Schertler arthur ART48-MICIN/MIC-ULN User manual

ACOUSTIC FIDELITY
arthur
ART48 - MICIN/MIC-ULN
USER MANUAL
Assembling instruction on ART48-L/Rmast manual
V2

WARNINGS
PRECAUTIONS
WARNINGS Read carefully this manual and follow these
precautions before operating the device
Keep this manual for possible future needs
Pay attention not to pour liquids onto the device and do not operate in conditions of excessive humidity
Do not install the device close to sources of excessive heat, do not expose it to direct solar radiation and do not
position it without protection in a dusty environment
Be sure that the main voltage does not exceed the value indicated on the back panel
Do not use the device if the main cable or the plug aren’t in a perfect condition (if necessary, replace it)
If the main cable has to be replaced, the operation must be carried out by qualied personnel. Replace the cable
exclusively with one that is an exact substitute
In order to avoid interference, do not install the device close to power transformers, TV sets, RF transmitters, electric
motors or any source of electric energy
Do not point microphones against speakers: this could generate annoying whistles (Larsen effect) that cause damage
In order to avoid unpleasant and costly inconveniences, use only original connecting cables
To completely disconnect this apparatus from the AC mains, disconnect the power supply cord plug from the AC socket
When cleaning, do not use solvents (e.g. acetone or alcohol). These could damage the external nishing and the
serigraphy
Do not attempt to service this product. In case of malfunction of any part of the system call the nearest technical
assistance centre or a specialized technical centre
For good ventilation, the heat sink should never be covered or obstructed by blankets, sofas or similar furniture. Be
sure also to leave sufcient clearance between the heat sink and any other surface
No source of ames, e.g. candles, should be placed on or near the device
The device should not be exposed to water, even in small amounts. No object containing liquids should be placed on
or near the device
The device should only be connected to a mains socket outlet equipped with protection ground system
When the device is installed, be sure the mains socket and the plug of the mains cable are easily accessible

IMPORTANT SAFETY INSTRUCTIONS
THE LIGHTNING FLASH WITH ARROWHEAD SYMBOL, WITHIN AN EQUILATERAL TRIANGLE, IS INTENDED TO ALERT THE USER TO THE PRESENCE OF
UNINSULATED “DANGEROUS VOLTAGE” WITHIN THE PRODUCT ENCLOSURE THAT MAY BE OF A SUFFICIENT MAGNITUDE TO CONSITUTE A RISK OF
ELECTRIC SHOCK TO PERSONS.
THE EXCLAMATION POINT WITHIN AN EQUILATERAL TRIANGLE, IS INTENDED TO ALERT THE USER TO THE PRESENCE OF IMPORTANT OPERATING AND
MAINTENANCE INSTRUCTIONS IN THE LITERATURE ACCOMPANYING THE PRODUCT.
WARNING TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK
DO NOT EXPOSE THE APPLIANCE TO RAIN OR HUMIDITY
1) Read these instructions.
2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
5) Do not use this apparatus near water.
6) Clean only with dry cloth.
7) Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (inclu-
ding ampliers) that produce heat.
9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two bla-
des with one wider than the other. 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 t into your outlet,
consult an electrician for replacement of the obsolete outlet.
10) Protect the power cord from being walked on or pinched particularly at plugs, convenience recepta-
cles, and the point where they exit from the apparatus.
11) Only use attachments/accessories specied by the manufacturer.
12) Use only with the cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the
apparatus. When a cart is used, use caution when moving the 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) Refer all servicing to qualied 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 nor-
mally, or has been dropped.

The Arthur Format48 mic input unit is a very ne, high-end microphone preamplier that
should make a big difference to what you may have been used to hearing up to now.
While the basic features of the mic unit are similar to those on other mixers, it also has
some more innovative features, so let’s take a tour of the unit.
ART48-MICIN/MIC-ULN
+
+
++
++
++
++
++
++
++
- ++6dB
+6dB
+6dB
+6dB
insert phone plug
tip ring sleeve
peak
nominal
signal
VU
PFL A UX 3
A UX 2
A UX 1
BUS
all pots and switches in blu color all plugs and bus in red color
phase
SCHERTLER
low cut
blockdiagram modular mixer 2.2015 MIC CHANNEL
R
L
+48V
Fader
PAN
ON
PFL
post
post
post
EQ on
A UX 2 A UX 3
A UX 1
150/240Hz
notch
bass
freq
midtreble
insert on
insert on
-20dB
48V
+20dB
XLR
gain

The XLR input (labeled MIC IN), positioned at the top of the unit, can
receive balanced signals from -63 dBu to +18 dBu. This is a range
of 81 dB, which therefore permits you to connect any audio signal to
the mic unit.
Adjusting the GAIN knob (2.) affects the amplication rate of the
input amplier, amplifying a weak signal to a nominal level of 0dBV,
or attenuating a stronger signal, so that a nominal signal of 0dB is
always present at the output of the mic input amp.
On the VU level meters, positioned at the side of the channel fader,
you can “read” the amount of gain set. Turn up the gain to a point
where the red overload occasionally shows. But don’t worry too much
about this. Thanks to the amount of headroom from input to output
on Arthur, even strong overloads can be absorbed by the mixer’s
electronics without resulting in distortion.
Two buttons will help you to control the gain: the +15dB button (3.)
and LOW-HIGH (gain) button (6.).
The following table shows the functionality of the GAIN and the
additional +15dB and LOW-HIGH buttons:
Gain knob +15 dB button LOW-HIGH button Gain (dB)
max setting off (white light) low (white light) 45 dB
min setting off (white light) low (white light) 18 dB
max setting on (green light) low (white light) 60 dB
max setting -------------------- high (green light) 20 dB
60%setting U -------------------- high (green light) 0dB unity gain
min setting -------------------- high (green light) -18 dB
The +15dB button is automatically excluded when the LOW-HIGH
button is pressed. This is because it obviously doesn’t make sense to
amplify and attenuate a signal at the same time. For most stage and
recording situations, using dynamic and condenser mics, you might
not need the extra 15dB. But this additional gain could be helpful for
ribbon mics and mics that are positioned at a distance, particularly
during recordings.
Depressing the LOW-HIGH button to “high position” (green light) and
setting the Gain on “U” means that the mic preamp will neither amplify
nor attenuate the signal. This mode is called “unity gain” and is the
correct setting for nominal 0 dB signals, or line signals that you get
from professional devices like limiters, effect units or recorders.
ART48-MICIN/MIC-ULN
1.
2.
3. 4.
5.
6. 7.
8. 9.
10. 11.
12.
13.
14.
15.

The PHASE button (4.), labeled ø, swaps the “hot” and “cold” aspects of the input signal,
inverting the signal’s phase 180°. This can be helpful if, for example, two microphones
are positioned at a distance, or reverse-faced (i.e. bottom and top miking for snare drum
reproduction). Depressing the ø button on one of the mics means that the reverse-faced
mic will get “in phase”, or a distantly placed mic (for certain frequencies at least), will
become “better” in phase with a second mic. However, the ø button position is subjective
and the results really need to be evaluated by listening.
Depressing the P48 button (5.) (red light) delivers 48V of phantom power to the
microphone, which, in most cases will be a condenser mic or an active ribbon mic. A
dynamic mic cannot usually “see” phantom power (as its name suggests), but passive
ribbon mics could be permanently damaged by it.
Only use this button for mics that you know for certain need phantom power in order to
work. Also be aware that the internal circuitry raises the 48V slowly, in order to avoid loud
“pops” and protect the microphones. Therefore, about 10 seconds are needed before the
condenser mic will work fully.
The low cut button (7.), labeled ƒ, limits low frequencies at 100Hz/second order, cutting
out unwanted low frequencies from “boomy” signals. This lter can also be helpful in
shaping signals from smaller instruments (violin, mandolin etc).
The unit’s insert works in a similar way to that on other mixers, but offers some extra
possibilities due to an additional bypass switch.
If the INSERT DIRECTOUT (8.) button is not depressed (i.e. off, white light), the signal
will not be interrupted by the insertion of a phone jack into the Insert connector (9.). In
this instance, the insert connection works as a sleeve out or “dry line out post input amp”.
You can connect a simple mono phone jack or a stereo phone jack to the insert. The
unbalanced line signal will be transmitted through the “tip” of the phone jack.
If the INSERT DIRECTOUT button is depressed (i.e. on, red light), the signal in the mixer
will be interrupted and the insert will work in the usual way: By connecting a mono jack,
you will get the simple output line signal on the “tip”. By connecting a standard stereo
phone jack, you get the (output) signal from the “tip” (send) and the return signal will be
connected to the mixer through the “ring” (return) of the jack.
Resonance lter
The resonance lter is a kind of notch lter, but one that is gradually adjustable over its
attenuation level. If the lter is set to the “at” position during recording it will be totally
bypassed, thus having no effect on the incoming signal.
This lter is designed to avoid, or at least attenuate, feedback on acoustic instruments
that are mic’d up in live situations using pickups such as the legendary SCHERTLER
DYN series. A Double Bass or ‘Cello might get in resonance at ca. 150 Hz, whereas
guitars and similar musical instruments will do so at ca. 240 Hz. The Q is very high,
cutting out a very narrow band at the respective frequency.
ART48-MICIN/MIC-ULN

Using the 150Hz-240Hz button lets you select the frequency: When the button is not
depressed (red light) the lter will attenuate at 150 Hz. When the button is depressed,
(blue light) the lter will attenuate at 240 Hz.
Keeping the RESONANCE button set to the far left on FLAT means that the lter will
not be active. When the RESONANCE button is turned slowly clockwise, the lter will
gradually attenuate at the chosen frequency.
Turn the knob to the point where a boomy feedback effect can be minimized without
cutting too much from the signal and subsequently losing some of its lower end.
Filters
Using the lter section is very simple. The lters themselves have outstandingly innovative
circuitry, enabling loss of sound to be kept to an absolute minimum. You will hardly hear
any difference in sound quality regardless of whether the lters have been bypassed or
active set to Flat (ON button depressed).
The EQ ON button will bypass (white light) or activate (green light when depressed) the
lter section. This is a helpful tool for comparing a lter conguration with the unltered
sound. Sound engineers often bypass lters to avoid a reduction in sound quality, letting
the signal go through the lter circuitry. However, as we’ve already said, this is not the
case with Arthur’s lter circuitry, due to its outstanding dynamics.
The EQ ON button will not bypass the RESONANCE lter.
The HI knob lets you tune the high range of the audio spectrum (from 4.5kHz) from +/-
16dB with a slope of 18dB / octave. The 3rd order structure “keeps” the circle of inuence
within the lter’s audio band so as not to overlap with the MID lters. This makes the
adjustment of the treble frequencies more accurate.
The HI knob has a detent at its mid position, indicating the lter’s at position.
The MID knob, together with the MID FREQ knob, acts on frequencies within a wide mid
range of 250 Hz to 3.2 kHz, with amplication or attenuation of +/- 14 dB.
The MID knob affects the amplitude (amplication or attenuation) while the MID FREQ
knob affects the frequency.
The MID knob also has a detent at its mid position, indicating the lter’s at position.
The LOW lter knob lets you adjust the signal from +/- 16dB up to 90Hz with a slope of
12dB / octave. The higher order prevents the low frequencies from overlapping with the
parametric mid, making the adjustment of the lower frequencies much more accurate.
The LOW knob also has a detent at its mid position, indicating the lter’s at position.
ART48-MICIN/MIC-ULN

Channel ON / OFF switch section
The CHANNEL ON button connects or disconnects the output routing for all outputs
(AUX1, AUX2, AUX3 and L/R), except the PFL routing. This function is similar to the
MUTE button used on other mixers, but its functionality is reversed. When the CHANNEL
ON button is depressed, all outputs get connected (whereas a MUTE button disconnects
the output when pressed). Also, whereas a MUTE button normally only disconnects the
L/R routing (the channel’s fader), this CHANNEL ON button affects all outputs. Being
able to switch off a channel strip makes sense in order that the signal will not still go
through to stage monitors, or to the input of the reverb unit for example.
Please note: Even if the CHANNEL ON button is in the switched off position (not
depressed, white light), the PFL and INSERT will still be ready to function, (as shown by
the lights on their respective buttons), even though all other button lights are off.
The auxiliary sends
Just below the lter section you will nd the auxiliary sends, labeled AUX SENDS. There
are three knobs - one for the level control of each send (AUX1, AUX2, AUX3). Therefore,
each single AUX send can be controlled independently from the others.
What’s more, the unit enables every AUX send to “read” the signal pre or post fade.
There are three buttons, each located at the side of its respective AUX level control, for
setting the post or pre fade mode.
When the button is not depressed, (redlight) then the signal arrives “post fade”. In this
position the relevant auxiliary level will obviously be controlled by its level knob, but the
nal outcome will also depend on the channel fader’s position. This is very useful when
driving a reverb unit for example, where you can set the level knob to create the desired
proportion of reverb to dry signal, then maintain this proportion while any overall level
changes are made using the channel fader.
When the button is depressed (blue light), the signal arrives “pre fade”, in other words it
will be sent to the AUX master without being affected by the position or movement of the
channel’s fader. This conguration will normally be chosen when driving stage monitors
(or similar devices) through the respective auxiliary master, where any inuence from the
main channel fader is not required.
Note: As well as the MASTER L/R unit, you will also need the MASTER AUX unit to
benet from all the AUX sends (and other additional options). The MASTER L/R unit can
only receive AUX1, but this is just intended as a basic conguration where, for example,
only one auxiliary send is needed to operate a reverb device.
ART48-MICIN/MIC-ULN

PFL
The PFL button (labeled PFL) is located on the right side of the channel fader under the
PAN knob. Please note, you can only operate the PFL through the MASTER AUX unit.
As well as being a traditional PFL (pre fade listen), this one also serves as a fourth AUX
send, albeit without the possibility of setting the level.
All channels that have their PFL switch (red light) activated will be mixed in the MASTER
AUX unit and sent to the PFL output, controlled by the PFL fader on the master AUX unit.
This function can be useful when using an additional monitor, for example for a singer,
where only one signal might be required (in this case the signal from the “voice channel”).
Note: The PFL section still runs while the channel ON / OFF switch is deactivated (white
light).
L/R fader section
The channel fader and its associated functionality is probably the most important part
of the output process. In most cases, the signal going through here will be mixed in the
Master L/R and will appear on the main L/R outputs that drive the recording device or the
front-of-house PA speakers. This is the signal that is usually heard by the public.
The operation of the L/R fader section is identical to that on other mixing consoles. Using
the PAN pot to the right of the channel fader, you can send the signal to the Left or Right
channel.
The PAN pot conguration has been designed to guarantee the minimum noise and
maximum dynamics in central position.
At the PAN pot’s mid position, the signal ows to both channels at maximum level. In
other words, when the PAN is set to the left, you will hear the signal on the left channel
only. While turning the PAN pot from the left to the center position, the left channel’s
signal will not change, but the right channel’s signal will continuously increase, reaching
its maximum level at the center position - and vice versa.
The channel fader lets you control the total amount of signal that goes to the masters.
If you want to exclude the channel’s signal from the L/R master without changing the
fader’s position, you can simply switch the CHANNEL ON button to its OFF position
(white light). This button will then be acting as a MUTE.
ART48-MICIN/MIC-ULN

Input impedance:
Maximum input level:
Maximum output level (through L/R):
Sentivity (accordingly to Gain):
Total gain (through L/R):
Frequency response: (-3dB)
Low cut: (-3dB)
Reson attenuation:
Low EQ:
Parametric Mid EQ:
High EQ:
Equivalent input noise (EIN):
Distortion (THD+N; @1kHz):
-30dBu input level
0dBu output level
Power consumption:
Size & Weight:
4.7 kohm
+4dBu (@1kHz; THD<0.5%) (LOW MODE)
+26dBu (@1kHz; THD<0.5%) (HIGH MODE)
+27dBu (@1kHz ; THD <0.5%)
-60dBu to -18dBu (LOW MODE)
-20dBu to 9dBu (HIGH MODE)
72db
16Hz – 125 kHz
100 Hz (Shelving, 2nd order)
10dB @ 150 Hz / 240 Hz
300 Hz (Shelving) -20dB / +15dB
250 Hz – 3 kHz -15dB / +15dB
4.5 kHz (Shelving) -12dB / +12dB
122,5dB (Insert, 60dB Gain, 150ohm)
(STANDARD model)
128,7dB (Insert, 60dB Gain, 150ohm)
(ULN model)
0.13% (2nd harmonic)
0.06% (3rd harmonic)
0.015% (4th harmonic)
0.008% (5th harmonic)
80mA
36x58x475mm; 0,5 kg
TECHNICAL SPECS

NOTE

ALL SCHERTLER® PRODUCTS ARE COVERED BY A LIMITED THREE-YEAR WARRANTY (FROM
THE DATE OF PURCHASE) AGAINST MANUFACTURES DEFECTS. DETAILS CAN BE OBTAINED
FROM YOUR LOCAL DEALER/REPRESENTATIVE. SCHERTLER SA STRONGLY BELIEVES IN
“COMMON SENSE” AND THUS, MISUSE OF OUR PRODUCTS ARE NOT COVERED UNDER
RIGHTS OBTAINED THROUGH OUR WARRANTY POLICY OR THAT OF INTERNATIONALLY
RECOGNIZED TERMS AND CONDITIONS.
SCHERTLER SA IS CONSTANTLY AIMING TO IMPROVE ITS RANGE OF PRODUCTS THEREFORE,
SCHERTLER SA RESERVES THE RIGHT TO AMEND PRODUCT
SPECIFICATIONS WITHOUT NOTICE.
THE SCHERTLER® NAME/LOGO ARE REGISTERED TRADE-NAMES/ TRADEMARKS OF
SCHERTLER SA, SWITZERLAND.
All SCHERTLER® PRODUCTS ARE OF PROPRIETARY TECHNOLOGY AND COVERED BY ONE
OF MORE WORLDWIDE PATENTS.