FF-6.2L
DJ Interface, the creative tools.
- Simple informative graphics, anodised black front panel, large knurled aluminium knobs, spring loaded LED buttons, intuitively mapped and spacious layout make for a beautiful aesthetic and natural workflow.
- Precise four-band full-kill EQ not only allows for complete frequency band cuts and isolation, but also for subtle spectral balance mixing more common in studios. The EQ frequency response characteristics have been carefully optimised to give excellent and intuitive control of bass, low-mid, high-mid and highs.
- Separate high pass and low pass filters on each channel encourage more creative mixing possibilities. These specifically developed adjustable filters cut frequencies with accuracy and transparency and can be easily bypassed when not in use.
- Channels 1 and 2 are switchable between microphone or stereo line inputs. These channels also both have a selectable compressor built in for further control.
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Channels 3 to 6 are switchable between stereo phono or line inputs. These channels have separate cross-fader routing selection. The contour of the cross-fader is adjustable to preference.
A dedicated console microphone input is also provided. With three-band EQ, level, on-off and cue selection, it is routed directly to the master output. - Two separately selectable auxiliary sends, on each of the six channels, can be used to route audio to external effects. Individual level controls for both auxiliary sends are located in the output section of the mixer. The effects return via any other channel, allowing for full control in terms of level, EQ, filters and compression.
- An additional insert is provided at the master output stage.
- Extensive metering is provided to encourage correct gain structure in order to maintain the highest audio quality. All Input channels have 12 LED metering with an additional clip warning LED. Master and booth outputs have 2 x 12 LEDs for stereo metering.
- Booth output has optional mono selection and pan adjustment to accommodate any booth set-up or preference.
- The high power cue headphone output is through both 3.5mm mini-jack & 1/4in jack sockets. The precise cue/master mix, split cue and pre EQ/filter selection provides complete listening control.
- All controls have been selected for the quality of feel and reliability. Faders are well weighted and precise.
- These features have been carefully chosen & developed to be creative tools to help the artist elevate their performance, and showcase their music in the best possible way.
Connectivity and control for the sound engineer.
- The ergonomic and intuitive layout continues on the back panel. Each input and output connector is aligned with the corresponding front panel controls for ease of patching.
- Channels 1 & 2 both have twin balanced 1/4in jack sockets for line and single balanced XLR sockets for microphone inputs. The balanced line inputs allows external instruments and other DJ mixers to be routed through the FF6.2.
- Channels 3, 4, 5 & 6 all have two sets of stereo RCA connectors. The lower pair are for phono inputs and the upper pair are for line inputs. Both have recessed gain trim. The phono pre-amps are of very high quality.
- Further controls are located on the underside of the mixer for system technician use. These include: Microphone level trims, phantom power switching, optional microphone to DJ booth routing and threshold & ratio for both built-in compressors.
- The console microphone input is a single balanced XLR socket, with the corresponding gain trim and phantom power switch next to the connector.
- The stereo master and booth outputs are via twin balanced XLR sockets. A separate single XLR socket is also provided which can be switched (via the underside of the mixer) between a mono master output or a sub-bass (<80hz) output.
- The stereo direct insert is via twin 1/4in jacks (both 3 pole send and return). The two stereo auxiliary send outputs are via twin balanced 1/4in jacks.
- Record out is via stereo RCA.
- All fore mentioned connectors are gold plated.
- An additional stereo `zone` output is provided via a 9 pinPhoenixconnector. This output is controlled by a dedicated remote panel which can be physically located within the zone (for example in a bar or green room).
- A fire alarm interface via phoenix connector allows all signals to be muted in case of emergency except for the console microphone.
- Power supply can be switched to operate at 110V or 230V. IEC socket with on/off switch.
- A version of the mixer with external power supply is also available to special order and 19" rack mount wings are available upon request.
- A focus on versatility and quality from the engineers perspective differentiates this mixer from any other in the market.
- The Formula Sound and Funktion-One collaboration throughout the design and development of this mixer has led to the FF6.2 being a serious alternative for club installation and events. Its precise creative control and superior audio quality leads directly to enhanced crowd experiences.
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Used Funktion-One
Funktion-One is a British loudspeaker manufacturer based in Dorking, Surrey, England. The company was formed in 1992 by Tony Andrews and John Newsham. It is known as an "industry standard" designer and manufacturer of high quality loudspeaker systems for venues like dance clubs or festivals.
Funktion-One Systems are notably in use at Berghain (Berlin), Sisyphos (Berlin), Space (Ibiza), Jaeger (Oslo), Cocoricò (Riccione), Cielo (New York), Hot Mass (Pittsburgh), The Block (Salt Lake City), École Privée (Montreal), Smartbar (Chicago), Studio 50/80 (Trier), Colosseum (Jakarta) and De School (Amsterdam), some of the most renowned clubs worldwide.
The company was formed in 1992 by Tony Andrews and John Newsham, following their departure from Turbosound - a company focused on sound systems for music festivals they had started in 1978.
Following eight years of research and development, Funktion-One completed its first major project - designing and installing a sound system for the Millennium Dome's Central Show. Since then the company has built a reputation in audio around the world.
According to Andrews, the company's name spells "funktion" with a "k" as a reference to 1970s funk music.
Funktion-One equipment, installed by Sound Investment Audio, is in use at many music venues in the United States.
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Efficiency Rating: Level of sound output measured at a prescribed distance with a standard input power. Efficiency rating standard is 1 watt (2.83V at 8 ohms) at 1 meter over a specified frequency range and is measured in decibels.
Equalization: Loosely, any type of relative frequency adjustment. Specifically, the process of changing the frequency balance of an electrical signal to alter the acoustical output.
Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both.
Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.
Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it’s in phase with the input and negative when it's out of phase.
FM: Frequency Modulated.
Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details.
Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level.
Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.
Gain: Increase in level or amplitude.
Gooseneck: This refers to a microphone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.
Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies lowering sliders cuts (attenuates) the affected frequencies.
HDCP: High-Bandwidth Digital Content Protection. Created by Intel, HDCP is used with HDTV signals over DVI and HDMI connections and on D-Theater D-VHS recordings to prevent unauthorized duplication of copyright material.
HDR: Hard-Drive Recorder. Device that uses a computer hard drive to store compressed digital audio and video signals.
High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.
Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.
Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.
Integrated Amplifier: A combination preamp and amplifier.
Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.
KHz: Kilohertz or one thousand Hz.
Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.
Line Array: A group of speakers that have been arrayed or ” built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.
Line-Level (Low-Level): A level of electrical signals too low to make the average speaker move sufficiently. Amplifiers receive line-level signals and amplify them to speaker level.
lockout: The final words of a segment used to signify the production’s conclusion.
Low Pass: A filter that lets low frequencies go through but doesn’t let high frequencies go through. Same as high cut.
MHz: Megahertz, or 1 million Hz.
Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies.
Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range.
Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.
MLP: Meridian Lossless Packing. Encoding format that is able to completely reconstruct the original signal at the receiving end. No information is lost or discarded, regardless of how trivial it might be. Used to encode six channels of high-resolution audio on DVD-A.
Mono: Monophonic sound. One channel.
MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers.
Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.
Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.
Nonlinear Editing: Digital audio systems that allow for clips to be extracted without affecting the master recording.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
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Second hand audio gear. | Second hand lighting.
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Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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