Bogen-CT100B-pa-sm维修电路原理图.pdf

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1、A DIVISION OF LEAR SIEGLER, INC. UBLIC ADDRESS MODELS CT60B and CTIOOB The Bogen Models CT60B and CT1OOB are versatile preamp- mixer-equalizer-amplifiers, designed for professional-quality sound systems that once required custom audio equipment. The CT60B, rated at 60 watts, and the CT100B, rated at

2、 100 watts output, are comprised of integrated circuits, silicon transistors and diodes with the latest state-of-the-art active 2/ 3 octave equalization circuitry. Four low-impedance, transformer isolated, balanced micro- phone inputs, (expandable to six with an accessory PMM-2B) each with individua

3、l volume controls, are convertible to high- impedance inputs by rearranging jumpers on the printed circuit board. A phantom supply for the use of condenser microphones is built into these units. Professional three-pin female, XLR-type microphone connectors are provided on the rear panel. Two auxilia

4、ry channels, with an AUXl/ AUX2 fader control can be used for inputs from a tuner, tape/cassette player, phonograph with a ceramic cartridge, or an optional TG-4B Multiple Tone Generator. Built-in microphone precedence, remote volume control, 500/600-ohm line input and output, with accessories, tape

5、 and tape/ booster outputs, amplifier bridging, and connecting ampli- fiers outputs in series are among the many capabilities of these units. Ten slide controls, with detented flat positions, allow the selected frequency equalizer filter circuit to meet individual installation requirements. Feedback

6、 is virtually eliminated, while intelligibility is greatly improved, and usable power is increased. A recessed screwdriver-adjustable front panel control for an electronic compressor circuit is also provided. This circuit compensates for poor microphone technique or a variety of announcers, and it e

7、liminates “blasting” in background music applications. Screw terminals on the rear panel allow connections to standard speaker impedance taps, as well as connections for 25-volt and 70-volt balanced lines. The amplifier operates from a 105-125 volt, 60 Hz source. A three-prong line cord provides aut

8、omatic grounding when connected to a three-wire grounded power outlet. The power line is protected by a circuit breaker, and the output transistors by a thermal overload device, which shuts off the unit when the temperature of the heat sink rises excessively. INSTALLATION UNPACKING The amplifier was

9、 carefully checked before leaving the factory. Inspect shipping container and unit carefully for indications of improper handling. If the unit has been damaged, make an immediate claim to the distributor from whom it was purchased. If the amplifier was shipped to you, notify the carrier without dela

10、y and place your claim. POWER AND GROUNDING The ac line cord has a three-prong plug which should be plugged into a three-wire grounded, 120 volt, 60 Hz outlet. As it is important to ground the amplifier, where a three-wire outlet is not available, use an adapter (e.g., Leviton No. 5017) and connect

11、the grounding pigtail to the screw securing the wall plate. If the wall plate screw is not grounded, connect a wire from the GND terminal of the amplifier to a suitable ground. AUXILIARY POWER CAUTION Use the ON/OFF switch on a phonograph or other accessory unit connected to the auxiliary receptacle

12、, as the power switch on the amplifer does not control this receptacle. The auxiliary power receptacle on the rear chassis is a three-wire grounded outlet which can supply power to accessory equipment in the sound system. Be sure that the accessory component does not require more than 300 watts. The

13、 power switch does not control this receptacle. Associated equipment connected to the auxiliary receptacle with a three-prong line cord will be grounded, providing the amplifier line cord has been properly grounded. INPUT CONNECTIONS LOW-IMPEDANCE BALANCED MICROPHONES: The amplifier is designed for

14、direct connection of low-impedance balanced microphones to the MIC input receptacles of the amplifier. The microphone lead should be a two-conductor shielded cable terminated in a Cannon XLR312-C or Bogen CON-2 connector, as shown in Figure 1. CONDENSER MICROPHONES: Connect in the same manner as for

15、 low-impedance balanced microphones. HIGH-IMPEDANCE MICROPHONES: The microphone lead should be a singleconductor shielded cable under 35 feet in length and terminated in a Cannon XLR312-C or Bogen CON-2 connector, as shown in Figure 1. For information regarding the use of high-impedance microphones,

16、 see notes on the schematic diagram. MICROPHONE PRECEDENCE: A built-in circuit provides microphone precedence for special announcements. A customer- supplied SPST switch with normally-open contacts is required for this function. When the contacts are closed, the auxiliary and other microphone inputs

17、 are muted. (See TSlOl in the schematic diagram and related notes.) Printed in USA 8305 54-5751-01 RadioFans.CN 收音机爱 好者资料库 TECHNICAL SPECIFICATIONS CT100B CT6OB 100 w less than 2% 60 w less than 2% total harmonic distortion total harmonic distortion 50 Hz to 15 kHz 2 dB 2dB Resettable Circuit Breake

18、r 2.5A Resettable Circuit Breaker 1.6A LO-Z balanced MIC, 0.3 mV; HI-Z MIC, 3 mV; AUX. 0.15V LO-Z balanced MIC -55 dB; HI-Z MIC -60 dB; AUX -70 dB Power Output: RMS 1000 Hz Frequency Response: Regulation Line Fusing Sensitivity (for full output) Hum 2 HI-Z AUX inputs with fader control; 500/ 6OO-ohm

19、 line input with optional WMT-1 accessory; remote volume control for all MIC HI-Z standard phono jacks for Tape, Tape/ Booster, Bridging, and optional accessory WMT-1 output; provision for optional WMT-I input; screw terminals for speaker connections. 4 MIC Volume, AUX l/ AUX 2 - fader, MASTER VOLUM

20、E, 10 Equalizer Filter Slide Controls, Compressor Control, Power Switch 10 filters centered at preferred IS0 center frequencies of 80, 125, 200, 315, 500, 800, 1250,2000,3150, and 5000 Hz. Boost/Cut: 12 dB 5 ms. attack time, 2 s. decay time, max. compression 30 dB 21 silicon transistors, 10 ICs, 10

21、diodes 19 silicon transistors, 10 ICs, 10 diodes 120 V, 50/60 Hz, 2.5A, 300W 120 V, 50/60 Hz, 1.6A, 170W 16 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 control are provided for high-level, high impedanc

22、e inputs. These may be used to connect a tuner, tape/cassette player, record player utilizing a ceramic cartridge, or the input from an accessory WMT-1 line-matching transformer. (Refer to Accessories Section.) An input signal of 0.15 volts is required to obtain full output from the amplifier. B .74

23、-2883-01 1 I CF-qTJ x,?, HIGH IMPEDANCE MICROPHONE XLR-3-12C BOGEN LOW IMPEDANCE OR CONDENSER u MICROPHONE Figure 1- Microphone Cable Connections Use singleconductor shielded cable terminated in an RCA phono plug for connecting an auxiliary component. If hum is experienced after making connections,

24、run a ground wire between the chassis of the auxiliary unit and the GND terminal of the amplifier. BRIDGING: Two CT-B amplifiers can be bridged together to double the number of inputs and outputs. Connect a single- conductor shielded cable, terminated in an RCA phono plug at each end, between the re

25、ar panel BRIDGING receptacles of the two amplifiers. This cable should not exceed 20in length. If more than two amplifiers are to be bridged use a “Y” adapter. The BRIDGING GND ONLY terminals on the rear panel terminal strip (TS101) must also be connected to each other. Any input to either amplifier

26、 will then be fed through and available at the output of both amplifiers. The amplifiers must each feed separate speaker systems. When two amplifiers are bridged together, any adjustment of the MASTER, COMPRESSION or Acoustic Equalizer controls in one amplifier will not affect the output of the othe

27、r amplifier. 2 RadioFans.CN 收音机爱 好者资料库 OUTPUT CONNECTIONS Figure 2 -Rear Panel, CT100B SPEAKERS: Output connections are available on the rear panel terminal strip for 4 (CT-lOOB), 8,16-ohm speakers, 25 volt center- tapped and 70 volt lines. Connections necessary are listed in Table I. Class 2 wiring

28、 may be used. For detailed information see Installation Manual No. 54-5001 furnished with the amplifiers. TAPE OUTPUT: A tape recorder may also be driven from the TAPE OUTPUT jack on the amplifier. In this case, the output is not subject to the master volume and equalization settings of the amplifie

29、r and is controlled at the tape recorder. A patch cord terminated in an RCA phono plug is connected between the TAPE OUTPUT jack on the amplifier and the input of the tape recorder. BOOSTER OUTPUT: The amplifier may be used to drive a booster amplifier. Connect a patch cord with an RCA phono plug fr

30、om the BOOSTER jack on the rear pane1 of the amplifier to the high impedence input of the booster amplifier. The output at this jack is controlled by the amplifiers volume and equalization controls. WMT-1 OUTPUT: This receptacle is used to accommodate a Bogen accessory which provides connections to

31、a 500/600-ohm telephone line. (Refer to Accessories Section). Models CTlOOB Both models Both models Both models Both models CONNECTING AMPLIFIERS IN SERIES Pairs of the same amplifier models can be connected in series to effectively double the power output into the same loadline, as well as increase

32、 the input capacity. See Figure 3 for connection diagram. Be certain to remove the link between COM and GND of amplifier No. 2. Tone and master volume controls of both amplifiers should be at the same setting to assure that each amplifier will share the load equally. Connect a single conductor shiel

33、ded cable, terminated in an RCA phono plug at each end, between the rear panel BRIDGING receptacles 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 2 G N D C O M 25VCT G N D C O M 25VCT I I“r I I L3” CT60B O R CT1

34、00B A M P L I F I E R 1 A M P L I F I E R 2 G N D C O M 161l G N D C O M16fl 1I L_t 7 o v A74-2031-01 CT60B O R CT100B Figure 3- Connecting Like Amplifiers in Series TABLE 1- OUTPUT CONNECTIONS Speaker Line 4fI Unbalanced 4fl Balanced 8fI Unbalanced 80 Balanced 16fI Unbalanced 16fI Balanced 25V Unba

35、lanced 25V Balanced 25V Balanced, CT gnd. Terminal Connections* 4n and COM 1 4fl and COM 1 8fl and COM 1 8G and COM 1 16fI and COM 1 16fIaand COM 1 25V and COM 1 25V and COM 1 25V and COM 1 70V Unbalanced 70V Balanced 70V and COM 2 70V and COM 2 Other Connections Close link between COM 1 and GND Ope

36、n link between COM 1 and GND Close link between COM 1 and GND Open link between COM 1 and GND Close link between COM 1 and GND Open link between COM 1 and GND Close link between COM 1 and GND Open link between COM 1 and GND Connect jumper between 25V CT and GND Open link between COM 1 and GND Add ju

37、mper between COM 2 and GND No jumper required *Also see text under “Output Connections” ACOUSTIC EQUALIZER: The Acoustic Equalizer permits you to “tune” the amplifier to the room in which the sound system is used, so that the amplifier will operate at a substantially higher output before acoustic fe

38、edback occurs. Ten slide controls, located on the front panel, boost or attenuate the output at preferred IS0 center frequencies-80, 125,200,315,500,800, 1250,2000,3150 and 5000 Hz-to compensate for varying room acoustics. Microphone placement may also cause feedback or howling at or near some of th

39、ese frequencies. If so, feedback can be greatly attenuated by setting the slidecontrolfor that particular frequency, as described below. ACOUSTIC EQUALIZER FILTER ADJUSTMENT MICROPHONE SOURCE: The following adjustments of the slide filter controls will permit “tuning” the system so that the output l

40、evel is substantially higher before 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 speakers connected to the amplifier and microphone(s) in normal operating location(s). 3

41、. 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 high frequency filter controls-800 Hz to 5 KHz-will b

42、e most effective in its elimination. Likewise, a low-end tone will be controlled by a low frequency filter. 6.Individually, move each filter control slowly from the center position to bottom and back to center while listening for change of feedback. The control which eliminates feedback with the lea

43、st movement should then be moved down only as far as is necessary to eliminate the feedback. 7. Having eliminated the first feedback condition, slowly increase 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 a

44、dditional microphones are used some adjustment to these controls may be necessary. 9.Output level, reduced because of attenuating one frequency, may be partly restored by boosting the adjacent frequency filter control toward maximum. If feedback is not a problem, the controls should be used to impro

45、ve the voice quality and intelligi- bility of the paging system. In most cases, the 80 Hzcontrol should be placed in minimum position while the 2 KHz, 3150 Hz and 5 KHz should be moved to ward maximum for improved response. Each system, depending on the speakers used and room acoustics, will require

46、 some experimenta- tion with the controls for optimum results. 10.Note and record the settings of the individual filter controls and the MASTER control. These settings are generally applicable to all four MIC input channels. Rubber washers (supplied) can be placed on the slide controls to avoid acci

47、dental movement. To do so, pull the slide control knobs off the shafts, insert the rubber washers, and replace the knobs securely. COMPRESSOR LIMITER: The COMPRESSION control (which is screwdriver-adjustable through the front panel-to avoid tampering) is used to provide relatively uniform output fro

48、m the amplifier, regardless of variations in the input levels. This is particularly important in speech applications, where a microphone may be used by a number of people with varying voices and microphone techniques. It is also useful for musical programs, particularly when handling background musi

49、c. The COMPRESSION control is turned clockwise to reduce the output range for a given variation in input range. Turn the control counterclockwise to increase the output range. To remove compression and restore the normal full range of the amplifier, turn the control fully counterclockwise. To determine the optimum setting of the COMPRESSION control for speech applications, proceed as indicated below. (For music, the setting will generally be lower than for speech.) Set the COMPRESSION control fully counterclockwise. Set the MASTER volume control to the highest level likely to be