (1 or 2).
• Input switch position 1 is a microphone input on an XLR and has a gain adjustment accessible through the back panel and phantom power selectable with a switch through the base of the mixer. The microphone input can also be assigned to a MIC buss by a recessed switch through the front of the mixer (just below bass EQ control), if the microphone is assigned to the MIC buss it will not be assignable to the cross fader however if it is not assigned to the
• MIC buss it will be assignable to the cross fader using XFA and XFB switches.
• Input switch position 2 is a line input on RCA phono connectors, there is a recessed gain trim accessible thorugh the back panel.
• Channels 1 & 2 have a balanced stereo line input is on a pair of ¼” 3 pole jack sockets for input switch position 3.
• Channels 3 – 6 have a phono input on RCA phono connectors on input switch position 3, this phono input has an input capacitance selection switch (4 positions) and a gain trim accessible through the back panel.
• Input 4 is one of the tow USB stereo inputs, the two stereo USB inputs are on a single USB connector located on the back panel output section, the two stereo USB inputs are routed to all channels and a recessed switch adjacent to the channel fader allows USB1 or USB2 (USB stereo channel 1 or USB stereo channel 2) to be selected. Note there are only two stereo USB channels for the whole mixer, and each channel is may be set for either of these two.
• Each channel has an FX loop switch that sends the signal to the FX LOOP stage in the output section, and then onto the FX loop jack sockets, if nothing is connected to the jack sockets the signal is automatically returned to the channel via the FX LOOP stage wet/dry control. If more than one channel has the FX loop selected then the facility is disabled, this is because if multiple FX switches are enabled there would be multiple sends and multiple returns without a disable mechanism so we have included circuitry to sense when more than one FX switch is selected.
• This allows any channel to access a single FX unit connected to the FX jack sockets by selecting that channels FX switch, only one channel at a time may access the FX loop and if more than one channel FX switch is selected then the facility is disabled.
• An AUX switch sends a copy of the signal at the top of the channel fader to the AUX output, if several AUX are selected the AUX signals are summed. There is an AUX output level control in the output section.
• The XFA and XFB switches assign the channel signal to a side of the cross fader (XFA is left and XFB is right), when a channel has microphone selected and the microphone is assigned to the MIC buss then no mic signal is assigned for that channel to the cross fader (the MIC buss goes direct to the output).
• The CUE switch sends a copy of the signal at the top of the fader to the headphones in the output section and the CUE meter in the output section indicates the level providing only one CUE switch is selected (if more then one CUE switch is selected then the signals are summed and the summed signal level is indicated).

USB input

• The USB input is type B connector. The USB input module is an Amanero Combo384 Module (See www.amanero.com website for full specification) operating up to 192Khz.
• The I2S output from the Amanero USB module is converted to audio by a Formula Sound Ltd designed DAC based on Texas PCM1502 integrated circuits.
• The output from the Amanero USB module is digitally isolated from the Amanero USB module reducing any noise from the USB connection (the USB earth is isolated from the NN106 earth).
• The Amanero USB module provides 2 stereo channels, these 2 channels are routed to all 6 channels of the NN106 and each channel can selects USB stereo 1 or USB stereo 2 on a recessed switch.

Output Section

• Console microphone

  • The output section includes the 7th input, a console microphone, the console microphone input is on XLR and there is a gain trim and phantom power switch.
  • The console microphone has a 3 band EQ (not full kill), gain control, MIC ON switch and CUE. The console microphone is routed directly to the master and is not included in the booth output.

• Headphone monitoring

  • Any CUE selection on the inputs sends a copy of that input to the headphone section, if multiple input CUE switches are selected those inputs are summed together.
  • The CUE/BAL control selects the CUE content or the master signal to be sent to the headphones (setting the control part way gives a mix of master and CUE signals in proportion to the position of the control eg mid is 50:50).
  • The split control gives CUE in the left ear and master signal in the right ear of the headphones when the CUE/BAL control is in the CUE position.
  • There are 2 headphone outputs, a stereo ¼” jack socket and a 3.5mm jack socket, the headphone impedance on each should be no less than 32 Ohms.
  • The headphone volume control is marked PHONES, the level from the headphones is also dependent on the settings on the rest of the mixer and of course the level of the input signal.
  • Hearing damage is caused by loud sound, the louder the sound the shorter the length of time to cause permanent hearing damage. Always start with the PHONES control at a quarter turn and increase as required.
  • The UK acceptable sound level for employees on an 8 hour shift is 86dB(A).

• Master output

  • The master output is on a pair of balanced XLR connectors, there is a 12 LED stereo meter and volume control labelled MASTER.
  • There is a voiceover facility in the master section which allows a signal on the microphone buss to automatically reduce the music level by an adjustable amount.
  • The voiceover is selected on a switch, the microphone level that triggers it is set by the sensitivity pot and the amount the music is reduced is set by the attenuation pot. The microphone buss consists of the console microphone signal plus any channel microphone inputs that are assigned to the microphone buss.
  • There is also an insert in the master output stage on a pair of ¼” jack sockets, the insert is enabled by a switch marked INSERT.
  • Note the send path is always active, the insert switch bringing in the return path.

• Booth output

  • The booth output is on a pair of balanced XLR connectors; there is a 12 LED stereo meter and volume control labelled BOOTH.
  • There is a MONO select switch that sums the booth left and right to mono. There is a PAN control that operates in stereo mode, with MONO selected the PAN pot has no effect.

• FX LOOP

  • Each channel has a FX switch, when one channel is selected that channel is sent to the FX loop and the return from the FX loop routed back to that channel. (Selecting FX on more than one channel disables the facility).
  • The FX loop has variable frequency high and low pass filters (enabled by a switch) and a compressor (enabled by a switch). The compressor has preset threshold and ratio that is preset by pots through the back panel.
  • The FX loop goes to FX send return jacks on the back panel, the jacks are switching so if no FX unit is connected the send signal is automatically returned.
  • The FX return goes to a wet/dry pot (along with a copy of the send signal), the wet/dry pot setting determines how much original signal and how much FX return is sent back to the channel with FX selected. In the wet position the signal is the FX return signal.

• AUX
  The AUX contains a summed signal of each channel with AUX selected, the level of the summed AUX 1 signal is adjusted by the volume control marked AUX. The AUX signal is balanced stereo on a pair of ¼” jack sockets.

• ZONE output

  • A balanced stereo zone output is provided on a 6 pin rectangular connector, the zone output is controlled by a remote panel (not included) that connects to an adjacent 3 pin rectangular connector.
  • Balanced Zone output on the 6 way connector, left pin 1 + pin 2 0V/grnd Pin 3 -, right pin 4 + pin5 0V/grnd pin 6 -.
  • The remote panel (not included) may be located up to 30 metres from the mixer and allows the zone volume to be controlled entirely separately.
  • Remote panel pin 3 is 0V/grnd, pin 2 and 1 connect to the wiper of the pot providing the volume control.

• Cross fader

  • The cross fader has signals assigned to it by the XFA and XFB controls on input channels 1 – 6. If multiple XFA and/or XFB switches are selected then those signals are summed at the cross fader.
  • XFA signals are sent to the left of the cross fader and XFB signals are sent to the right of the cross fader. If one or both sides has no signals assigned then that side will have no signal.
  • The signal from the cross fader that is routed to the output is dependent on the position of the cross fader, with cross fader set full left any XFA selection is sent to the output and with the crossfader full right any XFB selection is sent to the output.
  • With the cross fader in centre position equal amounts of XFA and XFB will be sent to the output, with the cross fader off to one side (but not at end) a mix of XFA and XFB will be sent to the output. The relative level of XFA and XFB will depend on the position of the cross fader, more to the left and XFA will be larger and more to the right and XFB will be larger.
  • The rate at which the signal changes from XFA to XFB as the cross fader moves left to right (or vice versa) can be adjusted by the contour control.
  • A recessed switch in the base of the unit can switch the cross fader off.

• MONO and SUB BASS outputs
  There is a pair of ¼” 3 pole jacks on the back panel with balanced outputs for mono and sub-bass..

• Record output
  A record output is provided on a pair of RCA phono sockets.

• Remote mute

  • The remote mute connection is on a 2 pin rectangular connector, shorting pin 1 and pin 2 will mute the mixer with the exception of the console microphone and any channel microphones set to MIC buss with MIC buss selected post booth.
  • This may be used to interface to a fire alarm, if the alarm has a set of isolated contacts that close on alarm then these may be used directly, otherwise an isolating interface relay will be required.

• SET UP GUIDE

  • Use the channel back panel gain trims (MIC, Line, Phono) to set the inputs from your equipment to be reasonably near equal when each type of input is selected while at the same time ensuring the maximum level at the output is not approaching clipping.
  • Channel and console MICs all have phantom power switches (17V), so check if your mics require phantom power and select for those inputs accordingly.
  • Channel microphones can be sent to the mic buss or included in the stereo mix, when sent to the mic buss they are not available for cross fader assignment.
  • The microphone buss can be routed into the booth or routed to bypass the booth, the console mic always bypasses the booth.
  • The channel mic assignment switch and booth bypass switch gives flexibility in how the microphones are routed.
  • Choose which USB stereo channel is routed to each channel, it may be you only use 1 stereo USB channel in which case you would select USB1 for all channels.
  • The compressor has recessed pre-sets in the base of the mixer, if adjustment is required the following approach is suggested. Play a CD with a piece of music that is reasonably even level on say channel 3, route channel 3 to FX and select compressor and set FX loop wet/dry pot to wet. Set channel 3 cue on.
  • Use the channel gain pot to set the music to the level you want the compressor to operate at (threshold level), now lift the mixer and adjust the compressor threshold pot until the threshold (THR) light just above the compressor button just comes on.
  • Now turn up the channel gain pot and adjust the compressor ratio pot to the compression level you require (pot at minimum will be no compression so note the CUE meter reading at this point and then turn the compressor pot reducing the level until you achieve the compression you require. So a 6dB reduction in metered level when adjusted will mean 2:1 compression.
  • Generally the factory setting is suitable for most uses of the compressor but following this routine should help if you want an individual setting.

ABOUT COMPANY

• Formula Sound Limited
• Unit 23; Stadium Business Centre
• North End Road Wembley
• HA9 0AT
• Tel: 0208 900 0947
• FAX: 0208 903 6283
• Email: info@formula-sound.co.uk
• Web: www.formula-sound.co.uk

APPENDIX 1

APPENDIX 2

APPENDIX 3

APPENDIX 4

USB operations

• For windows user it is necessary to download drivers, for MAC it is ready to use.
• The drivers are located on www.superstereo.co.uk in the download section marked DOWNLOAD Drivers for windows.
• Note Superstereo is owned by Formula Sound Ltd, the USB in the NN106 is the same as the USB in the Superstereo DN78.
  1. For windows download the driver.
  2. Unzip the file into a folder of your choice.
  3. Open folder Superstereo windows driver 2, and then Superstereo driver folder.
  4. Run either setup 32 for windows XP or run setup64 for 64 bit versions of windows (windows 7 and later).
  5. Follow on screen instructions, pressing install option when asked to install driver software.
  6. A message will pop up to say the Superstereo driver is installed.
  7. Once you have pressed the finish button, you can then connect to the NN106 USB port.
  8. To configure the soundcard for use goto Hardware and Sound in the control panel and click on Manage audio devices.
  9. Select SUPESTEREO speakers option and click configure.
  10. For 4 channel operation (2 stereo channels) click on Quadrophonic, for 2 channel (one stereo channel) operation click on stereo.
  11. Click finish to complete.
  12. To change your sample rate and quality repeat steps 8 but click on properties instead, then click on advanced.
  13. Select your desired sample rate and bit rate.
  14. Your NN106 is now ready to use.

For MAC

1. Plug into NN106
2. Open MIDI and audio setup
3. Select superstereo driver and select the required sample rate up to 192Khz.
4. Go into configuration and select either 4 channel (2 stereo channels) or 2 channel mode (one stereo channel).
5. Your NN106 is now ready to use.
   The USB will work with a range of DJ software such as Traktor.

APPENDIX 5

Technical specification

• All figures are at 230V setting and 20 C room temperature.
• Power supply 230V +/- 10% or 115V +/- 10%.

Parameter: Rating

• Noisefloor, 0dB output setting channel faders down: <-80dB
• Phono noise floor, 0dB setting, 1 channel fader up. (Deck connected): <-56dB
• Mic input, 0dB setting EIN: <-120dB
• Distortion, line input at 0dB, 0dB out: <0.01%
• EQ in mid position 20Hz – 20KHz: <+/- 0.5dB
• Phantom power: 17V+/-0.5V

References

• ADR & Voiceover Recording Studios London for TV & Film, Radio & Podcasts, Animation, Games, and Audio Books | Editing & Mixing | ISDN & Source Connect | Audio Post Production
• Amanero Technologies
• Amanero Technologies
• Formula Sound – Analogue DJ mixers & noise control
• Formula Sound – Analogue DJ mixers & noise control
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