KAM KMD10 User manual

KMD10
product manual
www.kam.co.uk
www.kam.co.uk
Specifications
General
Frequency Response 10Hz - 60KHz +/-2db
T.H.D. 0.01% @ +4dbU/1KHz
Signal To Noise Ratio Amplifier on & DSP on ? 70dB (-2dB)
Amplifier off & DSP on ? 75dB (-2dB)
Amplifier on & DSP off ? 72dB (-2dB)
Amplifier off & DSP off ? 77dB (-2dB)
Power Dual PSU 115V/230V
Amplifier
2 x 200W RMS/2 x 400W Peak @ 8 Ohms
2 x 350W RMS/2 x 700W Peak @ 4 Ohms
Mixer
20 inputs - 6 x mic/line, 14 line
Electronically Balanced Inputs accept balanced or unbalanced sources
Gain Range +10db to +44db
Mic Channel EQ Hi +/-15dB @ 12kHz
Swept Mid +/-15dB @ 100 Hz to 8kHz
Lo +/-15dB @ 80Hz
Mic Channel Lo Cut Filters 18dB per octave @ 75Hz
Line Channel EQ Hi +/-12dB @ 12kHz
Hi Mid +/-15dB @ 3kHz
Lo Mid +/-15dB @ 500Hz
Lo +/-12dB @ 80Hz
2 x Aux Send & Return switched +4dBu & -10dBV operation
Aux 1 switched Pre/Post Fade
Channel Level Faders 60mm : +7dbU to -60dbU
7 Band Graphic EQ +/-10dB @ 60Hz, 160Hz, 410Hz, 1.1kHz, 2.3kHz,
6.2kHz , 15.6kHz
Effects
A/D D/A Conversion 20BIT
Sampling Rate 46kHz
Dimensions
KMD10 535W x 410D x 185H (mm)
Weight
KMD10 18.5kg
KMD10_MANUAL_1.0 28/2/06 15:29 Page 1

'TIP - Photocopy this diagram of the mixer controls a few times and then use the copies to mark down the settings of the controls... So that you can quickly and easily return the controls to
their current settings. It is very useful when you have several bands performing... Just note down the settings at the end of each bands sound check.'
Settings Drawing
KMD10
product manual
Overview
Thank you for purchasing your new Kam KMD10 Mixing Console.
The KMD10 is designed to serve a wide range of uses for Live Sound,
Install or Project Studio. Like all Kam products it is designed to offer
professional features and high quality manufacturing that deliver
outstanding value for money.
Key Features
2 x 200W RMS/2 x 400W Peak Amplifier
10 channels/20 inputs : 6 x mic/line & 14 line
Built in 20BIT DSP Effects System
7 Band Master Graphic EQ
Electronically balanced inputs
Inserts on Mic Channels, Master & Alt 3&4
3 band swept & 4 band channel EQ
2 x Aux Send & Return System (pre/post)
Full Mute/Alt 3&4 sub mix system
Fully routable Control Room system
Professional PFL/Solo system
Independent Amp inputs & PSU
Positioning
When using the built in amplification it is important not to block the
air intake vents on the rear panel. These are essential for the dual
speed fans to keep the unit cool during operation.
Avoid exposing the unit to rain or excessive levels of humidity during
operation.
[1] IEC main power inlet connector - use this standard IEC connector
to connect the KMD10 to the mains. This inlet supplies mains power
to both the Mixer and Amplifier Sections of the unit.
[2] Mixer Main Power switch - use this switch to turn on & off the
mains power supply to the Mixer section ONLY of the KMD10.
The Amplifier section has its own dedicated power switch [54].
The 'Channel Strips'
[3]. XLR Input (Mic Channels 1 to 6 only). Use this mic level XLR input
to connect your microphone. You can use dynamic or condenser
microphones with the KMD10. You cannot use this XLR connection
for line level audio signals.
[4] Phantom Power switch - the KMD10 Mic inputs feature a 48V
Phantom Power system to facilitate use of Condenser Microphones
that require an external power source. To use; move the switch
marked 'Phantom' (found on the rear panel) to the on position and
Phantom Power will be delivered to all six XLR mic' input connectors.
There should be no adverse effects using a mixture of powered
Condenser mic's and standard dynamic mic's simultaneously… the
dynamic mic's should not be effected by the Phantom Power
supply. When the Phantom Power system is active you should see
the +48V red status LED [60] in the Main Level Meter LED area
illuminated.
[5]. Line Input (Mic Channels 1 to 6 only). Use this 1/4” jack sockets to
attach any line level audio source (keyboard, CD player etc).
This socket is electronically balanced so accepts either a balanced
or unbalanced audio signal and automatically self adjusts
accordingly.
[6] Channel Insert connections (Channels 1 to 6 only) -
the microphone channels feature an 'Insert' system. These are
commonly used to connect automatic gain control devices such as
Compressors and noise Gates (like the Kam KCG100 combined
Compressor/Gate). The Insert system follows industry standard
protocol. To use it you will need a specially configured 'Y Insert
Cable'. These cables have a single TRS 1/4” jack connector at one
end and a pair of standard mono TS 1/4” jack connectors at the
other. To use the system you connect the single TRS connector to the
appropriate 'Channel Insert' connection found on the rear panel of
the unit. Although the TRS connector used here is physically the
same as that used for a stereo audio connection (commonly used
for headphones) in this context it is wired very differently internally.
TRS actually stands for 'Tip', Ring', 'Sleeve'; which in turn refers to the
fact that the shaft of the connector is split into three isolated
sections. The Tip section is wired to one of the two mono connectors
of your 'Y Insert Cable' and this is used as a signal Send (which you
connect to the input of your processor). The middle or 'Ring' section
is wired to the other mono connector and this is used as a signal
Return (which you connect to the output of your processor).
The 'sleeve' section is used as a ground connection.
[7]. L (mono) & R line inputs (Line Channels 7 to 10 only) - use these
unbalanced 1/4” jack sockets to connect any line level audio
source. Use the L input when you wish to attach a mono source (EQ
a vintage synthesiser) as this socket is automatically split and sent to
both L&R channels of the main mix when there is no connection to
the R input. Use both connections when connecting a stereo source
(EG a CD player).
[8]. Lo Cut switch (Mic Channels 1 to 6 only). This button applies an
18dB per octave High Pass filter that completely removes all
frequencies below 75Hz. We highly recommend using this filter for
hand held vocal microphones because it eliminates handling noise.
It is also worthwhile using it for any microphone or instrument that is
not intended to produce bass because it also reduces the chances
of low frequency feedback and can deliver an overall mix with
greater clarity.
[9]. Gain - Use this control in conjunction with the PFL system & the
level meters to adjust the input signal level so that it peaks at around
the 0dB mark on the level meter. You will notice two different sets of
calibration around the control. This is because the gain circuit
applies a different amount of gain to the microphone and line
inputs.
The +4 marking corresponds to the 'unity' setting for a signal at the
standardised professional line level of +4dBu. The -10 marking
corresponds to the 'unity' position for a standard domestic line
level -10dBu signal. These two markings are there to show you where
to position the gain control so that the gain circuit is neither
increasing nor decreasing the signal level for each different line level
signal type.
1
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24
6
Rear Panel
Rear
Panel
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[10] EQ. The mic channels (1-6) and line channels (7-10) feature
different types of EQ system.
The Mic Channels - feature 3 band EQ with a swept mid control. The
Hi control applies +/-15dB of cut and boost to all frequencies above
12kHz. The Lo control applies +/-15dB of cut or boost to all
frequencies below 80Hz. The mid section has two controls; the upper
control sets whether you cut or boost by +/-15dB. The lower control
lets you choose which mid range frequency you cut/boost. As with
all mid range EQ systems you are effectively adjusting a 'notch' or
'band' of frequencies above and below the selected 'centre'
frequency.
The Line Channels - feature 4 band EQ. The Hi control applies +/-
12dB of cut and boost to all frequencies above 12kHz. The Hi Mid
control applies +/-15dB of cut or boost to a 'band' of frequencies
above and below 3kHz. The Lo Mid control applies +/-15dB of cut or
boost to a 'band' of frequencies above and below 500Hz.
The Lo control applies +/-12dB of cut or boost to all frequencies
below 80Hz.
[11] Aux 1 'Aux' - use this control to set the amount of signal sent to
the line level audio output marked 'Aux Send' in the master
connections section. How to set up the Aux Send & Return system is
explained below under Master Connections.
[12] Pre button - this button relates to the Aux control. When the
button is 'down' the signal from this channel is sent to the Aux output
connection before it reaches the channel level fader - so adjusting
the channel level fader has no impact on the Aux Send level. When
the button is in the 'up' position the signal from the channel is routed
to the Aux Send connection after it has passed through the channel
level fader - so when the button is 'up' turning down the level fader
also turns down the signal sent to the Aux Send. This is useful when
using the Aux Send system to set up an on stage monitor mix as it
enables creation of a separate mix with levels that differ from those
of the main mix.
[13] Aux 2 'FX' - use this control to adjust the signal level sent to the
on board effects processor. To aid versatility the KMD10 also provides
a line level output marked 'EFX Send' in the master connections
section. This output can be used to connect an external effects
processor instead of the on board processor. The 'EFX Send' is wired
'Post Fade' so adjusting the channel level fader also adjusts the EFX
Send level (to both the on board Effects Processor and the external
EFX Send connection).
[14] Pan - when this control is in the central position equal
proportions of the channel signal is sent to the Left and Right
channels of the main mix. Turn the control left and more signal will
be sent to the Left channel of the main mix. Turn the control to the
right and more signal will be sent to the Right channel of the main
mix.
[15] PFL/Solo - this button sends the channel audio signal to the
PFL/Solo system (described in the PFL/Solo section of this manual).
The signal is sent 'Pre Fade' and pre EQ so the measured signal is not
changed by the position of the channel level fader or the EQ
controls… but the signal IS taken immediately after the
channel Gain control (and thus the Insert Sockets), so you are
essentially measuring the input signal level after you have adjusted it
with the input Gain control.
[16] Peak LED - this LED illuminates when the channel signal level is
approaching a level at which it may distort. It is there to act as a
warning to you that you may need to reduce the particular
channels level fader to avoid distortion.
[17] Mute/Alt 3&4 - this button performs two tasks at once when
pressed.
1. It mutes (silences) the channel from the main mix.
2. It routes the signal to the Alt 3&4 System
(as described in the 'Alt 3&4' section of this manual).
[18] Alt 3&4 LED - when the Alt 3&4 button is engaged this amber
LED illuminates to remind you that you have routed this particular
channel into the Alt 3&4 system.
[19] Channel Fader - use this 60mm fader to adjust the relative level
of the channel in the main mix.
7
3
5
8
9
10
11
12
13
14
15
17 18
19
16
Mic
Channel
Line
Channel
Alt 3&4
The Alt 3&4 System is a powerful 'routing system' that enables you to
set up a second separate mix to the main mix that can be used for
recording or setting up stage monitors or simply as a traditional
'Sub Mix'. The classic use for a traditional sub mix is to route all of the
microphones on a drum kit, or all the microphones for a brass
section, or all the microphones used for backing vocals to a single
fader; so that you can adjust the entire group with one
fader movement.
Any channel that is routed to the Alt 3&4 System via its Alt 3&4
button is removed from the Main Mix and sent instead to a set of
line level 1/4” jack connections on the rear panel marked 'Alt 3& 4
Outputs' [48].
Before the signal gets to those rear panel outputs it goes via the
fader in the master section marked 'Alt 3&4' [49] - you use this fader
to adjust the combined level of all of the channels you have
currently selected to route to the Alt 3&4 system.
There is a button above the fader marked Alt 3&4 to Mix [50] that
simultaneously routes the 'Alt 3&4 Mix' back to the main mix (Post
Fader) so that you have the option of routing the selected channels
to this additional 'Sub Mix' and sending it onwards to the Alt 3&4
outputs but without also losing it from the Main Mix.
There is a button marked 'Alt 3&4 PFL' [51] that routes the entire
Alt 3&4 Mix to the PFL/Solo System & Main Level Meter for
measurement etc.
There is a button beside the Control Room Level [45] that routes the
combined Alt 3&4 Mix to the Control Room System.
[52] Alt 3&4 Insert connections - these TRS 1/4” jack sockets are Insert
connection points for the Alt 3&4 output connections. They function
in exactly the same manner as the Channel Inserts [6].
[53] Phones - use this standard headphone connection socket to
attach a set of headphones for monitoring purposes.
The Amplifier
[54] Amplifier Mains Power switch - use this switch to turn the
Amplifier on & off independently of the mixer section.
[55] Mains Voltage selector - use this recessed switch to select the
appropriate mains operating voltage for your country.
[56] Input connectors - use these line level 1/4” jack sockets to
connect an input audio signal to the built in Amplifier.
If you want to Amplify the signal from the KMD10 mixer you will need
to use a pair of cables to connect one of the various audio output
connections (usually one of the various 'Main Mix' output
connections) to these Amplifier Input connectors.
[57] Amplifier Input Level controls - use these L&R rotary Level
controls to adjust the overall listening level of any speakers
connected to the KMD10 Amplifier Speaker Outputs.
[58] Speakon Type Speaker Output connectors - use appropriate
cables to connect these Speakon Type Speaker Output connectors
to the Input Connections of your speakers. Speakon is the industry
standard connection method for connecting speakers to power
amplifiers; it is safe, secure and delivers superior audio fidelity.
[59] Binding Post Speaker Output connectors - use appropriate
cables to connect these Binding Post Type Speaker Output
connectors to the Input Connections of your speakers. Binding Posts
are designed to accommodate bare wire ends of speaker cables;
this is a legacy speaker connection method which although safe
and reasonably secure when handled correctly and capable of
delivering good quality audio fidelity… and undeniably convenient
in the sense that any speaker cable can rapidly be turned into a set
of bare wires in an emergency… is not our recommended
connection method. We really would prefer you used Speakon.
NOTE* The KMD10 has a rated power output that delivers the
following;
2 x 200W RMS @ 8 Ohms 2 x 350W RMS @ 4 Ohms
Be sure to match the rated power handling capacity of your
speakers to the KMD10 power output to avoid damaging your
speakers.
Rack Mounting
To rack mount the KMD10 remove the * screws on the outside edge
of each of the plastic side cheeks. Slide the handle and side cheeks
off to reveal the rack ears.
2431
33
34
32
48 52 6
54
1
55
59
58
57
56
Rear Panel
Amplifier Panel
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The Main Level Meter [39]
This 'enclosed bar type', back-lit, 3 colour, stereo level meter
provides an accurate audio signal level measuring tool. It can be
used to measure a broad range of signals. When the PFL & Solo
status indicators remain un-illuminated the meter will be measuring
the stereo signal of the Main Mix. When either the PFL or Solo status
LEDs are illuminated the meter will be measuring a signal source you
have selected by pressing one of the many PFL/Solo buttons found
throughout the Mixer.
An optimum signal level is one where the meter peaks regularly at
around the 'zero' dB calibrated segment (at the top of the green
coloured section). It is perfectly acceptable for the meter to be
peaking in the amber sections of the meter, but they are coloured
amber for a reason; they are there to warn you that you are
approaching the red segment. If the meter is peaking at the red
segment your sound is probably 'clipping' and sounding distorted
and should probably be turned down.
PFL/Solo
[40] PFL/Solo button - this button switches the PFL Solo
system between its two different operating modes.
When in the 'up' or 'PFL' position; the KMD10 routes any
selected signals to the main Level Meter [39] so that
they can be measured. The amber PFL status Led in the
Main Level Meter area also illuminates.
When in the 'down' or 'Solo' position; in addition to
routing the signal to the Main Level Meter, the mixer
mutes ALL of the channels and inputs to the KMD10 so
that you only hear the individual channel(s) selected
via PFL/Solo buttons. The Solo LED in the master section
also illuminates.
You can actually press the PFL/Solo buttons for several
channels/sources at once… meaning that you can
listen to how several channels/sources sound together
isolated from the rest of the mix… and/or measure their
signal levels in isolation.
Control Room
The KMD10 features a traditional 'Control Room' system.
In a recording studio this is often used for connection of
the Mixing Console to the Monitor System (speakers)
used by the recording engineer. Its main purpose is to
provide a convenient routing and level control system
for the engineer to use.
[41] Control Room connections - use an appropriate
audio cable to connect these line level 1/4” jack
connectors to the audio input for whichever speakers
are to be used by the mix engineer.
[42] Control Room Level control - use this rotary control
(conveniently located on the front panel near the Main
Mix Level faders) to adjust the signal level sent via the
Control Room System outputs.
Located around the Control Room Level Control you will
find three buttons; each of these buttons routes a
different audio source to the Control Room output
connections. The three options for routing to the Control
Room system are [43] Main Mix (which is the main
stereo mix), [44] 2 Track (which is the signal from the
2Track Input) and [45] Alt 3&4 (which is the signal from
the Alt3&4 system).
The Aux & Effects Systems
About using an Aux System
The idea of an Auxilliary Send & Return system is that it enables you
to send a signal out of the mixer, off to an external processor (usually
it is an effects unit), through the external processor, then back to the
mixer… and back into the main mix. The on board Effects Processor
on the KMD10 is accessed exactly as though it were an external
processor. When you wish to send sound to it you use the 'Aux 2 EFX'
Send & Return system. Aux 2 EFX also features Send & Return
connections so can be used with an external Effects processor
should the need arise. The descriptions of all connections etc below
apply therefore to both 'Aux1' & 'Aux2 EFX'.
[20] Aux Send connections - use a cable to connect from this mono
line level 1/4” jack socket to the input of your external processor.
[21] Master Aux Send Level controls - use these to set the Master
Send Level for the Aux Send System. These controls set the overall
level of all of the signals sent to the Aux Send & Return systems via
the Aux Send controls in the channel strips.
[22] Aux Send PFL buttons - press these buttons to route either Aux
Master signal to the main Level Meter (and Solo it) so that you can
measure it (and hear it isolated). Many External Effects processors
do not have input level meters so it is wise to periodically measure
the Send Level signal to ensure that the signal is neither too large nor
too small.
[23] Aux Return connections - use a pair of cables to connect
these line level 1/4” jack input sockets from the output your external
processor to your mixer.
[24] Aux Return input level switches - use these buttons to determine
whether each Aux Return connection operates at either the
Professional Line Level Standard of +4dBu or the Domestic Line Level
Standard of -10dBV.
[25] Aux Return Level faders - use these faders to set the relative
level of the Return signal (from your external processor) of the Aux
Send & Return Systems in the main mix.
The On Board Effects
The KMD10 on board Effects System provides a carefully selected
range of 32 high quality Effect Programs. They are designed to be as
versatile as possible and to meet your requirements for a wide range
of uses. Operation is also extremely simple.
[26] Program LED - this large two digit LED display shows the currently
selected Effect Program.
[27] Up & Down buttons - use these increment buttons to select the
Effect Program you wish to use from the list. Press either button once
to move up or down through the list.
[28] Mute button - use this button to temporarily switch off the
Effects. Press the button once more to switch the Effects back on.
[29] Effects Input Level Meter - this meter automatically displays a
measurement of the signal arriving at the input of the Effects
Processor. Because you are able to route signals from a large
number of channels to the Effects it is easy to overload the Effects
Processor. Digital distortion caused by excessive signals can be an
unpleasant sound so we suggest regular observation of this Level
Meter.
[30] EFX Processor Direct In - in addition to routing signals to the on
board Effects Processor you can use these line level 1/4” jack input
connections to route external signals directly into the Effects
Processor. When you do this the signal passes through the Processor
and arrives in the main mix via the EFX Return Level fader [26]
The Master Section
The Master Section of the KMD10 is extremely versatile and highly
specified for a mixer in this class. There are various ways in which you
can connect and use this product.
Main Mix
There are three sets of Main Output connections which all
simultaneously carry the full stereo main mix.
[31] XLR R&L - these two line level balanced XLR connectors
(found on the rear panel) are your primary outputs, they are the
least prone to interference because they of a balanced XLR type.
[32] Master Insert connections - these TRS 1/4” jack sockets are Insert
connection points for the Master output connections. They function
in exactly the same manner as the Channel Inserts [6].
[33] XLR Level switch - use this switch to determine whether the Main
XLR Output Connectors [31] operate at either the Professional Line
Level Standard of +4dBu or the Domestic Line Level Standard
of -10dBV.
[34] Rear Panel Main Outputs - these line level 1/4” jack connectors
carry the stereo main mix and can be used for a variety of purposes.
[35] Top Panel Main Outputs - these line level 1/4” jack connectors
carry the stereo main mix and can be used for a variety of purposes.
[36] Main Mix L&R Level Faders - each of these two faders controls
the Level of one side of the stereo main mix as sent to all of the
various connectors that carry the main mix.
Graphic Equializer
The 7 band Graphic Equaliser is only applied to the main mix.
[37] EQ In - this button switches the Graphic Equaliser on and off.
[38] EQ Frequency faders - five of these faders (the ones marked
160Hz, 410Hz, 1.1kHz, 2.3kHz & 6.2kHz) relate to a narrow band of
frequencies. When placed at the calibrated 'zero' position they
have no effect, but when pushed up or pulled down they cut or
boost the relevant band of frequencies by +/- 10dB. The faders at
either end are a little different, they are 'shelving filters'; the lower
one cuts & boosts all frequencies below 60Hz (IE bass) and the
upper one cuts & boosts all frequencies above 15.6kHz
(IE high treble & hiss).
2-Track
The 2-Track system is designed for recording, particularly recording
at a gig.
[46] 2-Track connections - use these unbalanced line level RCA type
connections to attach your recording device. Connect the L&R set
marked 'Tape In' to the Record Input sockets of your recording
device. Connect the L&R set marked 'Tape Out' to the Output or
Playback sockets of your recording device.
[44] 2-Track to Control Room - use this button to route the signal from
the 2-Track 'Tape Out' connectors to the Control Room system
output.
[47] 2-Track to Main Mix - use this button to route the signal from the
2-Track 'Tape Out' connectors to the Main Mix Level Faders and
various Main Mix output connections.
46 41 35
23
23
24
30
20
29
26
27
28
39
38
37
40
51
21
22
44
45
50
42
43
51
25
49 36
Front
Panel Inputs
Master Section
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