KAM KMD10 Product Manual - page 2
'TIP - Photocopy this diagram of the mixer contr
ols a few times and then use the copies to mark down the settings of the contr
ols... So that you can quickly and easily r
etur
n the contr
ols to
their curr
ent settings. It is very useful when you have several bands per
for
ming... Just note down the settings at the end of each bands sound check.'
Settings Drawing
KMD
10
p r o d u c t m a n u a l
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.
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Rear Panel
Rear
Panel
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