Art TPS Spécifications télécharger pdf (Page 7)

CONNECTIONS

It is easy to interface the unit with a wide variety of equipment. The front

panel houses 2 dual-purpose ¼” / XLR input jacks, and the rear houses

balanced XLR ins and outs as well as unbalanced ¼” outs. Standard ¼” and

XLR inputs and outputs make patching simple.

DUAL PURPOSE INPUT JACKS (FRONT)

The front mounted dual purpose jacks act as both balanced XLR jacks,

and unbalanced ¼” jacks.

The XLR Input jacks are primarily intended for microphone input, and

as such can furnish Phantom Power when needed. They can handle

up to +14 dBu signals, which is the hottest signal you would get out of

any microphone. For even hotter input signals, you should use the ¼”

input jack. The XLR Input jacks medium input impedance is extremely

flat over a wide frequency range, which allows it to be musically neutral

to virtually any microphone (one of the lesser known secrets – it’s why

the units will always sound good!).

The ¼” Input jacks are for instrument and line level inputs. They have

high input impedance to minimize any loading effects on instrument

pickups. They can also handle up to +22 dBu signals for line level

signals.

XLR INPUT JACKS (REAR)

The rear XLR jacks function the same as the front ones, as they are

directly wired together, and both cannot operate simultaneously.

If the rear XLR input and its matching front ¼” input are both in use the

TPS will sum the two signals, with the XLR slightly attenuating the ¼”

input. This is not normally suggested.

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Art TPS Spécifications Page 7