realbass SINGLE User manual

Manual
Single
Duo

07.09.2017
2
Preface by the developer
The design and engineering of the originate from Germany.
All components, and the equipment and installation, are manufactured
exclusively by domestic partners to the highest quality standards. This
allows us to implement ideas consistently, sustainably, quickly and
efficiently.
All equipment in the range are conceived to be purely
analogue devices and are governed by this philosophy. Economic
factors are of less significance than “undistorted tone” in design and
production.
Great attention is paid to the weight in the development of the equipment. Its ”Sound” has top
priority in this case.
Our own experience gained over many years of playing, in the most varied of configurations,
is combined with an equally extensive experience and enthusiasm for electronics
This results in a lot of Headroom and Reserves that allow you all the possibilities of
reinforcing and reproducing the natural sound of your instrument without having to enter into
any compromises. This applies equally to both electrical and acoustic instruments.
The range of equipment offers comprehensive and professional assistance to give
full Instrument optimum showcasing of your instrument and its sound on any stage and in all
appearance situations.
I wish you lots of enjoyment and relaxed successful performances with .
Michael Schäfer

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Copyright The copyright of all documentation provided with this product
remains with
Michael Schäfer
Sommerbergstraße 37
D-66346 Püttlingen.
This manual contains technical descriptions and drawings that
are not to be duplicated, spread, exploited or made accessible
to third parties neither in whole nor in part without our
permission. Any offences are punishable and shall impose
obligation to pay damages (lt. UWG BGB).
Validity The following documentation applies to all product types listed
on the cover page. Further variations are possible. The
information, details and data are presented without any warranty
or liability and is subject to change.
© 2017 by
Michael Schäfer
Sommerbergstraße 37
D 66346 Püttlingen
T: [phone]
F: [phone]
[e-mail]
www.realbass.de
Translation of Original Document

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Content
1. Important safety instructions........................................................................................5
2. General instructions before and during commissioning: ..........................................6
3. General Descriptions.....................................................................................................7
Phantom Power.......................................................................................................................7
Balanced and unbalanced Signalling......................................................................................7
Unbalanced Signalling.............................................................................................................7
Balanced Transmission...........................................................................................................8
dB............................................................................................................................................9
VU- display, Modulation display ............................................................................................10
H/L –changeover..................................................................................................................11
Gain.......................................................................................................................................11
PAD.......................................................................................................................................11
Phase....................................................................................................................................12
pre / post ...............................................................................................................................12
True Bypass..........................................................................................................................13
EQ.........................................................................................................................................13
High-Pass - Low-Pass - Band-Pass......................................................................................14
Parametric / Fully parametric.................................................................................................15
LOW-CUT..............................................................................................................................15
Compressor / Limiter.............................................................................................................15
Level......................................................................................................................................16
Threshold ..............................................................................................................................16
Insert (Send / Return)............................................................................................................17
Ground-Lift ............................................................................................................................17
Mute ......................................................................................................................................17
4. Technical Description..................................................................................................18
4.1 General points ...........................................................................................................................18
4.1 Brief instructions Front...............................................................................................................18
4.2 Brief instructions Back ...............................................................................................................20
4.3 Connection diagramm back side ...............................................................................................21
5. Commissioning............................................................................................................22
5.1 Initial Commissioning:................................................................................................................22
6. Technical data..............................................................................................................26
7. Optional accessories...................................................................................................27
8. Guarantee.....................................................................................................................28

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1. Important safety instructions
This document must always be read before commissioning for the first time and
must be kept available at the location of use. It contains fundamental instructions
that need to be observed during use. In addition, and in particular, the applicable
directives and regulations issued for the location of use must be observed.
The marks and symbols used, and their significance::
DANGER! WARNING! CAUTION!
This symbol is associated with safety instructions, the non-observance of which can
cause severe to fatal health dangers and injuries to persons. Observe the
instructions and act particularly carefully in these cases. Pass on all the safety
instructions to other users.
Warning of dangerous electrical power.
HINWEIS:
Ratschläge oder Hinweise, welche für die Nutzung und die sichere Verwendung
des Produkts hilfreich sind.
Hearing protection
The noise level must not exceed a value of LwA 85 dB. Provide protection with
appropriate hearing protection..

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2. General instructions before and during commissioning:
Danger of electrocution!
Do not carry out servicing and repairs of any kind yourself inside the housing.
Always use our trained service personnel or an authorised expert for servicing and
repairs.
Faulty connection of the product can lead to life-threatening injuries caused by the
electrical power. The product must only be connected to a plug socket that is
earthed!
Danger of hearing damage!
The amplifier can get very loud!
If you are constantly exposed to loud sounds, your hearing can suffer long-term
damage.
If you intend to use this amplifier at a high sound level for an extended period, we
recommend wearing appropriate hearing protection..
The manufacturer’s statements must always be observed.
The product must not be connected in a damp or wet environment. The power
cables must not be kinked. Protect the power cables from being stepped on
and close to the plug.
The product must be connected to a socket having an earth connection.
Never deactivate the earthing of the amplifier or its power cable! With three-
core lines, the 3rd. Core must always remain connected to the mains plug
socket and earth as an earth connection!
In the event of problems, and if you have any questions concerning the power
cable or mains plug, please consult an experienced electrician.
Isolate the amplifier from the power supply and pull out the mains plug before
cleaning and servicing
Clean the product only using a dry cloth.
Do not cover or close off the ventilation apertures.
Do not operate the product close to sources of heat, such as radiators, heaters
and ovens.
Use only genuine manufacturer’s accessories / fixing elements. Repairs must
only be carried out by trained expert personnel.
Repairs are only necessary if the product, a power cable, plug or components
are damaged. This applies also if liquids or objects have penetrated the
product or if the product has been exposed to rain and moisture.

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3. General Descriptions
Phantom Power
Microphones and other signal sources often require a separate power supply from a
battery, rechargeable battery or power supply. Today, this effort is avoided by supplying
connected signal sources with power via the signal cable (microphone cable etc.).
Therefore, a supply voltage is coupled to the signal wires of the connection cable in the
input of the mixing console. There is always a DC voltage which does not disrupt the
transmission of the audio signal as audio signals are always AC voltage.
The main principle of phantom-power is possible for balanced and asymmetrical
signalpath . A value of 48V for balanced signal source (microphone) is usual (rare is 24V).
By unbalanced source (radio-mikrophone, guitars, bass) establish 9V and 15V more and
more. The value available is not stabiliszed and fall with the cable-connected load aground
the consumer load (mikrophone, instrument). When there’s not cable-connected load, the
measured values should be in the declared effective range.
Balanced and unbalanced Signalling
This term requires no definition as it is used rather frequently throughout the description.
There are two types of signalling, namely balanced and unbalanced transmission.
Unbalanced Signalling
The benefit of this transmission type is the simpler input and output switching technology of
the individual devices. The disadvantage is its sensitivity to humming noises and other
interferences, which increases with each metre of cable length. This type is mostly used for
short transmission routes such as guitar, bass guitar or keyboard cables etc. The most
frequently used ports for this are 6,3mm jack ports.
What is most notable about the unbalanced transmission is the composition of the cables
used. They have a signal wire and a shield, which is simultaneously used as signal ground.

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Balanced Transmission
Balanced transmission is preferred for the application of very weak signal sources such as
dynamic microphones etc. It is also recommended to be used for longer cable lengths.
Its major benefit is its insensitivity to disruptions such as humming noises and interfering
signals i.e. line and environment related disruptions. Balanced transmission is less critical
with respect to line length.
Its disadvantage is the sophisticated switching technology for in- and output of the
separate devices. It used to be applied almost exclusively to sound studio and large stage
technology. Due to the drop in prices of electronic bulk sales, it increasingly captured the
market and is now commonly used in low-priced devices. The same applies to phantom
power being state of the art of current mixing consoles.
Mostly, the used plug connections are 3-pole XLR-connectors. The composition of cables
includes two signal wires and a mutual shield also being used as signal ground. The term
for this cable type is: Microphone cable.

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dB
dB -> Decibel.
Deci -> means a tenth.
Bel(l) -> was a physicist (telephone etc.), after whom this unit was named.
The unit dB has a logarithmic measure and represents the ratio of the input and output
voltage, or the input to the output sound level. The most relevant values with their effects in
the fields of sound and stagecraft can be seen in the following table
Value
(dB)
Ratio
Input Voltage
(mV)
Output Voltage (mV)
Volume change
3
1 to 1.414
200
282
Perceptible
6
1 to 2
200
400
easily perceptible
10
1 to 3.162
200
632
Double
12
1 to 4
200
800
Double
20
1 to 10
200
2000
Fourfold
40
1 to 100
200
20.000
Eightfold
-3
1.414 to 1
200
141
perceptible
-6
2 to 1
200
100
easily perceptible
-10
3.162 to 1
200
63
Halved
-12
4 to 1
200
50
Halved
-20
10 to 1
200
20
Quartered
-40
100 to 1
200
2
Eightfold reduction
The table shows that values less than 0 dB signify lowering (reduction, damping), and
values in excess of 0 dB signify lifting (amplification, increase). In addition, we can see that
volume perception and the voltage values are not in a linear relationship to each other. A
change of (+ or - +/-) 3 dB signifies a slight change from a purely acoustic point of view.
They are only easily perceptible above +/-6 dB. This is particularly important and must be
observed when using tone regulators (EQ), compressors and other effect devices.
The term 0 dB represents a particular situation. This basically means “Input = Output”. In
certain contexts, it also means an absolute value of 0.775 Veff at 600 Ω.
The principle of phantom power is possible both with balanced and unbalanced signal
paths. For balanced signal sources (e.g. microphones) a voltage of 48V is normal
(sometimes 24V), and for unbalanced sources (radio microphones, guitars, basses) a
voltage of 9V and 15V is gradually becoming established. The voltage available is not
stabilised and drops with the connected load by the consumer (microphone, instrument).
However, without a load (without a connected consumer), the values to be measured
should be within the stated ranges.

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VU- display, Modulation display
V= Volume
U=Units
The term VU meter comes from sound studio technology and is used designate a
measuring instrument that shows the current level of a signal source.
In order to prevent over-modulation (clipping, distortion) during modulation, the signal level
is displayed either on a pointer instrument or by a chain of LEDs. The scale on VU meters
of this type is either in % or in dB.
On mixer desks and amplifiers we often use just a single, generally red, LED for the
indication. This indicates an impending over-modulation or undesirable distortion of the
input signal by lighting up.
High-quality equipment include more more accurate displays. An adequate overview of the
incoming signal can be provided by three LEDs. A green one shows an input signal that
can be used, a yellow one indicate good modulation and a red LED indicates over-
modulation (distortion, clipping) of the input signal.
These input signals can be regulated using appropriate regulators / switches (gain
regulators or PAD switches) until just the green or yellow LEDs light up.
In an ideal situation, the indicated value on the VU meter is tapped off after the EQ (tone
regulation). Increasing the specific frequencies (treble, bass, mid-frequency) changes the
input signal in such a way that distortion (over-modulation) is produced, despite a good
setting on the GAIN at the output from the EQ. This should be shown on the VU meter to
allow you to reduce the input level accordingly.
Signal path
Your instrument produces a sound that is converted into an electrical signal by a pickup
head or microphone. This signal is directed via a cable to a mixer desk or an amplifier
where it is processed, modified and finally amplified.
All the locations in the movement of the signal from the instrument to the speaker are
refereed to as the signal path. The first stage or an amplifier / mixer desk is called the pre-
amplifier (preliminary stage). Here we process and amplify the input signal. After this we
have Low-Cut, compressor, EQ, loop-in paths and so on. The end stage and the speaker
or speakers come at the end of the chain
If we then do not use one of the components (for example the compressor or the EQ) then
this no longer forms part of the signal path
Ideally, it should be removed from the signal path completely. This occurs only with so-
called “True Bypass Switching”. The technically more simple variant, the Simple Bypass,
just separates off the output from the signal path and the input remains as a load in the
signal path.

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H/L –changeover
H = High
L = Low
The designations Hand Lstand for the impedance (the input resistance, the apparent
resistance Z) of the input circuit of amplifiers. A “high impedance” (H) stands for a high
input resistance, a “low” (L) stands for a low input resistance.
High impedances are normally required for pickup heads having piezo elements without
their own pre-amplifier.
They have the benefit of a precise bass, treble and dynamic reproduction. The
disadvantage is the sensitivity to electrical interference in the connection line. For this
application we should use high-quality cables with good screening, low capacity and,
primarily, of short length.
Most instruments offer impedances between 1 MΩ and 2 MΩ. The greater the impedance,
the more complicated the input circuit and the more transparent and open the tone.
Impedances greater than 2 MΩ present more problems than enjoyment, despite all efforts.
Low impedances are used for passive and active electrical instruments. In this case,
values between 100 KΩ and 1 MΩ are common. Many guitar and bass amplifiers have
either a changeover switch or two different input sockets having different input
impedances. However, since these are not level-compensated, there is sometimes a not
insignificant difference in volume.
On really high-quality instruments, the H/Lchangeover switch selects a completely
separate pre-amplifier for high and low impedances.
Your amplifier also has two separate level-corrected input amplifiers for the jack input that
you can select using the toggle switch (H/L). You will not hear any volume differences
when you change from Hto L.
If you use a high-quality cable, you should test how your instrument sounds best. Many
“old” passive electrical bases sound fresh and transparent with a higher input impedance
that we know only from old valve amplifiers.
Gain
Gain -> Yield, Increase
The term “GAIN” describes the function of the input regulator on mixer desks and
instrument amplifiers. This regulator is used to adjust the amplification of the input
amplifier. Sometimes it has a scale showing values between (-)50 dB and (+)20 dB. It
adapts the input sensitivity of the amplifier / mixer desk to the signal source.
PAD
PAD = Attenuation
Sometimes the input signal is so high that it cannot be be adjusted with the gain regulator
without distortion. The PAD switch helps in this case. It weakens the input signal in front of
the gain regulator. This means that the signal gets quieter. Normal values for the
attenuation of the input signal are between (-)10 and (-)30 dB.

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Phase
Phase = Phasing
The “Phase” or phase reversal
switch has an important function. As
the word Phase says, it changes the
phasing of the signal by 180°. It
changes the phasing, so to say.
We need to use a little physics to
make this clearer. All sound signals
consist of so-called sinusoidal
sounds. These have a positive and
a negative half-wave (Figure: Phase
reversal). The phase reversal switch
“transposes” them.
Why do we need this?
A double bass and an amplifier emit the same frequencies. At short distances between the
speaker and the instrument they cancel each other out or they add together. Both of these
can, in extreme cases, lead to undesirable resonances.
Primarily with low frequencies, the frequencies of a double bass overlap those from the
amplifier speaker, for example. If you change the distance to the box or change the
phasing using a switch, this phenomenon reduces almost entirely..
pre / post
pre =before, prior
post =after, later
The function of this switch refers to
the tapping of a signal before (pre)
or after (post) a stage in the signal
chain. This mostly refers to tone
regulation.
The signal tapping takes place pre
(before) or post (after) the tone
regulation. This can be tapping for
DI Out, Line Out or the Insert (S/R)
Path of an amplifier / mixer desk.
phasing
Pre / Post switching

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True Bypass
true =real, genuine
bypass =avoidance, bridging
Bypass means avoidance. Here it
means the “Non-Use” of a switch
section (EQ, compressor etc.). Such
Bypass switching normally takes place
in the “simplest” way. The output of the
circuit section is decoupled from the
signal path. However, since the input
(EQ / compressor etc.) is always
associated with the signal, this
continues to be influenced by it.
On the other hand, with a “True
Bypass”, the input and output of a
circuit section are completely released
from the circuit section. In this way,
with a “Bypass Case”, we get a fully
uninfluenced signal path.
EQ
EQ -> equalizer, tone regulator
These circuits serve to manipulate tone nuances and frequency responses. In principle, you
should use an equalizer as little as possible. Ideally, it is would not be needed at all.
Bypass-swichting

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High-Pass - Low-Pass - Band-Pass
A Low-Pass is an electrical circuit that
reduces or strengthens all frequencies
starting from a specific frequency.
The frequency at which a Low-Pass
operates is called the Corner Frequency.
The elevation or lowering of the frequencies
influenced by the Low-Pass is carried out
using the Bass Regulator (Bass).
Some amplifiers / mixing desks have an
additional switch or regulator to influence the
Corner Frequency.
High-Passes operate in a similar way to the
Low-Pass and are electrical circuits that
lower or reinforce all frequencies starting
from a specific frequency. The frequency at
which a High-Pass operates is called the
Corner Frequency.
The elevation or lowering of the frequencies
influenced by the High-Pass is carried out
using the Treble Regulator (Treble). Some
amplifiers / mixing desks have an additional
switch or regulator to influence the Corner
Frequency.
Band-Passes are electrical circuits that are
a combination of a High-Pass and a Low-
Pass.
This is used to lower or reinforce all
frequencies starting from a specific
frequency up to another specific frequency.
The lifting or lowering is carried out using the
Mid-Regulator (Mid).
Some amplifiers / mixer desks have
switches or regulators that are used to
modify or adjust the mid-frequencies, the
reinforcement or lowering and the width
(filter quality, Q) of the influenced frequency
band.
Low-filter
High-filter
Mid-filter

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Parametric / Fully parametric
parametric =parametrisable, adjustable
Some EQ circuits are designated as
“parametric or fully-parametric EQs”.
They have at least one regulator for each
range (bass, mid-frequencies, treble) for the
reinforcement or lowering of the frequency
range, a second one for the point of
application (Corner Frequency, Mid-
Frequency) and possibly a third one for the
width of the frequency range to be
influenced. Fully-parametric EQs offer
extreme possibilities for influencing sound
signals. You should therefore use this tool
with great care and economy.
LOW-CUT
LOW-CUT= ubsonic filter, rumble filter
The LOW CUT refers to a High-Pass which
is generally only designed for very low
frequencies.
When it is activated, all frequencies
(between 10 and 150 Hz) are filtered out. It
is generally just a switch (on/off).
Higher quality instruments have a regulator
that can be used to adjust the Corner
Frequency of the LOW-CUT.
As we can see from the graphic, the bass
regulator and LOW-CUT are influenced. The
bass regulator can operate (depending on
the setting of the LOW-CUT) in the same
frequency range and possibly only in a
restricted manner.
Compressor / Limiter
Compressor = acoustic, changes the dynamics (volume) of a signal
Limiter = limits the maximum level of a signal
The function of a compressor can be very varied and they can be realised in a variety of ways.
The principle is quite simple, however. Let’s assume a very dynamic signal source. It provides
signals with large differences in volume. If these signals are quiet, then they are only slightly
reinforced, and if they are very loud, they will be reinforced very loudly.
In order to avoid distortion, the sensitivity of the amplifier / mixer desk must be adapted to the
highest possible level (volume) of the signal. This may result in certain parts becoming too
quiet under certain circumstances.
pre-parametic
Low-pass und Low Cut

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This effect can only be counteracted by
continuous correction of the input
sensitivity.Electrical circuits were developed
to avoid this dilemma, and these are called
compressors or / and limiters. The difference
between the compressor and the limiter is
fluid.
A limiter has an adjustable reference level. If
the signal level remains below this, then
nothing happens. If it gets louder, it
dampens down the signal so severely that it
always remains less than the set reference
level..
A compressor can do a little more but it operates in a similar way to a limiter. It compares the
input signal level with its internal reference level. Quiet signals are reinforced and loud ones
are weakened.
The whole installation can be influenced and regulated more or less extensively depending on
the circuitry. Decisive significance is allocated to the two regulators “Level” and “Threshold”.
Level
It determines the overall reinforcement of the compressor. Many possibilities of dynamic
influencing are available depending on the setting in combination with the “Threshold
Regulator”.
Threshold
This regulator is used to set the reference level (deployment threshold). If the signal is louder
than this set reference value, then the compressor starts to take effect. The lower the setting
of the reference level, the more sections of the signal are captured by the compression, the
more the compression.
Since the signal consists of a mixture of frequencies, some of the frequencies are reinforced or
reduced and other not by the use of a compressor in the compression range.
This leads to interesting tone variations and makes the sound of an electric bass thick and
round without having to use an EQ and without getting louder.
Compressor / Limiter

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Insert (Send / Return)
Insert = add (loop-in)
Send = output (transmitter)
Return = input (receiver)
An “Insert Connection” means a connection
combination that permits “looping-in” an
additional device into the signal path (effect
devices such as reverberation, echo, chorus
etc.).
This needs an output (send) and an input
(return). These are directly connected
together in the unused status.
If a device is looped in, the direct connection
is separated and both connections are
connected to the effect device.
We normally use 6.35 mm jackplugs for
connection. Output and input are either
executed as one connection (stereo socket)
or separately (2 mono sockets)
Ground-Lift
Ground = earthing, earth, signal earth
Lift = raising, removal (separating))
The “Buzzing” (mains buzzing, humming, motorboating) familiar on all stages occurs
when several instruments are connected together both on the mains side (power) and on
the signal side (sound).
The actual causes are mostly not easy to find and rectify because they are often
associated with the local installation (lights etc.).
In order to provide a solution, many instruments have a switch which separates (switches
off) the earthing of the signal (signal earth). This switch is called the “Ground Lift”.
The earth line on the mains cable must never be removed or taped
over!
Mute
mute = silent, quiet
The mute button / switch / key on an amplifier / mixer desk mutes the instrument. This is
normally indicated by a coloured LED. Many instruments allow “Muting” using a foot-
switch. On multi-channel instruments, alternative “Muting” is helpful for changing input
channels.
Insert S/R

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4. Technical Description
4.1 General points
- amplifiers are designed as combo-amplifiers. This means that both functional
units (speaker and amplifier) are housed in a single enclosure. They can also be used
separately, however The electronics (head or amplifier) can be removed and mounted in
a rack, for example. 19” retaining brackets are available for this purpose (see
accessories).
Up to 2 boxes (speakers), each having an impedance of 8Ω, can be connected. Both
output sockets are designed as combi-sockets (Speakon / 6.35 mm jack).
4.1 Brief instructions Front
The following explanations refer to the single-channel version of the . On the
twin-channel amplifier the AUDIO-IN is missing on the second channel.
The input is realised as a combi-socket for XLR and jack. Behind this there are three
fully separate pre-amplifiers that are automatically activated depending on the plug and
switch setting (L/H).l
The XLR section of the input socket is designed as a classic microphone input with and
without phantom input (48V) and the jack section is designed as a stereo jack (TIP =
signal, RING = phantom input). It contains two separate input pre-amplifiers that can be
selected using the toggle switch L/H. Here again, a phantom input can be added (15V).
Classic electric bass of Instr. Input with jack (Low Z -> “L”)
High-quality FET input with jack (High Z <> “H”)
The VU display provides information about the signal volume. It evaluates the signal after
the EQ, since EQ settings can always lead to large changes to the signal. Correct the
signal strength using the gain regulator until the green LED and the yellow LED come on
in the VU display when playing. If the red LED comes on, the input signal must be
reduced (gain regulator).
single-channel amplifier
twin-channel amplifier

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The PAD switch dampens the input signal by 20dB. The
phasing of the signal can be turned through 180° using the
PHASE switch
The GAIN regulator adapts the input signal to the amplifier
input.
The LOW-CUT can be used to limit the low frequencies of the
input signal 910-130 Hz). If the regulator is set all the way to
the left (7 o’clock), all frequencies below 10 Hz are
suppressed, and if the regulator is set all the way to the right
(5 o’clock), then all frequencies below 130 Hz are suppressed.
The compressor can be looped into the signal path with the
associated switch (compressor). The two regulators Level (volume)
and Threshold (compression rate) serve to set the compressor
The Pre/Post switch serves the tapping of the
signal for the loop in path (INSERT) before or
after the tone regulation. The tone regulation
itself is looped into the signal path using the
EQ switch.
The operating elements for tone regulation are
subdivided into three sections.
The three mid regulators (MID):
Frequency = used to set the mid frequency of
the mid regulator.
Level = regulates the increase or decrease of
the volume of the set frequency range.
Q = this regulator selects the quality (breadth)
of the selected frequency range.
Audio-IN offers the possibility of reproducing music for practice via a 3.5
mm jack-plug socket. The associated regulator adapts the volume of the
input signal to your practice volume. This input is only available on channel 1
with a twin-channel unit (DUO).
You can “mute” each channel separately (silencing). The red LED above the
MUTE switch comes on in the “muted” status.
The MUTE function can also be operated using a foot-switch.
This makes the installed MUTE switch ineffective.
The SINGLE Version only has a Volume Regulator. This is used to
set the maximum volume.
The DUO Version has an additional Volume Regulator for each of
the two channels (adjusting the channel volume) and a Master
Regulator for setting the overall volume.

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4.2 Brief instructions Back
realbass single
realbass duo
mute-sw
Connection for the ANS multi-switch foot-switch for muting
tuner-out
Connection for instrument tuners with Line Level (-10dB)
line-out
Unbalanced output for external units with Line Level
(-10dB)
ins.-send
Output of the loop-in path with Line Level (-10dB)
ins. s/r
Combi-connection, output and input of the loop-in path
with Line Level (-10dB) (stereo jack 6.35 mm)
TIP = Send, RING = Return, SHIELD = Ground
ins. return
Input of the loop-in with Line Level (-10dB)
dI-out
Balanced output per channel for mixer desk FOH (-10dB)
ground-lift
Switch-off for the earth connection of the specific DI output