O p e r a t io n a l M a n u a l
Version 1.0 – October 2004
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O p e r a t io n a l M a n u a l
C o n t e n t s
T h a n k y o u fo r b u yin g th is p ro d u c t.
As can be found throughout the Audient range, your Sumo has been painstakingly designed
and lovingly nurtured to give you years of productive, reliable, mix fattening performance.
To make the most of this, we suggest that you have a good look through this manual before
you get started.
The safety and installation information will help you to set your Sumo up with the minimum
of danger and hassle, while the operational guide will take you on a whistle stop tour of
Sumo’s knobs, dials and flashy lights – along with some handy hints for their use. Finally, if
you’re experiencing any problems Sumo Surgery will root out most set-up and configuration
issues to get you back on track in no time.
An yw h e re yo u s e e th is s ym b o l, yo u s h o u ld m a ke s u re to re a d th e
a d ja c e n t w a rn in g . Th e s e w ill p re ve n t yo u fro m killin g yo u rs e lf,
b lo w in g u p s p e a ke rs , a n d w re c kin g yo u r m ix . All o f w h ic h a re to b e
a vo id e d .
!
Te x t n e x t to o n e o f th e s e s ym b o ls is , w a it fo r it… a h a n d y h in t.
T h e s e a re little o p e ra tio n a l titb its a n d g u id e lin e s to h e lp yo u fin d
yo u r w a y a n d g e t th e m o s t o u t o f yo u r S u m o .
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O p e r a t io n a l M a n u a l
C o n t e n t s
C O N T EN T S
S A F E T Y IN F O R M A T IO N
IN S T A LLA T IO N
5
7
O VE R VIE W – T H E B E N E F IT S O F A N A LO G U E S U M M IN G
P LU G S A N D S O C KE T S
8
A n a lo g u e a u d io in t e r fa c e s
D ig it a l in t e r fa c e s
1 0
1 1
H O O KIN G U P
1 2
KN O B S , B U T T O N S A N D F LA S H Y LIG H T S
In p u t s e c t io n
1 5
1 6
1 7
1 8
1 9
2 0
2 1
2 1
2 2
M ix C o m p r e s s o r /P e a k Lim it e r
M ix m a s t e r /m o n it o r s e c t io n
D ig it a l s e c t io n
S U M O S U R G E R Y (T R O U B LE S H O O T IN G )
W h y c a n ’t I h e a r a n y t h in g ?
A C C E S S O R IE S
S P E C IF IC A T IO N S
W A R R A N T Y
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O p e r a t io n a l M a n u a l
Im p o r t a n t s a fe t y in s t r u c t io n s
IM P O R T A N T S A F E T Y IN S T R U C T IO N S
C A U T IO N
A T T EN T IO N
R IS K O F ELEC T R IC
S H O C K
R IS Q U E D E
C H O C
D O N O T O P EN
N E P AS EN LEVER
W A R N IN G
T H IS EQ U IP M EN T M U S T BE
EA R T H ED . D O N O T EXP O S E
T O R A IN O R M O IS T U R E.
P le a s e re a d a ll o f t h e fo llo w in g in s t ru c t io n s a n d s a v e t h e m fo r
la t e r re fe re n c e b e fo re a t t e m p t in g t o c o n n e c t y o u r S u m o t o t h e
A C p o w e r s o u r c e .
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O p e r a t io n a l M a n u a l
S a fe t y In fo r m a t io n
S A F E T Y IN F O R M A T IO N
E A R T H
This unit is connected via its power cord to the mains safety earth.
NEVER OPERATE THE UNIT WITH THIS EARTH
CONNECTION REMOVED.
C O VE R S
DO NOT remove the covers. Refer servicing to qualified personnel
only.
VO LT A G E
Sumo is set to operate only at the voltage shown on the rear panel.
CHECK that the correct voltage is available before connecting the AC
mains supply.
F U S E S
CHECK that the fuse fitted is of the correct type for the local mains
voltage. ALWAYS replace fuse with the correct type.
M O IS TU RE
H EAT
DO NOT expose the unit to rain or moisture. If your Sumo should
become so exposed REMOVE the mains power immediately.
ALWAYS site the Sumo away from sources of heat including direct
sunlight and ensure adequate ventilation around the unit.
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O p e r a t io n a l M a n u a l
In s t a lla t io n
IN S T A LLA T IO N
U n p a c k in g
M e c h a n ic a l In s t a lla t io n
Your Sumo has been carefully and
meticulously tested before despatch.
Care should be taken not to obstruct
the unit’s ventilation holes. Adequate
airflow must be provided within rack
Please check for any signs of transit
damage. If any signs of mishandling are
found please notify the carrier and your
dealer immediately.
cases above and below the unit to prevent
overheating.
M a in s P o w e r S u p p ly
Fuses
Sumo can be switched to operate at mains
voltages of either 230V or 115V. With the
switch in the 230V position, the unit will
operate without performance degradation
from 210V to 250V. In the 115V setting,
voltages from 105V to 125V will be
accepted. Do not attempt to operate the
unit outside the relevant range defined
above. For 100V operation, please contact
your dealer.
Please note that the fuse ratings are
different for each of the voltage ranges.
20mm T250mA for the 230V setting and
20mm T500mA for 115/100V.
The mains fuse is very unlikely to fail
under normal use and caution should be
exercised if a failure should occur. Check
the mains voltage, the condition of the
mains cord and the integrity of the mains
supply before replacing the fuse.
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O p e r a t io n a l M a n u a l
O v e r v ie w – T h e B e n e fit s o f A n a lo g u e S u m m in g
O VER VIEW – T H E B EN EF IT S O F A N A LO G U E S U M M IN G
Having bought the unit, you’ve probably
figured out that Sumo is a high-resolution
summing amplifier with stereo bus
compressor and peak limiter, not to
mention a handy little monitor section.
Nevertheless, here are a few more
So what’s so special about the mix bus on
a big console? Well… only the highest of
high end, large format consoles employ
balanced mix buses to reduce crosstalk
and fend off noise. And this is precisely
the kind of mix bus you’ll find in your
Sumo, delivering the sound of a large
format console without the huge
interesting and descriptive words with
which to impress your inquisitive friends.
In essence, Sumo takes a bunch of signals
from several inputs and adds or “sums”
them together to present them to one
output. This is exactly the same process as
takes place in mixing consoles – the mix
bus sums signals from all of the channels
together.
footprint, or price tag.
“But my software has a mixer. Why can’t I
just use that?” I hear you cry. Digital
summing has one crucial problem; that
the output bit depth is equal to or less
than each of the internal signals. This
means that when signals are summed,
some data must be thrown away.
Moreover the volume of data discarded in
this process increases with your track
count. It would, of course be unfair to
suggest that modern software performs
this data reduction indiscriminately or
with especially poor results, however
many engineers and producers have found
there to be something lacking in their
digital mixes – often employing an
analogue console purely to make use of its
summing bus.
Not only is Sumo’s summing bus as clean
as a whistle, it has frighteningly high
headroom. This is particularly important
because adding signals means adding their
levels, too. The more signals you add, the
more level you’re likely to find on the sum
bus. Consequently, Sumo has been
designed to handle levels in excess of
+28dBu.
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O p e r a t io n a l M a n u a l
O v e r v ie w – T h e B e n e fit s o f A n a lo g u e S u m m in g
This means that Sumo can take whatever
O p t io n a l E x t r a s
you throw at it without distortion or
noise.
If your Sumo is equipped with a digital
card, you’ll be able to output a stream of
lovely 0s and 1s at rates of up to 192kHz
on both AES/EBU and S/PDIF
standards.
Another feature of large format studio
consoles is the inclusion of a compressor
over the main stereo bus. Consequently,
the bus compressor from the ASP8024
has also been included in Sumo’s design: a
flexible, high quality compressor capable
of polishing a mix to perfection. And
there’s more; we’ve added in a digital
equipment guarding, mix fattening peak
limiter to help your mix stand out without
risking nasty digital distortion.
As your studio and track counts expand,
you can expand your sumo system with
the addition of up to 3 units, giving you a
total of 64 inputs. If you are feeling
particularly track hungry, then each of the
expansion units can provide 3 more
expansion inputs etc. etc…
To cap it all off, the monitor section gives
you hands-on control of your playback
level while the external input allows you to
A/B your mixes against some reference
material, or listen to the playback from
your master recorder.
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O p e r a t io n a l M a n u a l
P lu g s a n d S o c k e t s
P LU G S A N D S O C KE T S
A u d io In t e r fa c e s
The 16 inputs are connected via two
Tascam DA88 type female D-Sub
connectors. Interconnect cables are
readily available in pre-wired form from
Audient and from any good cable
manufacturer. You can get these with
different tail types to suit your other
equipment, see the accessories section on
page 18. Always use balanced connections
to reduce any cable interference and noise.
Inserts are connected via TRS (Tip-Ring-
Sleeve) jacks. Rather than an unbalanced
loop on a single cable, there are separate
jacks for sends and returns, providing
balanced connections throughout.
+ v e
s ig n a l
-v e
s ig n a l
D -S u b P in
C h a n n e l
N u m b e r
S c re e n
A third D-Sub connector (which breaks
out to XLRs) can provide extender linking
and an external monitor input. The first
two channels connect the external input
to the monitor section, while the
remaining three pairs of channels allow
additional Sumo units to connect directly
into the mix bus.
1
2
3
4
5
6
7
8
2 4
1 0
2 1
7
1 8
4
1 2
2 3
9
2 0
6
1 7
3
1 4
2 5
1 1
2 2
8
1 9
5
1 5
1
1 6
2
N o t e : All u n d e s ig n a t e d p in s a re
u n c o n n e c te d . All s c re e n c o n n e c tio n s
a re jo in e d
in s id e t h e u n it a n d
c o n n e c te d to m e ta lw o rk e a rth .
Outputs are provided on male XLR
connectors: two for the main outs and
two for your monitors.
All of Sumo’s analogue audio connections
operate at +4dBu, the professional
standard, so you may need to ‘pad’
outputs fed to semi-pro equipment.
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O p e r a t io n a l M a n u a l
AES/EBU on XLR, and S/PDIF on
RCA (that’s a phono plug to you and I).
Output on both connectors, for all sample
rates is fixed at 24bit.
P in c o n v e n t io n s
To unbalance the outputs of the Sumo the
-ve Pin should be connected to its
adjacent 0v pin at Sumo’s output.
A word clock input is also provided for
situations where Sumo is not the clock
master. This is connected via BNC.
Similarly, inputs from unbalanced sources
should be connected via twin screened
cables with the –ve pin connection tied to
the screen at the unbalanced source.
Inputs and outputs are implemented using
advanced
electronically
balanced
topologies and are fitted with extensive
RFI rejection networks.
D ig it a l In t e r fa c e s
The optional digital card gives Sumo the
ability to output at six sample frequencies
up to and including 192kHz.
The card provides for both of the most
common stereo digital transmissions
standards:
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O p e r a t io n a l M a n u a l
H o o k in g U p
H O O KIN G U P
Before starting, it’s always a good idea to
make sure that your monitor speakers are
muted and/or turned off – this ensures
that nothing gets popped or blown up
when cables are being fiddled with and
while power is turned on.
This stage is pretty important,
because you’re converting back
into the digital domain and the
quality of this conversion will
effect your overall mix, so make
sure to use the best converters you
have available. If you would like to
improve your AD conversion,
consider Sumo’s digital conversion
option, which produces top notch
AES/EBU and S/PDIF straight
out the back of the unit.
A n a lo g u e C o n n e c t io n
(see Figure 1, on next page)
1. Connect the outputs of your
DAW’s interface and any other
sources to Sumo’s inputs. If your
DAW’s interface can output at -
10dBV or +4dBu, select the latter.
This is the professional standard
and will allow you to make the
most of Sumo’s excellent
headroom.
If
yo u
a re
b a c k
c o n n e c tin g
in to yo u r
s tra ig h t
D AW , yo u ’ll h a ve to m a ke
!
s u re
th a t
th e
tra c k yo u
re c o rd o n is e ith e r m u te d o r n o t
ro u te d to S u m o e ls e yo u ’ll g e t
fe e d b a c k.
fe e d b a c k.
An d
n o b o d y
like s
2. Plug the Monitor Outputs of
Sumo into your monitor amplifier,
or directly into your powered
monitors. Make sure you have the
monitor volume right down at this
point, to protect the speakers
when you switch them on.
D ig it a l C o n n e c t io n
(see Figure 2, below)
4. If using a word clock master,
connect the master source to the
BNC connector on the digital card
(see “Knobs, Buttons and Flashy
Lights” for details on setting up
your digital card).
3. Attach Sumo’s main outputs to
your master recorder such as a
DAT machine or CD recorder, or
even right back into your DAW.
5. Connect the digital outputs to
your digital master recorder or
DAW.
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O p e r a t io n a l M a n u a l
H o o k in g U p
S u m m in g
In p u ts
M ix
In s e rts
M o n it o r O u t p u t s
M a in O u t p u t s
F ig u r e 1 : A n a lo g u e C o n n e c t io n s
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O p e r a t io n a l M a n u a l
H o o k in g U p
Clo c k M a s t e r
W o rd Clo c k
W o rd Clo c k
AES /EBU
S /P D IF
F ig u r e 2 : D ig it a l C o n n e c t io n s
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O p e r a t io n a l M a n u a l
Kn o b s , B u t t o n s a n d F la s h y Lig h t s
KN O B S , B U T T O N S A N D F LA S H Y LIG H T S
In p u t S e c t io n
The ‘Post Dyn’ switch allows you to
alterthe position of the inserts in the
chain: before (pre) or after (post) the
internal compressor and limiter.
M O N O B u t t o n s – Under normal
circumstances, all of the odd numbered
channels entering Sumo are routed to the
left side of the bus, while even numbers
are routed to the right. Of course, this is
going to sound a little unusual if your kick
drum appears on the left and your snare is
on the right, etc. So the first two channel
pairs (1/2 + 3/4) can each be mono’d,
effectively panning them dead centre,
right where you want them. Also, routing
mono sources through a single channel
saves outputs from your DAW.
Be c a re fu l o f b o o s tin g w ith
a n in s e rte d u n it w h e n in
p o s t-d yn a m ic s m o d e a s th e
lim ite r is n o lo n g e r a b le to
p ro te c t th e o u tp u t le ve l. Th is is
!
p a rtic u la rly
im p o rta n t
w ith
d ig ita l g e a r, w h e re o ve rs m u s t
b e a vo id e d a t a ll c o s ts .
O u t p u t M e t e r – This meter will
display system output level in dBu for
either the main sum bus or two track
input; whichever is selected in the monitor
section. Or whichever source you are
listening to, if you like. The legend
beneath the meter shows how the
analogue levels relate to digital output
when the digital card is installed. If you
wish to line the analogue inputs of your
digital gear up to match the meters, 0dBu
should equate to –24dBFS.
M ix G a in – This control gives you a
pre-dynamics gain trim from –20 to 0dB,
so even if you’ve been especially
normalize-happy whilst editing, you won’t
have any problems with headroom, either
within Sumo or, more likely, with any
attached inserts.
M IX IN S E R T S w itc h e s – These
buttons refer to the insert connections on
the back panel. Use these if you want to
add your own EQ, compression, or
anything else you can think of. The ‘In’
switch puts the inserts in circuit, breaking
the signal path if nothing is connected.
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O p e r a t io n a l M a n u a l
Kn o b s , B u t t o n s a n d F la s h y Lig h t s
M IX C O M P R E S S O R /P E A K LIM IT E R
put in above the threshold to get one
more dB out. The greater the number, the
harder the compression. The diagram
below shows how the compressor affects
the input/output ratio at different ratio
settings. The off position allows you to
bypass the compressor whilst leaving the
limiter in place. Dead handy if, heaven
forbid, you’re inserting a compressor of
your own.
D YN A M IC S ‘In ’ S w it c h – Puts
both compressor and limiter in circuit.
When the dynamics are out, they are hard
bypassed, clearing the signal path of any
unnecessary components.
Th re s h o ld – Sets the point at which
compression begins to work. Due to the
soft-knee characteristic of the compressor,
some slight gain reduction is applied
before the threshold level. This gives the
compressor a gentler, more musical
response.
Us e h ig h ra tio s w ith h ig h
th re s h o ld s to c o n tro l ro g u e
p e a ks , o r lo w ra tio s w ith
lo w th re s h o ld s to a p p ly
g e n tle o ve ra ll c o m p re s s io n .
a
m o re
Ra tio
–
Varies the amount of
At t a c k – The time for which the input
signal must rise above the threshold level
before the compressor takes effect.
compression. The numbers on the dial
show the number of decibels that must be
D y n a m ic s R e s p o n s e s
Off
Lim
1.5:1
2:1
4:1
8:1
10:1
C o m p T h re s h o ld
Lim T h r e s h o ld
In p u t
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O p e r a t io n a l M a n u a l
Kn o b s , B u t t o n s a n d F la s h y Lig h t s
Be p a rtic u la rly c a re fu l o f p e a k
Adjusting this will vary the way the
compressor handles transient sounds.
lim itin g : re d u c tio n in e x c e s s o f
6 d B m a y w e ll c a u s e a d ve rs e
e ffe c ts s u c h a s c h e w in g u p
yo u r to p e n d .
W h e re
c o n tro l o f u n ru ly
tra n s ie n ts is re q u ire d ,
a
fa s te r a tta c k w ill c la m p
d o w n o n p e a ks . H o w e ve r,
M IX M A S T E R / M O N IT O R
if la rg e r a m o u n ts o f g a in re d u c tio n
S e c t io n
a re
a p p lie d ,
u n n e c e s s a rily
fa s t
a t t a ck
tim e s
m a y a ffe c t
h ig h
fre q u e n c y c o n te n t.
The P e a k Lim it e r ’s response is fast
attack, fast release, and very hard. It has
two functions: Firstly, as a protective
device it can remove the dangerous peaks
that can result in digital clipping.
Secondly, it can be used to increase the
average signal level (as your ear detects
volume by averaging over time) and
increase the perceived loudness of your
mix within the confines of a recording
medium: Great if you want your CDs to
sound as loud as the pros’.
M IX M A S T E R – Is the final gain
control before the mix leaves the unit, or
enters the digital card. This is useful as a
final adjustment after any gain changes
brought about by dynamics and inserts.
‘Ex t In ’ S w it c h – Switches the
external input into the monitor path. Use
this to monitor playback from your master
recorder, or perhaps to check your mix
against reference material.
G a in R e d u c t io n M e t e r in g –Two
independent meters show gain reduction
at the compression and limiting stages, so
you immediately know where any
adjustments need to be made.
M O N IT O R Vo lu m e – Say no more.
M o n it o r M o n o S w it c h –allowsyou
to check phase coherence, etc. by
summing the monitor outputs in mono.
As
a
ro u g h g u id e , 3 d B o f
w ith fa irly
re d u c tio n
a
h ig h ra tio s h o u ld b e p re tty
in a u d ib le . If yo u ’re lo o kin g
m o re g e n e ra l s q u a s h in g ,
fo r
a
va lu e s o f u p to 6 d B w ith a lo w e r
ra tio n (1 .5 o r 2 ) s h o u ld g ive s o m e
g o o d re s u lts . H o w e ve r, b e a w a re
th a t fo r th e lim ite r a n d fa s t a tta c k
s e ttin g s
o f
th e
c o m p re s s o r,
re d u c tio n m a y o c c u r fa s te r th a n
th e m e te rs c a n s h o w it, s o ta ke
th is in to a c c o u n t a n d tru s t yo u r
e a rs !
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O p e r a t io n a l M a n u a l
Kn o b s , B u t t o n s a n d F la s h y Lig h t s
D ig it a l S e c t io n
S A M P LE R A T E – Rates of 44.1, 48,
88.2, 96, 176.4 and 192kHz are supported.
The desired sample rate can be selected by
pressing the select button repeatedly
whereby the sample rate will cycle through
internal rates and then the external Word
Clock source.
Lo c k – When the external clock source is
selected, the select switch will flash until
the converters are synchronised, or
‘locked’, with the external source. When
lock is achieved the light will glow solidly.
When using Sumo as a Word Clock
Master, set any attached recorders to take
wordclock from their AES/EBU or
s/pdif input (the one that’s connected to
Sumo).
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O p e r a t io n a l M a n u a l
S u m o S u r g e r y (T r o u b le s h o o t in g )
S U M O S U R G E R Y (T R O U B LES H O O T IN G )
S y m p t o m s
D ia g n o s is
R e m e d y
The power light is off.
The fuse is blown.
The power connector at the
back contains the main fuse.
Try changing this, using a
correctly rated replacement
for your local mains voltage
(see back panel).
The power light is off.
The unit is set for the
wrong mains voltage.
Ensure that the red switch
on the back of the unit
matches your local mains
voltage. Make sure the unit
is disconnected before
switching this.
The power light is off.
I can’t hear anything!
The power cable is
disconnected.
Reconsider your chosen
career. Perhaps you should
retrain. Can you say “Would
you like fries with that”?
Could be one of many
things.
See the flowchart below.
My external input source is
coming through the mix bus.
The external input source Ensure that the external
is connected to an
expander input.
input source is connected to
inputs 1+2 of the expansion
D-Sub connection.
All I can hear is a strange
hissing noise.
A T-DIF device is
attached to Sumo’s
inputs. Although the
plugs match, Sumo’s
inputs are analogue while
T-DIF is digital.
Attach your device using its
analogue connections.
I’ve inserted another device and Sumo is capable of
Use the mix gain control to
drop the bus level so you
don’t fry your outboard.
it is distorting really badly.
handling levels of up to
+28dBu, unlike most
outboard units, which
can usually only take up
to about +20dBu.
My kick drum is only coming
out of the left speaker.
The channel carrying
your kick drum is part of tracks you want centred to
a stereo pair.
In software, route all the
inputs 1-4 of the Sumo.
Then switch in Sumo’s
mono buttons, and hey
presto!
© Audient v1.0 10/2004
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O p e r a t io n a l M a n u a l
W h y c a n ’t I h e a r a n y t h in g ?
S T A R T H ER E
Put the
Is there
No
Yes
Yes
"Insert In" button in
the off position. Does
this help?
Is there an
insert attached?
anything showing on the
main meters?
No
Yes
No
Check that the inserted
device is passing audio and
is connected correctly.
Problem
Solved.
Make sure
that your source is playing
back. Does this
help?
Turn the
monitor volume up.
Does this help?
Yes
Turn
the mix gain
up. Does this
help?
No
Ye
Yes
Yes
No
No
Check the
connections from your playback
device. Does this help?
Check the connections to
your monitor amplifier and/or speakers.
Does this Help?
Y
No
Problem
solved.
No
Hmmm. Disconnect and try again.
If you still have problems, contact your
distributor
© Audient v1.0 10/2004
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O p e r a t io n a l M a n u a l
A c c e s s o r ie s
A C C E S S O R IE S
A range of accessories is available to hook up to other gear or expand your Sumo system. All
cables are of the highest quality and will perfectly complement your Sumo in any set-up. For
alternative terminations or lengths, contact your Audient dealer.
D e s c r ip t io n
O r d e r c o d e
3 Metre Analogue 25 pin D-Sub to 8 Female XLR
Ideal for linking to audio interfaces and other Sumo units.
3 Metre Analogue 25 pin D-Sub to 25 pin D-Sub
Ideal for connection to Pro Tools HD systems.
ASPDTF-803
ASPDBD-310
SUMO-AES
Sumo 192kHz AES/EBU & S/PDIF digital output card
S P EC IF IC A T IO N S
Frequency Response
Noise
22Hz-22kHz +/- 0.1dB (-3dB @ 135kHz)
< -92dBu
> +28dBu
120dB
Maximum Input Level
Dynamic Range
Headroom (overload margin)
Distortion
> 24dB ref +4dBu, 27dB ref +4dBu in mix amp
< 0.003% @ 1kHz, +28dBu
< -80dB @ 1kHz
Crosstalk
Input Impedance
Output Impedance
Dimensions
> 10kO differential
< 75O electronically balanced
480mm x 278mm x 44mm
4.5kg
Weight
Power Consumption
40 Watts
In keeping with our policy of continuous improvement, Audient plc. Reserves the right to
alter these specifications without prior notice.
© Audient v1.0 10/2004
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O p e r a t io n a l M a n u a l
W a r r a n t y
W A R R A N T Y
Your Sumo comes with a manufacturers
warranty for one year from the date of
despatch to the end user.
We will not provide warranty repair if in
our opinion the fault has resulted from
unauthorised
modification,
misuse,
negligence, act of God or accident.
The warranty covers faults due to
defective materials used in manufacture
and faulty workmanship only.
We accept liability to repair or replace
your Sumo as described above. We do not
accept any additional liability.
During this warranty period Audient will
repair or at its discretion replace any faulty
unit provided it is returned carriage paid
to an authorised Audient service centre.
This warranty does not affect any legal
rights you may have against the person
who supplied this product – it is
additional to those rights.
© Audient v1.0 10/2004
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