Bogen-CT60B-pa-sm维修电路原理图.pdf

A DIVISION OF LEAR SIEGLER, INC.UBLIC ADDRESSMODELS CT60B and CTIOOBThe Bogen Models CT60B and CT1OOB are versatile preamp-mixer-equalizer-amplifiers, designed for professional-qualitysound systems that once required custom audio equipment. TheCT60B, rated at 60 watts, and the CT100B, rated at 100 wattsoutput, are comprised of integrated circuits, silicon transistors anddiodes with the latest state-of-the-art active 2/ 3 octave equalizationcircuitry.Four low-impedance, transformer isolated, balanced micro-phone inputs, (expandable to six with an accessory PMM-2B)each with individual volume controls, are convertible to high-impedance inputs by rearranging jumpers on the printed circuitboard. A phantom supply for the use of condenser microphones isbuilt into these units. Professional three-pin female, XLR-typemicrophone connectors are provided on the rear panel.Two auxiliary channels, with an AUXl/ AUX2 fader controlcan be used for inputs from a tuner, tape/cassette player,phonograph with a ceramic cartridge, or an optional TG-4BMultiple Tone Generator.Built-in microphone precedence, remote volume control,500/600-ohm line input and output, with accessories, tape andtape/ booster outputs, amplifier bridging, and connecting ampli-fiers outputs in series are among the many capabilities of theseunits.Ten slide controls, with detented flat positions, allow theselected frequency equalizer filter circuit to meet individualinstallation requirements. Feedback is virtually eliminated, whileintelligibility is greatly improved, and usable power is increased.A recessed screwdriver-adjustable front panel control for anelectronic compressor circuit is also provided. This circuitcompensates for poor microphone technique or a variety ofannouncers, and it eliminates “blasting” in background musicapplications.Screw terminals on the rear panel allow connections to standardspeaker impedance taps, as well as connections for 25-volt and70-volt balanced lines.The amplifier operates from a 105-125 volt, 60 Hz source. Athree-prong line cord provides automatic grounding whenconnected to a three-wire grounded power outlet. The power line isprotected by a circuit breaker, and the output transistors by athermal overload device, which shuts off the unit when thetemperature of the heat sink rises excessively.INSTALLATIONUNPACKINGThe amplifier was carefully checked before leaving the factory.Inspect shipping container and unit carefully for indications ofimproper handling. If the unit has been damaged, make animmediate claim to the distributor from whom it was purchased. Ifthe amplifier was shipped to you, notify the carrier without delayand place your claim.POWER AND GROUNDINGThe ac line cord has a three-prong plug which should be pluggedinto a three-wire grounded, 120 volt, 60 Hz outlet. As it isimportant to ground the amplifier, where a three-wire outlet is notavailable, use an adapter (e.g., Leviton No. 5017) and connect thegrounding pigtail to the screw securing the wall plate. If the wallplate screw is not grounded, connect a wire from the GNDterminal of the amplifier to a suitable ground.AUXILIARY POWERCAUTIONUse the ON/OFF switch on a phonograph orother accessory unit connected to the auxiliaryreceptacle, as the power switch on the ampliferdoes not control this receptacle.The auxiliary power receptacle on the rear chassis is a three-wiregrounded outlet which can supply power to accessory equipmentin the sound system. Be sure that the accessory component doesnot require more than 300 watts. The power switch does notcontrol this receptacle.Associated equipment connected to the auxiliary receptaclewith a three-prong line cord will be grounded, providing theamplifier line cord has been properly grounded.INPUT CONNECTIONSLOW-IMPEDANCE BALANCED MICROPHONES: Theamplifier is designed for direct connection of low-impedancebalanced microphones to the MIC input receptacles of theamplifier. The microphone lead should be a two-conductorshielded cable terminated in a Cannon XLR312-C or BogenCON-2 connector, as shown in Figure 1.CONDENSER MICROPHONES: Connect in the same manneras for low-impedance balanced microphones.HIGH-IMPEDANCE MICROPHONES: The microphone leadshould be a singleconductor shielded cable under 35 feet in lengthand terminated in a Cannon XLR312-C or Bogen CON-2connector, as shown in Figure 1. For information regarding theuse of high-impedance microphones, see notes on the schematicdiagram.MICROPHONE PRECEDENCE: A built-in circuit providesmicrophone precedence for special announcements. A customer-supplied SPST switch with normally-open contacts is required forthis function. When the contacts are closed, the auxiliary and othermicrophone inputs are muted. (See TSlOl in the schematicdiagram and related notes.)Printed in USA 8305 54-5751-01RadioFans.CN 收音机爱 好者资料库TECHNICAL SPECIFICATIONSCT100B CT6OB100 w less than 2% 60 w less than 2%total harmonic distortion total harmonic distortion50 Hz to 15 kHz 2 dB2dBResettable Circuit Breaker 2.5A Resettable Circuit Breaker 1.6ALO-Z balanced MIC, 0.3 mV; HI-Z MIC, 3 mV; AUX. 0.15VLO-Z balanced MIC -55 dB; HI-Z MIC -60 dB; AUX -70 dBPower Output:RMS 1000 HzFrequency Response:RegulationLine FusingSensitivity (for full output)Hum & Noise(below rated output)Inputs (impedance)Outputs (impedance)Input/OutputConnectorsControlsEqualizer FiltersCompressionSemi-conductorsPower Source/ConsumptionDimensionsShipping Weight4 LO-Z balanced dynamic or condenser MIC inputs, each convertible to HI-Z MICs; 2 HI-ZAUX inputs with fader control; 500/ 6OO-ohm line inputwith optional WMT-1 accessory; remote volume control for all MIC & AUX. inputs.4,6-8, 16 ohm speaker taps, 8,16 ohm speaker taps,25 VCT and 70V balanced 25 VCT and 70V balancedor unbalanced lines. or unbalanced lines.Tape and Tape/ Booster, 500/600-ohm line output with WMT-1 optional accessory.MIC, professional 3-pin audio connectors (female) Cannon XLR313 or Switchcraft C3FSeries; HI-Z standard phono jacks for Tape, Tape/ Booster, Bridging, and optional accessoryWMT-1 output; provision for optional WMT-I input; screw terminals for speaker connections.4 MIC Volume, AUX l/ AUX 2 - fader, MASTER VOLUME,10 Equalizer Filter Slide Controls, Compressor Control, Power Switch10 filters centered at preferred IS0 center frequencies of 80, 125, 200, 315, 500, 800,1250,2000,3150, and 5000 Hz. Boost/Cut: 12 dB5 ms. attack time, 2 s. decay time, max. compression 30 dB21 silicon transistors, 10 ICs, 10 diodes 19 silicon transistors, 10 ICs, 10 diodes120 V, 50/60 Hz, 2.5A, 300W 120 V, 50/60 Hz, 1.6A, 170W16 3/8” W x 13” D x 4” H (41.5 x 34.9 x 12 cm)23 lbs., 12 oz. (10.8 kg.) 22 lbs. (10 kg.)AUX 1/AUX 2 INPUTS: Two auxiliary inputs with a fader controlare provided for high-level, high impedance inputs. These may beused to connect a tuner, tape/cassette player, record playerutilizing a ceramic cartridge, or the input from an accessoryWMT-1 line-matching transformer. (Refer to Accessories Section.)An input signal of 0.15 volts is required to obtain full output fromthe amplifier.B .74-2883-011 ICF-qTJ x,?,HIGH IMPEDANCE MICROPHONEXLR-3-12CBOGENLOW IMPEDANCE OR CONDENSER uMICROPHONEFigure 1- Microphone Cable ConnectionsUse singleconductor shielded cable terminated in an RCAphono plug for connecting an auxiliary component. If hum isexperienced after making connections, run a ground wire betweenthe chassis of the auxiliary unit and the GND terminal of theamplifier.BRIDGING: Two CT-B amplifiers can be bridged together todouble the number of inputs and outputs. Connect a single-conductor shielded cable, terminated in an RCA phono plug ateach end, between the rear panel BRIDGING receptacles of thetwo amplifiers. This cable should not exceed 20in length. If morethan two amplifiers are to be bridged use a “Y” adapter. TheBRIDGING GND ONLY terminals on the rear panel terminalstrip (TS101) must also be connected to each other. Any input toeither amplifier will then be fed through and available at the outputof both amplifiers. The amplifiers must each feed separate speakersystems.When two amplifiers are bridged together, anyadjustment of the MASTER, COMPRESSIONor Acoustic Equalizer controls in one amplifierwill not affect the output of the other amplifier.2RadioFans.CN 收音机爱 好者资料库 OUTPUT CONNECTIONSFigure 2 -Rear Panel, CT100BSPEAKERS: Output connections are available on the rear panelterminal strip for 4 (CT-lOOB), 8,16-ohm speakers, 25 volt center-tapped and 70 volt lines. Connections necessary are listed in TableI. Class 2 wiring may be used.For detailed information see Installation Manual No. 54-5001furnished with the amplifiers.TAPE OUTPUT: A tape recorder may also be driven from theTAPE OUTPUT jack on the amplifier. In this case, the output isnot subject to the master volume and equalization settings of theamplifier and is controlled at the tape recorder. A patch cordterminated in an RCA phono plug is connected between the TAPEOUTPUT jack on the amplifier and the input of the tape recorder.BOOSTER OUTPUT: The amplifier may be used to drive abooster amplifier. Connect a patch cord with an RCA phono plugfrom the BOOSTER jack on the rear pane1 of the amplifier to thehigh impedence input of the booster amplifier. The output at thisjack is controlled by the amplifiers volume and equalizationcontrols.WMT-1 OUTPUT: This receptacle is used to accommodate aBogen accessory which provides connections to a 500/600-ohmtelephone line. (Refer to Accessories Section).ModelsCTlOOBBoth modelsBoth modelsBoth modelsBoth modelsCONNECTING AMPLIFIERS IN SERIESPairs of the same amplifier models can be connected in series toeffectively double the power output into the same loadline, as wellas increase the input capacity. See Figure 3 for connectiondiagram. Be certain to remove the link between COM and GND ofamplifier No. 2.Tone and master volume controls of both amplifiers should beat the same setting to assure that each amplifier will share the loadequally.Connect a single conductor shielded cable, terminated in anRCA phono plug at each end, between the rear panel BRIDGINGreceptacles and BRIDGING GND terminal of both amplifiers.This assures that any input will have equal amplification.AMPLIFIER I A M P L I F I E R 2G N D C O M 25VCT G N D C O M 25VCTI I“r IIL3”CT60B O R CT100BA M P L I F I E R 1 A M P L I F I E R 2G N D C O M 161l G N D C O M16fl1IL_t 7 o vA74-2031-01 CT60B O R CT100BFigure 3- Connecting Like Amplifiers in SeriesTABLE 1- OUTPUT CONNECTIONSSpeaker Line4fI Unbalanced4fl Balanced8fI Unbalanced80 Balanced16fI Unbalanced16fI Balanced25V Unbalanced25V Balanced25V Balanced, CT gnd.Terminal Connections*4n and COM 14fl and COM 18fl and COM 18G and COM 116fI and COM 116fIaand COM 125V and COM 125V and COM 125V and COM 170V Unbalanced70V Balanced70V and COM 270V and COM 2Other ConnectionsClose link between COM 1 and GNDOpen link between COM 1 and GNDClose link between COM 1 and GNDOpen link between COM 1 and GNDClose link between COM 1 and GNDOpen link between COM 1 and GNDClose link between COM 1 and GNDOpen link between COM 1 and GNDConnect jumper between 25V CT and GNDOpen link between COM 1 and GNDAdd jumper between COM 2 and GNDNo jumper required*Also see text under “Output Connections”ACOUSTIC EQUALIZER: The Acoustic Equalizer permits youto “tune” the amplifier to the room in which the sound system isused, so that the amplifier will operate at a substantially higheroutput before acoustic feedback occurs. Ten slide controls, locatedon the front panel, boost or attenuate the output at preferred IS0center frequencies-80, 125,200,315,500,800, 1250,2000,3150and 5000 Hz-to compensate for varying room acoustics.Microphone placement may also cause feedback or howling ator near some of these frequencies. If so, feedback can be greatlyattenuated by setting the slidecontrolfor that particular frequency,as described below.ACOUSTIC EQUALIZER FILTER ADJUSTMENTMICROPHONE SOURCE:The following adjustments of the slide filter controls will permit“tuning” the system so that the output level is substantially higherbefore acoustic feedback (“squeal” or “ringing”) occurs.1. Set MIC controls and MASTER control to zero (counter-clockwise).2.Set all slide controls to center (flat) position, with speakersconnected to the amplifier and microphone(s) in normal operatinglocation(s).3. Turn the appropriate MIC volume control half-way up,leaving the three other MIC volume controls at zero.4.Advance MASTER control slowly until feedback (“ringing”or “squeal”) is heard.5. If the feedback sound is high-pitched, one of the five highfrequency filter controls-800 Hz to 5 KHz-will be most effectivein its elimination. Likewise, a low-end tone will be controlled by alow frequency filter.6.Individually, move each filter control slowly from the centerposition to bottom and back to center while listening for change offeedback. The control which eliminates feedback with the leastmovement should then be moved down only as far as is necessaryto eliminate the feedback.7. Having eliminated the first feedback condition, slowlyincrease the MASTER control until feedback is heard again.Repeat the procedures of steps 5,6.8.If the position of the microphone is changed or if additionalmicrophones are used some adjustment to these controls may benecessary.9.Output level, reduced because of attenuating one frequency,may be partly restored by boosting the adjacent frequency filtercontrol toward maximum.If feedback is not a problem, the controls shouldbe used to improve the voice quality and intelligi-bility of the paging system. In most cases, the 80Hzcontrol should be placed in minimum positionwhile the 2 KHz, 3150 Hz and 5 KHz should bemoved to ward maximum for improved response.Each system, depending on the speakers used androom acoustics, will require some experimenta-tion with the controls for optimum results.10.Note and record the settings of the individual filter controlsand the MASTER control. These settings are generally applicableto all four MIC input channels. Rubber washers (supplied) can beplaced on the slide controls to avoid accidental movement. To doso, pull the slide control knobs off the shafts, insert the rubberwashers, and replace the knobs securely.COMPRESSOR LIMITER: The COMPRESSION control(which is screwdriver-adjustable through the front panel-toavoid tampering) is used to provide relatively uniform output fromthe amplifier, regardless of variations in the input levels. This isparticularly important in speech applications, where a microphonemay be used by a number of people with varying voices andmicrophone techniques. It is also useful for musical programs,particularly when handling background music.The COMPRESSION control is turned clockwise to reduce theoutput range for a given variation in input range. Turn the controlcounterclockwise to increase the output range. To removecompression and restore the normal full range of the amplifier,turn the control fully counterclockwise.To determine the optimum setting of the COMPRESSI