Live Mix Pro 32-8
ORDERCODE D2251
8 BUS MIXING CONSOLE
Introduction
Thank you for purchasing a 8 Bus SERIES Mixing Console. The 8 Bus Series provides an excellent balance of
operability, functionally and ease of use. In order to take full advantage of the 8 Bus Series capabilities and enjoy
years of trouble-free use,please read this Manual carefully.
Unpacking and Installation
Although it neither complicated to install nor difficult to operate your set, a few minutes of your time is required
to read this manual for a properly wried installation and becoming familiar with its many features and how to
use them.
Please take a great care in unpacking your set and not discard the carton and other packing materials. They may
be needed when moving your set and are required if it ever becomes necessary to return your set for service.
Never place the unit near radiators , in front of heating vents , to direct sun light, in excessive humid or dusty
location to avoid early damage and for your years of quality entertainment . Connect your complementary
compoments as illustrated in the following page.
This symbol is intended to alert the user
to the presence of uninsulated "dangerous
voltge" within the product's enclosure that
may be of sufficient magnitude to constitute
a risk of electric shock to persons.
CAUTION
RISK OF ELECTRIC SHOCK.
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
This symbol is intended to alert the user
to the presence of important operation and
maintenance(servicing) instructions in the
literature accompanying the appliance.
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL
Caution:
To prevent electric shock do not use this ( polarized ) plug with an extension cord,receptacle or other
outlet unless the blades can be fully inserted to prevent blade exposure.
WARNING:
TO Prevent fire or shock hazard.do not expose the unit to rain or moisture.
ATTENTION:
Pour prevenir les chocs electriques ne pas utiliser cette fiche polarisee avec un prolongateur, une prise
de lanmes peuvent etre inserees a fond sans en laisser aucune partie a decouvert.
11
1
8 BUS MIXING CONSOLE
Features
1. 32/40 CHANNELS MONO INPUTS
8 Mixing Console provideds 32,40 channels of mono input that can be mixed down to a Stereo Mix, 8 Groups,
8 Aux sends.
2. 4 CHANNELS STEREO INPUTS
These mixing consoles provides 4 channels of stereo channel input that can be mixed down to a Stereo Mix , 8
Gropus, 8 Aux sends.
3. 8 AUX SENDS, 6 STEREO AUX RETURNS
8 AUX SENDS systems and 6 STEREO AUX RETURN systems are provided.Even when two 1- in/2-out effect
devices are connected, two more AUX SEND systems are still available for use.
4. 4 BAND EQ WITH SWEEPABLE HIGH-MID,LOW-MID RANGE BAND
All mono input channels include 4 band equalizer with sweepable high-mid and low-mid range frequency.
5. XLR CONNECTOR AND 1/4″TRS CONNECTOR
XLR type connectors are provided for MIC jacks and 1/4″ TRS connectors are provided for the LINE and
TAPE IN jacks.
6. 8 GROUP MIXING BUSES
8 Group mixing buses, each with its own Master Fader,ON/OFF Switch to Stereo Mix Buses.
7. TAPE INPUT
You can connect the outputs of your multi-track recorder.
8. INPUT CH INSERT I/O JACK and DIRECT OUT JACK
INPUT CH INSTER I/O jack and DIRECT OUT jack are provided on each channel , allowing you to connect
effect devices independently for each channel.
9. MASTER INSTER I/O
INSTER I/O connector are provided on GROUP OUTPUT 1~8,STEREO MIX OUT and MONO OUTPUT,
allowing you to connect sub mixer or other sound device independently for each output.
10. SOLO SWITCH
It is handy for spot-checking the presence and quality of individual inputs while setting up,recording and mixing.
SOLO does not interrupt the eight main Master ,the L/R Mix OUT or AUX sends,and can be used at any time
without affecting the recording process.
11. 10 DOT LED DISPLAY
10-DOT LED Meter illuminated for precise visidual level monitoring.
2 point input level indicators on all input channel.
Especially status of Main Mix L/R Master be showed by analog VU Meter.
2
8 BUS MIXING CONSOLE
12. 100mm FADER
For easy set up and input,group master fader is used by Smooth and noise reduction 100-mm faders.
13. DC 12V LAMP CONNECTOR
A BNC type LAMP connector is provided on the right hand side of the mixing console panel, allowing you to
operate the mixer conveniently under dark condition.
14. External Power Supply
This system is used by high capaciry,high performance external power supply with current limiter.
Precautions
1. A VOID EXCESSIVE HEAT ,HUMIDITY,DUST AND VIBRATION
Keep the unit away from locations where it is likely to be exposed to high temperatures or humidity-such as near
radiators,stoves,etc.Also avoid location which are subject to excessive dust accumulation or vibration which could
cause mechanical damage.
2. AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage,Handle it with care.
3. D0 NOT OPEN THE CASE OR ATTEMPT REPAIRS OR MODIFICATIONS YOURSELF
This product contains no user-serviceable parts.Refer all maintenance to qualified service personnel.
Opening the case and/or tampering with internal circuitry voids the warranty.
4. ALWAYS POWER OFF BEFORE MAKING CONNECTIONS
Always turn the power OFF before connecting or disconnecting cables . This is important to prevent damage to
the unit itself as well as other connected equipment.
5. HANDLE CABLES CAREFULLY
Always plug and unplug cables-including the AC power cord-by gripping the connector,not the cord.
6. CLEAN WITH A SOFT DRY CLOTH
Never use solvents such as benzine or thinner to clean the unit. Wipe clean with a soft,dry cloth.
3
8 BUS MIXING CONSOLE
Front Panel Controls
1. MONO INPUT SECTION
1. PEAK INDICATOR
1
2
31
4
5
This indicator detects peak level after the EQ.It will light red at 3dB
before clipping to warn that clipping level has nearly been reached.
Peak indicator is not going through MIX B Section.
2. SIGNAL INDICATOR
This indicator detects signal level after the EQ. It will light green at
- 10dB.
Signal indication is not going through MIX B Section.
6
3. TRIM CONTROL
7
According to the level of the input signal,use this knob to adjust the
input to an appropriate level.
The best balance of S/N and dynamic range will be achieved if you
adjust the TRIM control so that the 1 peak indicator lights
occasionally.
4. MIC/LINE INPUT SELECTOR
This switch selects the input connector for the channel.
When MIC/LINE (
) is selected, the input signal will be taken Mic
connector (Balanced XLR type).
When TAPE (
) is selected , the input signal will be taken
LINE connector (Balanced phone jack).
8
5. MIC/LINE OR TAPE INPUT SELECTOR (FLIP
SWITCH)
91
This switch selects the input connector for the channel.
When MIC/LINE (
) is selected, the input signal will be taken
MIC/LINE connector(Balanced XLR type).
When TAPE (
) is selected , the input signal will be taken
TAPE connector(Balanced phone jack).
10
6. HIGH-PASS FILTER SWITCH
This switch turns on/off a high-pass filter that cuts the signal below
80Hz at 18dB/ octave. By using the high-pass filter, you can reduce
or get rid of minimizing room rumble , mic pop-ping noise, traffic
noise ,wind noise and other unwanted low-frequency noises.
4
8 BUS MIXING CONSOLE
1)HIGH:12KHz±15dB shelving type
LOW:80Hz, ±15dB shelving type
+20
7. 4BAND EQ CONTROLS(HIGH, HI-MID ,
LOW-MID, LOW)
+15
+10
+5
This is a 4 - band equalizer with center frequencies, range, and
type as shown below. The frequency response is flat when the
knob is in the center position.
+0
-5
-10
-15
10 20
50
100 200
500
1K
2K
5K 10K 20K 50K
-20
2)HI-MID:800Hz-8KHz(variable)
±15dB peaking type
8. AUX 1~8 CONTROLS
This knobs control the level of the signals sent to AUX buses.
- The AUX 1 ~ AUX 4 controls are pre-fader, and the signal
levels sent to the AUX 1~AUX 4 buses will be unaffected by the
channel fader setting .
- The AUX 5 / AUX 7 and AUX 6 / AUX 8 controls will be
affected by the POST/PRE SELECT SWITCH and SHIFT 7/8
SIGNAL SELECT SWITCH setting.
+20
+15
+10
+5
9. AUX 5~8 POST/PRE SELECT SWITCH
- POST(
,RELEASAED SWITCH):
+0
-5
-10
-15
10
20
50 100 200
500
1
2K
5K 10K 20K 50K
-20
3)LOW-MID:160Hz-1.6KHz
(variable), ±15dB peaking type
Selects the post-fader signal from the point in the channel after
the MUTE OFF switch. Because the signal feeding this position
will be subject to any adjustments to that channels inputs fader,
this position is usually preferred for effects or echo mixes.
- Pre(
,DEPRESSED SWITCH):
Pre-Fader signal is taken from the stage preceding the fader EQ,
so it is not affected by the channel's fader.
10. AUX 5~8 SIGNAL SELECT SWITCH(SHIFT)
+20
This SHIFT 7/8 SWITCH connects the two level controls ( as a
+15
pair) to either AUX 5&6 sends or to AUX 7&8 sends.
When this switch turns on, the AUX signal will be shifted from
AUX 5/AUX 6 to AUX 7/AUX 8.
In this case ,you can adjust AUX 7 / AUX 8 signal with AUX5/
AUX 6 controls.
+10
+5
+0
-5
-10
-15
10 20
-20
50
100 200
500
1K
2K
5K 10K 20K 50K
5
8 BUS MIXING CONSOLE
11. PAN CONTROL FOR MIX-B
The PAN control routes the channel's MIX-B signal across the left
and right MIX-B buses.
11
12. LEVEL CONTROL FOR MIX-B
12
The LEVEL control sets the level of the channel sent to the MIX-B
buses. The gain structure of the circuit(like the AUX sent 1-6 circuit)
includes extra amplification.
13
11
14
11
15
13. SPLIT EQ SELETOR
Each channel strip has a dual signal path with extremely flexible
switching . This allows either the mic/line input or tape return inputs
to be routed through either the channel fader path or MIX-B with
separate EQ and monitoring.The SPLIT switch in the MIX-B section
sprits the EQ section of the channel when depressed . In the upposition, all four sections of EQ remain, if engaged, in the primary
channel signal path feeding the channel fader and the 8-plus 2 buses.
In this mode there is no equalization in the MIX-B path.
When SPLIT switch is depressed, the HI and LO shelving sections
of the EQ are removed from the channel signal and inserted into the
MIX-B signal path ,The HI-MID and LO-MID parametric sections
of the EQ remain ,if engaged, in the channel signal path. The SPLIT
function allows you to EQ the channel's signal and its MIX-B signal
separated.
17
18
SIGNAL
CHANNEL INSERT
0dB
HPF
MIC/LINE
LINE
-20dB
TRIM
SHELVING
EQ
HIGH LOW
HI MID LOW MID
FLIP
PAN
GR 2
GR 3
GR 4
GR 5
80Hz
(18dB/0CT)
FREQ
HA
MUTE
PARAMETRIC
EQ
GR 6
OPTIONAL
METER BRIDGE
CH-OUT
FREQ
GR 7
GR 8
ST L
ST R
AUX 1
OPTIONAL
METER BRIDGE
TAPE IN
DIRECT
OUT
0dB
AUX 2
PRE
MIX-B
HI-LOW EQ
POST
AUX 3
MIX-B
SOURCE
AUX 4
AUX 5
AUX 6
FLIP
PAN
AUX 7
AUX 8
CHANNEL
LEVEL
B+
6
1
2
3
4
5
6
7
8
MIX L
MIX R
1
2
3
4
5
6
7
8
GR 1
MONO INPUT
TAPE IN
CHANNEL
FADER
3 STAGE EQ
HA
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
2
3
1
PEAK
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
MIC
-50dB
+48V
PHANTOM
POWER
-18dB/-80dB
MIX-B L
MIX-B R
19
SOLO L
SOLO R
PFL CTRL
16
8 BUS MIXING CONSOLE
14. SOURCE SWITCH
When the MIX-B SOURCE switch is up,MIX-B receives its input from the FLIP switch 5 .Remember,the FLIP
switch alternates MIC/LINE or TAPE to channel strip and to MIX-B.
- With TAPE as an input (SOURCE up to select the FLIP switch and MIC/LINE or TAPE switch in the up
position),the MIX-B section functions as a tape monitor sub-mix, allowing you to listen to the inputs and outputs
of your multi-track record as you record.This is the most common use of the MIX-B section, during tracking and
overdubbing.
- With MIX/LINE as an input (SOURCE up to select the FLIP switch, and MIX/LINE or TAPE switch in the
down position), MIX-B becomes an additional input to add tracks or effects during a mix-down.
- With CHANNEL as an input (SOURCE down in CHANNEL position),MIX-B taps its signal from the channel
fader.
15. PAN CONTROL
This control adjusts the stereo position of the signal between the stereo L/R buses,and also between odd and even
pairs of Buses 1 through 8.
This control allows you to place the channel's input signal within the stereo image by assigning more or less of
the signal to the left or right sub-master controls.
Turning the Pan control to the left (odd/L)of center moves the apparent source toward the left channel and Group
1,3,5,7 buses, turning it to the right moves the source toward the right channel and Group 2,4,6,8 buses.
16. CHANNE MUTE SWITCH
When this switch is off, the signal of each channel will be the MAIN MIX L/R buses ,the Group 1~8 buses and
AUX 1~8 buses.
When this switch is on , the output signal to each bus muted completely. This switch should be turned on for
unused channels.The channel's mute switch does not affect the channel's insert output or direct output.
17. BUS ASSIGH SWITCH
When these switchs are engaged, the channel's input signal can be routed to the 8 group busses.
In conjunction with selecting the group routing, the position of the channel's pan control determines if a signal is
routed to Group 1 or 2, 3 or 4, 5 or 6, Group 7 or 8 and/or Mix L or If the pan control is panned left, it will be
routed Group 1,3,5,7 and / or Mix L ; if the pan control is panned right, the signal will appear at Group 2, 4, 6,8
and/or Mix R.
18. CHANNEL FADER
The 100-mm audio taper fader controls the output level of channel that is fed to Mix master and Sub Group
master.
The channel fader should optimally be set near the"o"level when all other controls are set to their normal settings.
19. SOLO SWITCH
The channel SOLO switch assigns the output of channel PAN control to the stereo solo buses . SOLO does not
interrupt ,the eight sub-master , the L/R Mix OUT or AUX sends, and can be used at any time without affecting
the recording process.
SOLO is handy for spot-checking the presence and quality of individual input while setting up , recording and
mixing. The channel SOLO function is normally post fader/post mute.
7
8 BUS MIXING CONSOLE
※ Modification
These modifiction instructions are for use by qualitied personal only.
- AUX Send 1~4 modifiction
This modifiction changes the option point of all "pre"AUX sends from pre-EQ to post-EQ.
It must be done on each channel.For example,if you have a 24 channel modifiction must be done on all 24 input
channel.See below figure.
1) Remove power cable
2) Remove jumper at J75/PRE & J87/PRE
3) Add a jumper at J80/POST & J83/POST
4) Repeat for of all input channels
- MIX-B modification
This modifiction changes the option point of the MIX-B from pre-EQ to post-EQ.
It must be done on each channel.For example, if you have a 24 channel modifiction must be done on all 24 input
channel.See below figure.
1) Remove power cable
2) Remove jumper at J89/PRE
AUX1/2
J73
PRE
J75
J76
POST
J81
J80
J84
J83
PRE
J87
POST
AUX3/4
PRE MIX-B
J89
J91
J90
J92
POST
12
13
14
15
16
J61
J63
J65
J67
J69
4) Repeat for of all input channels
J72
2
2
3
3
3
3) Add a jumper at J90/POST
Mono Input PC Board Drawing
8
8 BUS MIXING CONSOLE
2. STEREO INPUT SECTION
1. PEAK INDICATOR
This indicator detects peak level after EQ.It will light red at 3dB
before clipping to warn that clipping level has nearly been
reached.
1
2
2. SIGNAL INDICATOR
3
This indictor detects signal level after the EQ . It will light green
at -10dB.
3. EQ CONTROLS(HIGH,LOW)
4
This is a 2-band frequency fixed equalizer with center frequencies range and type as shown below.
HIGH: 12Hz,±15dB shelving type
LOW: 80Hz,±15dB shelving type
5
4. AUX SEND CONTROLS
6
7
8
9
This knobs controls the level of the signals sent to Aux buses.
- The AUX 1&2 controls the STEREO channel 1 &3 PANEL
are pre-fader and the signal levels sent to the AUX 1 & 2 buses
will be unaffected by the channel fader setting.
- The AUX 3&4 controls on the STEREO 2&4 PANEL are
post-fader and the signal levels sent to the AUX 3&4 buses will
beaffected by the channel fader setting.
5. BALANCE CONTROL
10
This control adjusts the balance or the L/R position of the stereo
input signal.
Turning the BALANCE control to left of center moves the
apparent source toward the MAIN MIX L and Group 1, 3, 5, 7
buses, turning it to the right move the source toward the MAIN
MIX R and Group 2,4,6,8 buses.
6. L/R (STEREO) SWITCH
When these switches are on, the signal of each channel will be
sent to the MAIN MIX L/R buses. When this switch is of, the
output signal to MAIN MIX L/R buses will be muted.
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8 BUS MIXING CONSOLE
7. GROUP SELECTOR (GROUP BUS ASSIGH SWITCH)
When these switch are on , the signal of each channel will be sent to the 8 GEROUP buses. These switches is
arranged in two columns.
Odd numbered Left(Group 1, 3, 5, 7) and even numbered, Right(Group 2, 4, 6, 8) indicating which "side" of the
BALANCE control they will be assigned to.
8. CHANNEL MUTE SWITCH
When this switch is engaged, (depressed position) the signal of each stereo channel will be muted in the MAIN
MIX L/R buses, the Group1-8 buses and AUX 3-4 buses.
The channel MUTE switch does not affect the pre-position of the AUX 1 & 2 signal on the STEREO PANEL,
but, it does affect the post-position of the AUX 3 & 4 signal on the STEREO 2,4 PANEL.
9.CHANNEL SOLO SWITCH
The channel SOLO switch assigns the output of the channel PAN control to the stereo solo buses.
10.CHANNEL FADER
This fader controls the output level of the input channel signal, determining the volume balance between channels.
The channel fader should be lowered for unused channels.
J140
C100
J142
R137 J143
C104
R140
C105 C106
-10dB
R136
C103
R139
C107 R143
C99
R129
SW10 R128
IC8
C95
C96
J139
R117 C90 C94
R119
+4dB
R123 R124
C97 C98
R114
C89
J129
IC7
C78
R109
SW9
R115
R102
R103
C79
R108
C80
10
PAD
J138
R122
C81
-10dB
J145
R116
※ PAD SWITCH(STEREO INPUT SENSITIVITY SELECT)
If you select STEREO INPUT SENSITIVITY to either-10dB or +4dB.
Look at the STEREO INPUT PC Board. The PAD SWITCH is setted 10dB position initially on STEREO INPUT PC
Board.
This switch selects the appropriate gain for the input signal level.
The sensitivity is -10dB when the switch is slided toward left hand side, and + 4dB when it is slided toward right hand
side.
+4dB
PEAK
GR 1
CH1
LEVEL
3
GR 2
-10dB
MUTE
HA
L/MONO
GR 3
+4dB
GR 4
GR 5
PAD
STEREO
-10dB
BALANCE
INPUT
+4dB
LOW
GR 6
HIGH
GR 7
GR 8
LEVEL
ST L
-10dB
R
ST R
HA
+4dB
PRE
AUX1(CH1,3)
TONE
PRE
AUX1(CH1,3)
SOLO
SIGNAL
PEAK
B+
GR 1
CH2
4
LEVEL
-10dB
L/MDNO
GR 2
MUTE
HA
GR 3
+4dB
GR 4
GR 5
STERCO
-10dB
PAD
INPUT
+4dB
LOW
HIGH
GR 6
BALANCE
GR 7
GR 8
ST L
-10dB
R
ST R
HA
+4dB
TONE
POST
AUX(CH2,4)
POST
AUX(CH2,4)
B+
SOLO
SOLO L
SOLO R
1
2
3
4
5
6
7
8
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
MIX L
MIX R
1
2
3
4
5
6
7
8
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
SIGNAL
8 BUS MIXING CONSOLE
3. AUX RETURN SECTION
1. L/R (STEREO) SWITCH
When this switch is on ,the signal of each AUX RETURN will be sent to
the MIX L/R buses. When this switch is off, the output signal to MIX L/
R buses will be muted.
2. GROUP SELECTOR (GROUP BUS ASSIGN SWITCH)
When these switches are on , the signal of each AUX RETURN will be
sent to the 8 GROUP buses.
1
3. BALANCE CONTROL
This control directs the signal coming from the AUX RETURN level
control into the left and/or right channels. Turning the BALANCE control
to the left of center moves the apparent source toward the left channel.
Turning it to the right moves the source toward the right channel.
Centering the control makes the apparent source appear to be centered
between the channels.
21
3
4
GR 1
AUX RETURN 1-6
L/MONO
GR 2
BALANCE
LEVEL
GR 3
GR 4
GR 5
R
GR 6
GR 7
GR 8
ST L
ST R
12
MIX-B L
MIX-B R
SOLO L
SOLO R
PFL CTRL
1
2
3
4
5
6
7
8
MIX L
MIX R
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
1
2
3
4
5
6
7
8
4. LEVEL CONTROL
This control adjusts the input levels from the effect units etc. Connected
to the L/MONO, R jacks of AUX RETURN 1~ 6 are sent to the MIX L/R
buses,and 8 Group buses.
If a plug is inserted into only the L/MONO jack, the same signal will be
sent to L/R BALANCE control.
8 BUS MIXING CONSOLE
4. AUX SEND SECTION
1. MUTE SWITCH
When this switch is engaged, the signal from each respective AUX
SEND will be muted to the corresponding AUX sent connector.
1
2. SOLO SWTCH
2
when you wish to monitor the output signals being sent to AUX SEND
1~6 , press the appropriate switch.
3
3. LEVEL CONTROL
MIX-B L
MIX-B R
SOLO L
SOLO R
PFL CTRL
1
2
3
4
5
6
7
8
MIX L
MIX R
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
1
2
3
4
5
6
7
8
The AUX SEND master adjusts the overall mix level on each respective AUX buses . The signal sent is the summed total of the individual sends on each input channel routed to a particular AUX SEND.
LEVEL
MUTE
AUX SEND 1-8
SA
LA
SOLO
AUX SEND 1
+4dB
B+
13
8 BUS MIXING CONSOLE
5. GROUP SECTION
1. TO MIX SWITCH
When this switch is on, the signal of each GROUP will be sent to the
STEREO MIX L/R buses.
1
2
3
2. MUTE SWITCH
When this switch is on, the signal of each Group will not be sent to the
Group connectors.
4
3. SOLO SWITCH
Pressing this switch will allow you to monitor the output signals being
sent to Group 1~8, press the appropriate switch.
4. PAN CONTROL
This control adjusts the panning of the GROUP signal sent to the
STEREO MIX L/R buses.
5
5. LEVEL CONTROL
MIX L
MIX R
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
AUX 8
SOLO L
SOLO R
PFL CTRL
MIX-B L
MIX-B R
GROUP 1
GROUP 2
GROUP 3
GROUP 4
GROUP 5
GROUP 6
GROUP 7
GROUP 8
This fader adjust the final level of the combined signals from all combined
signals from all channels and send them to the GROUP output jacks.
The GROUP 1~8 level meters allow you to monitor the GROUP outputs.
GROUP 1 INSERT
0dB
MASTER
FADER
MUTE
GROUP 1-24
SA
GROUP 1~8
+4dB
GROUP 9~16
LED METER (GROUP)
TO MAX
PAN
GROUP 17~24
SOLO
B+
14
8 BUS MIXING CONSOLE
6. MASTER SECTION
1. TO MIX SWITCH
1
1
When this switch is on , the signal of MIX-B will be sent to the
STEREO MIX L/R buses.
2
2. MIX-B CONTROL
3
1
This control adjust the MIX-B final level of the combined signals
from all channels and send them to the MIX-B output jacks.
3. STUDIO OUT CONTROL
This is a stereo level control for the studio.
This circuit monitors the left/right SOLO buses.
4
4. MIX L/R MUTE SWITCH
When this switch is off, the signal of MIX L/R will be sent to the
MIX L/R connectors. When this switch is on , the MIX L/R output
signal to MIX L/R connectors will be muted.
5. MIX L/R MASTER FADER
These 100-mm faders adjust the final level of the combined signals
from all channels and send them to the MIX L/R output jacks. The
MIX L/R level meters allow you to monitor the MIX L/R outputs.
MIX L
MIX R
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
AUX 8
SOLO L
SOLO R
PFL CTRL
MIX-B L
MIX-B R
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
1
2
3
4
5
6
7
8
5
Rated output(Nominal) level is achieved with the fader set at“0”on
the scale.
STERE0 L INSERT
0dB
MASTER
FADER
SA
STERE0 R INSERT
0dB
2
3
MASTER
FADER
1
MAIN MIX
+4dB
2
3
1
SA
L
R
MASTER
FADER
2
3
1
MONO OUT
+4dB
15
8 BUS MIXING CONSOLE
7. CONTROL ROOM and MONO SECTION
1. SOURCE SELECTOR SWITCH
The control room monitors and the studio playback monitors are both
controlled from this console. A bank of switches selects the stereo
sources available to the speakers from L/R MIX , MIX-B, 2-TRACK
and EXTERNAL. You can select any combination of signal source.
1
2
2. CONTROL ROOM CONTROL
This is a stereo level control for the studio monitor.
This circuit monitors the left/right SOLO buses.
3. MONO FADER
This 100-mm faders adjust the final level of the combined signals
from solo buses, and send them to the MONO output jacks .
Rated output (Nominal) level is achieved with the fader set at “0”
on the scale.
3
16
SA
SA
SA
SA
AUX 7
AUX 8
EXTERNAL
2-TRACK
MIX-B
EXTERNAL
AUX 7/8
AUX 5/6
MIX-B
MONITOR
AUX 5
AUX 6
MAIN MIX
TO MIX
SOLO CONTROL
LEVEL
LED METER (MONITOR R)
LED METER (MONITOR L)
LA
LA
LEVEL
MIX - B (R OUT)
MIX - B (L OUT)
CONTROL ROOM
OUTPUT
R
+4dB
CONTROL ROOM
OUTPUT
L
+4dB
STUDIO
OUTPUT
R
+4dB
STUDIO
OUTPUT
L
+4dB
HEADPHONES
100mW
TIP - LEFT
RING - RIGHT
MIX - B
R
+4dB
MIX - B
L
+4dB
8 BUS MIXING CONSOLE
17
MIX L
MIX R
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
AUX 8
SOLO L
SOLO R
PFL CTRL
MIX-B L
MIX-B R
1
2
3
4
5
6
7
8
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
8 BUS MIXING CONSOLE
8. TALKBACK/HEADPHONE SECTION
1
2
3
4
1. TALKBACK MICROPHONE INPUT CONNECTOR
This input connector is used to input microphone signals for announcements from the mixer operator. The nominal input signal level is -50dB
and is designed for dynamic microphones. Please note that this input
has no phantom power connection and will not operate condenser
microphones that require it.
2. ASSIGN SWITCHES (AUX 1~8,GROUP 1~8,MIX)
These switches select the buses routing of the signal from the talkback
microphone .
These switches will stay engaged once the buttons are pushed , so it is
necessary to disengage them if a different signal routing is required.
3. ON/OFF SWITCH
When this switch is on, the signal of the TALKBACK will be sent to
AUX 1~8,GROUP 1~8,and the MIX L/R buses.
4. LEVEL CONTROL
This control adjusts the signal level of the TALKBACK input.
5
6
5. HEADPHONES OUTPUT JACK (1/4″TRS STEREO
JACK)
7
These jacks ( tip=left , ring=right , sleeve=GND ) may be connected to
external power amplifiers for headphone distribution , or you can plug
our phones directly into the jack. Use only stereo headphones!
When a mono connector is plugged into the stereo connects both sides
of the headphone amplifier to a single load. In any professional audio
system , accidents can happen and any will have built in protection
circuits to assure that momentary problems will not cause failure. However, this circuit will fail in 2-3 minutes if this caution is not observed.
(O)
(1/4" Phone 3 Section Connector)
(X)
(1/4" Phone 2 Section Connector)
18
8 BUS MIXING CONSOLE
6. PHONES GAIN
The PHONE GAIN control sets the level at the HEADPHONE jack.
7. HEADPHONE MONITOR SELETOR
This contains a stereo level control for the headphones outputs ,a stereo SOLO switch, six push buttons to select from
the following signal source: MONITOR, MIX-B, AUX SENDS 3&4, AUX SENDS 5&6, AUX SENDS 7&8, and
EXTERNAL.
You can select any combination of source.
TALK BACK
-50dB
3
1
HA
+
+15V
MIX L
MIX R
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
AUX 8
SOLO L
SOLO R
PFL CTRL
MIX-B L
MIX-B R
ON
2
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
1
2
3
4
5
6
7
8
The AUX SENDS 3 & 4, 5 & 6 and AUX SENDS 7 & 8 switches are connected directly from the outputs of their
respective circuits.
GR 1
GR 2
GR 3
GR 4
GR 5
GR 6
GR 7
GR 8
AUX1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
AUX 8
ST L
ST R
MIX-B L
MIX-B R
19
8 BUS MIXING CONSOLE
9. MASTER LED SECTION
1
2
3
1
5
4
6
7
1. GROUP OUTPUT LEVEL INDICATOR (8 GROUPS)
A vertical row of ten light-emitting diodes shows the continuous output level of Group output.
For optimum signal-to-noise (s/n) ratio, try to adjust all levels so that program material is usually at or around 0 VU,
with occasional but mot steady excursions to the +3,or over the level scale.
2. MONITIOR OUTPUT INDICATOR
A vertical row of ten light-emitting diodes shows the continuous output level of MONITIOR or MONO. Each
indicator is calibrated in volume units , such that 0dB corresponds to an output of 1.23 volts , which is +4dBu a
standard in the industry.
3. METER SELECT SWITCH
This switch selects whether MONITIOR or MONO will be monitored.
- MONITOR (
,RELEASED SWITCH) mode, the LED meter displays the output levels of the CONTROL
ROOM output jacks.
- MONO (
,DEPRESSED SWITCH) mode ,the LED meter displays the output level of the MONO output jacks.
4. STAND-BY INDICATOR
This indicator lights when the power switch is turned on.
5. SOLO INDICATOR
This indicator lights when the SOLO switch is turned on.
20
8 BUS MIXING CONSOLE
6. LAMP CONNECTOR
A BNC type socket is provided on the right hand side of the mixing Console panel to accommodate a flexible
gooseneck lamp, allowing operation of the board under dark conditions. This lamp is available from many professional
sound dealers and attaches without tools. The voltage at the socket is 12V DC at a maximum of 250 MA.
7. POWER SWITCH
This switch turns the power ON/OFF .and the power indicator will light in the “ON” position, the power indicator
will light.
10. METER BRIDGE
1
2
1.CHANNEL NPUT LEVEL INDICATOR
A vertical row of ten light-emitting diodes shows the continuous output level of input channel.
For optimum signal-to-noise ratio ,try to adjust all settings so that program material is usually at or around 0 VU, with
occasional but not steady excursions to the +3 , or over the level segments.
2.ANALOG VU METER
This meter gives a convenient visual readout of the MIX OUT signal.
21
8 BUS MIXING CONSOLE
Rear Panel Controls
1. INPUT SECTION CONNECTORS
1
2
1
3
1
4
5
1. BALANCED LOW-Z MIC INPUT CONNECTORS
A 3-pin XLR-type connector is used for balanced low impedance microphone inputs.
(1: sleeve , 2: hot , 3: cold)
Microphones of 50-600Ω line level devices can be connected here.
When the PHANTOM switch is turned on, DC +48V will be supplied to pins 2 and 3 of these connectors.
It is important that , during operation or testing of the mixer, all channel faders remain fully down whenever the MIC
input is not properly terminated with a microphone or equivalent 150-ohm source . An open MIC invites the
introduction of high noise levels which could produce lower quality sound or an incorrect test measurement.
2
PHASE(Normal)
2
1
+48
1.GND
2.(+)
3.(-)
1
2
PHASE(Reverse)
3
MIC Input Jack Pin
22
1.GND
2.(-)
3.(+)
0V
GROUND
+48
3
3
Phantom Power
8 BUS MIXING CONSOLE
2. PHANTOM POWER SWITCH
When is the “ON”position, 48V DC phantom power will be provided between pin 2 and 3 of the XLR-type
jack. if you do not need phantom ,be sure to turn this to the “OFF” position.
3. BALANCED LINE INPUT CONNECTORS
A standard 1/4″phone jack is used for balanced or unbalanced line level signals.
Examples of line level signals include most electronic keyboards ,synthesizers ,turn-tables ( with appropriatepreamps),tape decks and the line outputs from other mixers. All input channel controls, including the variable GAIN
control, affect the LINE input Maximum input level before preamp clipping is 12V or +24dB.
TIP(Hot) SLEEVE(GND)
RING(COLD)
(1/4"Phone 3 Section Connector)
4. INPUT CHANNEL INSERT
These are input/output jacks located between the head-amplifier and the high pass filter.
The nominal input level and impedance is 0dB/600Ω,and the nominal output level and impedance is 0dB/10kΩ.
These jacks allow you to own graphic equalizers, compressors, noise filters ,or other devices.
INSERT OUT
INSERT IN
5. DIRECT OUT CONNECTORS
These are unbalanced 1/4″ phone jacks which output the post-fader signal independently from each input channel.
The channel strip's output signal is always available at the DIRECT OUT connector.
Using it does not interrupt the normal signal flow through the channel.
Nominal level and lmpedance is 0dB/10kΩ.
23
8 BUS MIXING CONSOLE
2. OUTPUT SECTION CONNECTORS
6
2
7
3
8
9
10
12
11
11
1
4
5
1. 4 STEREO INPUT JACKS
These are unbalanced 1/4″phone jacks which input a stereo source with a nominal input and impedance of
+4dB -10dB/600Ω.
If a plug is inserted only in L/MONO, the same signal will be sent to both the L and R buses.
2. 6 AUX RETURN JACKS
These are unbalanced 1/4 ″phone jacks with a nominal level and impedance of +4dB/10kΩ.
These jacks are usually used to receive the audio returned from an effect unit such as reverb or delay, but they
can also be used as supplementary inputs.
If a plug is insterted only in L/MONO, the same signal will be sent to both the L and R buses.
These allow you to return signal from outboard devices, either in stereo pairs or mono phonically ( many popular
effects processors provide a single mono input but have a pair of stereo outputs).
In practice, you'll probably want to use the Auxiliary returns to bring in signal from connected effects processors.
If the effects processors have stereo output, they should be connected to both the left and right Auxiliary return
inputs so that their stereo integrity is retained . If they have mono outputs, you can route them to either the left or
right inputs and then use the Auxiliary return Balance control to adjust the relative level of each paired signal.
3. 8 AUX SEND JACKS
These are unbalanced 1/4″ phone jacks with a nominal output and impedance of +4dB/600Ω.
The AUX SEND output signal is the sum of all of the input channel AUX SENDS.
24
8 BUS MIXING CONSOLE
4. 8 GROUP OUTPUT JACKS
These connectors deliver the main GPOUP output signal to the power amplifiers which will drive the main house
speakers in a sound reinforcement system.
These are electronically balanced outputs with a rated level / impedance of + 4dB / 600Ω. Each group output
connector is connected another 2 jacks in parallel as follows.
(GROUP1∥GROUP9∥GROUP17, GROUP2∥GROUP10∥GROUP18,
GROUP3∥GROUP11∥GROUP19, GROUP4∥GROUP12∥GROUP20,
GROUP5∥GROUP13∥GROUP21, GROUP6∥GROUP14∥GROUP22,
GROUP7∥GROUP15∥GROUP23, GROUP8∥GROUP16∥GROUP24)
5. 8 GROUP OUTPUT&MIX OUT,MONO OUT INSTER
These 1/4″TRS connectors provide an unbalanced insert patch point before the GROUP MASTER FADER.
The INSTER-IN line accepts a 0dB/600Ω signal and the INSTER -OUT line delivers a 0dB signal capable of
driving a 10k-ohm load impedance.
The GROUP INSTER inputs are convenient way of patching in a device such as a compressor/limiter for use on
an entire group of instruments.
6. CTRL ROOM CONNECTOR
These are unbalanced 1/4″phone jack with a nominal output and impedance of +4dB/600Ω.
This is where you connect your control room monitor amplifier inputs.
7. STUDIO OUT CONNECTOR
These unbalanced 1/4″phone jack with a nominal output and impedance of +4dB/600Ω.
This is where you connect your studio monitor amplifier inputs.
8. MIX-B OUT CONNECTOR
The MIX-B jack are 1/4″TRS unbalanced, with tip high , and ring and sleeve tied together as ground, nominal
level +4dB/600Ω.These jacks make the MIX-B signal available for external patching.
PHASE(Normal)
2
1
1.GND
2.(+)
3.(-)
PHASE(Reverse)
3
1.GND
2.(-)
3.(+)
Group Out Jack Pin
25
8 BUS MIXING CONSOLE
14
13
9. 2-TRACK IN CONNECTOR
The 2- TRACK IN jack are 1/4 ″TRS unbalanced , with tip high and ring and sleeve tied together to ground.
Usually, you will have the 2TRACK INPUT connected to the output of your 2-Track master record.
10. EXTERNAL INPUT CONNECTOR
The EXTERNAL INPUT jacks are 1/4″TRS unbalanced , with tip high, and ring and sleeve tied together to
ground . These inputs offer you the ability to listen to two mono or stereo sources directly without patching
through input channels.
11. MIX OUT CONNECTOR
These connectors transmit the MIX L/R outputs to the power amplifiers and/or the processing gear.
These XLR type outputs have a rated level of +4dB and impedance of 600 ohms.
12. MONO OUTPUT CONNECTOR
These XLR type outputs have a rated level of +4dB and impedance of 600 ohms.
The MONO OUT can be used for simple recording of a live performance, for driving a sub power amplifier , or
to check for phase cancellation.
13. TAPE RETURN INPUT CONNECTOR
The connections to and from your multi-track recorder are on the rear panel of the 8 Bus series.
There are 24, 32 Tape Return jacks and 24 Sub-master. The Tape Return jacks are 1/4″ TRS balanced, with tip
wired to high (+),ring to low(-)and sleeve to ground.
14. DC POWER INPUT CONNECTOR
Your 8 Bus console should ONLY be powered by the appreciate 8 Bus Power supply.
26
8 BUS MIXING CONSOLE
General Wiring Procedures
To take full advantage of the excellent signal to noise ratio and low distortion of consoles care must be taken to ensure
that incorrect installation and wiring does not degrade the performance of the desk. Hum, buzz , instability and Radio
Frequency interference can usually be traced to earth loops and inferior earthing systems. In some areas, especially
heavily industrial areas, the incoming mains earth will not be adequate and a separate technical earth for all the audio
equipment must be s upplied. However , check with your local electricity supply c ompany to ensure that safety
regulations are not infringed or negated.
The successful, hum free, installation of a system requires forethought ,and the establishment of a set of ground rules ,
which must be consistently adhered to at all stages of installation.
Initial Wiring Considerations
- For optimum performance,it is essential for the earthing system to be clean and noise free,as all signal are referenced
to this earth. A central point should be decided on for the main earth point system, and all earths should be 'star fed'
from this point. It is common electrical practice to ' daisy chain ' the earths to all electrical outlets but this method is
unsuitable for audio installations. The preferred method is to run an individual earth wire from each outlet, back to the
system star point to provide a safety earth screen reference for each of equipment.
A separate earth wire should also be run from each equipment rack and area to the star point . This may or may not be
used depending on circumstances, but it is easier to install in the first place, than later when problems arise.
The location of the star point should be convenient, easily accessible place preferably at the chassis of the console, or
in the main equipment rack.
- Install separate 'clean'
and 'dirty' mains outlets, wired individually back to the incoming mains distribution box. Use
the 'clean' supply for all audio equipment and the 'dirty' supply for all lighting, vending machines etc. Never mix the
two systems.
- If necessary, to provide sufficient isolation from mains borne interference, install an isolating transformer.
This should be provided with a Faraday Shield which must be connected with earth.
- Never
locate the incoming mains distribution box near audio equipment, especially tape recorders , which are very
sensitive to elector-magnetic fields.
- Ensure that all equipment racks are connected to earth, via a separate wire back to the star point.
- Equipment which has unbalanced inputs and outputs may need to be isolated from the rack to prevent earth loops.
27
8 BUS MIXING CONSOLE
Audio Wiring
Noise immunity is improved significantly by the use of low impedance sources, such as good quality professional
microphones or the outputs from most modern audio equipment . Audio cheaper high impedance microphones, which
may suffer from interference over long cables runs, even with well-made cables.
Having provided all equipment with power and earthing connections consideration must be given to the method of
providing audio interconnection and adequate screening of those interconnections. This must be done in a logical
sequence to avoid problems and assist in the localization of problem equipment.
- Connect the control room monitor system to the console outputs and check for any hum, buzzr RFI. Only when you
are satisfied with quietness of the console and the monitor system should you proceed with the next step.
- Connect the multi track tape recorder, via the noise reduction system, if in use , and again check that the system is
clean.
- Connect stereo tape records , studio monitors aux sends one at a time , checking and isolating any connection which
degrades performance.
- Connect all other peripheral devices.
- Connect all microphone lines.
By following this sequence much time and future trouble will be saved, and the result will be a quiet, stable system.
Shielding
Audio equipment is supplied with a variety of input and output configuration, which must be taken into consideration
when deciding where the screen connections should be made. there are three sources of unwanted signal being
impressed on the screen, which are as follows;
- Extraneous electrostatic or electromagnetic fields.
- Noise and interference on the earth line.
- Capacitive coupling between the screen and signal wires.
28
8 BUS MIXING CONSOLE
To minimize the adverse affects of the unwanted coupling to the signal wires, it is important that the screen is
connected at one end only , i.e. the screen must not carry signal current . Any signal on the wires within the signal,
either directly , if the screen is connected at signal source end, or indirectly via the earthing system, if the signal is
connected at the signal destination end. The indirect connection will cause an increase in high frequency cross-talk
and should be avoided wherever possible.
Therefore, in general always connect the shield only at the signal source end .In high RF areas ,the screen can also be
connected to earth via a 0.01μF capacitor. This will present a short circuit at RF frequencies, thus lowering effective
shield impedance to ground .However, at low audio frequencies the reactance of the capacitor will be sufficiently high
not to cause an earth loop problem.
Points to Remember
- In all cases, use good quality twin screened audio cable .Check for instability at the output.
- Always connect both conductors at both ends, and ensure that the screen is only connected at once end.
- Do not disconnect the mains earth from each piece of equipment.
This is needed to provided both safety and screen
returns to the system star point.
- Equipment which has balanced inputs and outputs may need to be electrically isolated from the equipment rack and/
or other equipment , to avoid earth loops.
It is important to remember that all equipment which is connected to the mains it a potential source of hum and interference and may radiate both electrostatic or electromagnetic radiation .In addition ,the mains will also act as a carrier
for many forms of RF interference generated by electric motors, air-conditioning units, thyristor light dimmers etc.
Unless the earth system is clean all attempts to improve hum noise levels will be futile. In extreme cases there will be
no alternative but to provide a completely separate and independent ‘technical earth’ to replace the incoming
‘noisy earth’.
However, always consult your local electricity supply authority to ensure that safety regulations are not being infringed.
29
8 BUS MIXING CONSOLE
Audio Connectors
Two different types of audio connectors are used, 3-pin XLR and 1/4″there pole('A' gauge)jacks.
These are used in several configurations as shown below.
2
Hot(+ve)
Hot(+ve)
3
Cold(-ve)
1
Cold(-ve)
Screen
Sleeve
Balanced Input
Sleeve Ring
Screen
Return
Send
Insert Points
Tip
Sleeve Ring
Tip
Line Input
3 Pole(Stereo) Jack
Hot(+ve)
Cold(-ve)
Sreen
Sleeve Ring
Tip
Headphones
Left Signal
Right Signal
Ground
Sleeve
Unbalanced
Input/Output
AUX send
Tip
2 Pole(Mono) Jack
Signal
Ground
30
8 BUS MIXING CONSOLE
Grounding on the Road
Many of the above procedures are difficult to use on the road .For example , the telescoping shield concept is
nearly impossible to use on a portable cable. Similarly , it is a difficult and time consuming process to search for
a water pipe ground every time the system is moved from one performance to another . Yet portable systems can
be extremely complex, and may have major grounding problems. The telescoping shield concept can be extended
to portable systems by installing a “ground lift switch” on the output of each device, and on the inputs of
devices after the mixer. Since microphones are not grounded except through the mixer, there is on need for an
input ground lift switch on most mixers. The diagram below shows a typical ground lift switch installation . By
judicious use of these switches , each piece of equipment can be AC grounded for safety without causing ground
loops.
Because of leakage currents from equipment in the audio system , and in the house, some noise currents can ride
on the AC ground wire and are able to enter the audio system. This problem is usually most noticeable with
sensitive equipment such as the mixer.Lifting the AC ground at the mixer can often solve this problem.However ,
lifting the AC ground on the mixer also lifts the AC ground on the microphone chassis , causing a safety hazard .
Try connecting the mixer and any other sensitive equipment to other AC circuits.The only other apparent solution
to this problem is to eliminate the noise on the AC ground, which is not an easy task.Since it has its own ground,
a portable AC power distribution system connected to the house service entrance may be the most effective way
to avoid all AC noises. Such a system can be designed and constructed by a qualified electrician ; check local
electrical codes before each use.
USE OF GROUND LIFT SWITCH
Balanced Portable Cable with Shield Intact
Devices With Balanced
Inputs&Outputs
Grounp Lift Switch
Installed in Box or
on Rack Panel
Main AC Ground
Perhaps the best answer to portable system grounding problems, PFL,EMI, and AC noise ,is to develop a versatile
grounding scheme.Ground lift switches and adapters,and a portable AC power distribution system allow different
grounding techniques to be tried easily and quickly when a problem occurs.
31
8 BUS MIXING CONSOLE
CONNECTOR AND CABLE CONFIGURATIONS
REMOTE DEVICE
DESCRIPTION
CABLE
REMOTE SIDE OF CABLE
(Connector type)
White(Red)HIGH Black/Low
2
2
A.XLR**
3
3
Shield/GND
1
Floating or Balanced
1
(XLR)
low impedance:most
White(Red)HIGH Black/Low
professional equipment
T
line in and line out,
2
S
R
microphones
3
B.TRS PHONE
Shield/GND
1
(XLR)
White(Red)HIGH Black/Low
T
Unbalanced
low impedance:some
2
S
C.STANDARD
PHONE
3
professional equipment
Shield/GND
microphones
1 (XLR)
White(Red)HIGH Black/Low
T
Unbalanced
2
S
D.STANDARD
PHONE
3
high impedance:most
hi-fi equipment
Shield/GND
1
(XLR)
White(Black)HIGH
T
Unbalanced
high impedance:most
S
S
T
E.STANDARD
PHONE
(Standard Phone)
hi-fi equipment
Shield/GND
Connector and cable configurations recommended for use with the 8 Bus series.
These cables are bsed on the use of auxiliary equipment that is isolated from the AC power mains .
32
8 BUS MIXING CONSOLE
Applications Examples
1. PA and Sound Reinforcement
From a features standpoint , 8 Bus Series consoles are easy to configure for public address and sound reinforcement applications, whether you are mixing the house,stage monitors or both at once.Use the L/R main mix buses
and your main L/R outputs as your main signal path.
If you want a headphone cue mix , either patch the Control Room outputs to a suitable headphone amplifier or
select MONITOR as the source for phones.
This will allow you to listen to any source you can select for the CONTROL ROOM.
You can also use the solo buses as headphone cue. If you prefer , you can modify the solo circuits for PFL ( prefader listen).
You should normally use the L/R mix buses as your Main or House feed.Patch out from the L/R outputs into the
input to your amp stack(usually your house graphic equalizer).Any of the AUX buses can be used to feed a stage
monitor mix.
Set the AUX sends in each channel to PRE and patch the AUX send outputs to the appropriate amplifiers.
If you need to provide a simultaneous mix for a stereo recording, use the MIX-B buses.
- FOLLOW THIS SENSITIVITY ADJUSTMENT PROCEDURE FOR EACH CHANNEL IN USE
1) Assign signal to channel fader:
LIf channel will be used with a microphone, MIC/LINE switch should be up &MIC/LINE,TAPE switch should
be up.
LIf channel will be used with line input, MIC/LINE switch should be down & MIC/LINE,TAPE switch should
be up.
2) Set channel strip controls as follows.
LTRIM pot all the way counterclockwise.
LAUX SEND controls all the way counterclockwise.
LLOW-CUT switch either on or off(on recommended for MIC inputs)
LChannel fader at UNITY
LPAN pot hard left or right
LSOLO switch on (for monitoring)
3) the channel's-10dB Led should light. The L/R main meters will show the actual internal operating level .
Now you will optimize levels.
4) Adjust the TRIM control clockwise to get peaks that regularly hit 0dB on the L/R meters.
5) If you use EQ, adjust the TRIM control after EQ controls set up.
6) Repeat steps 1-4 on the next channel that is being used.
33
8 BUS MIXING CONSOLE
2. Recording System
The recording process can be as simple as one microphone recorded on a monaural tape record.
As in the PA sound reinforcement system shown previously , balanced microphones are plugged directly into the
channel XLR input connectors, while unbalanced electronic instrument outputs (synthesizers,etc.) are connected via a
balancing transformer type direct box. Compressors are connected at the insert jacks of the vocal MIC channels, the
AUX SENDS and RETURN connected to a high-quality stereo plate reverb unit. The PHONES OUT connectors
feed separate headphone amplifiers providing two difference headphone cue mixes for the performers.The CONTROL
ROOM OUT and STUDIO OUT connectors feed the monitor system, and the GROUP OUT &TAPE IN
connectors feed the 4-channel multi-track recorder
.
- FOLLOW THIS SENSITIVITY ADJUSTMENT PROCEDURE FOR EACH CHANNEL IN
USE
1)Assign signal to channel fader:
LIf channel will be used with a microphone,MIC/LINE switch should be up &MIX/LINE,TAPE switch should be up.
LIf channel will be used with line input, MIC/LINE switch should be down &MIC/LINE, TAPE switch should be up.
LIf channel will be used with a tape input, MIC/LINE or TAPE switch should be down.
2)set channel strip controls as follows:
LTRIM pot all the way counterclockwise
LAUX SEND controls all the way counterclockwise
LLOW-CUT switch either on or off (on recommended for MIC inputs)
LChannel fader at UNITY
LPAN pot hard left or right
LSOLO switch on (for monitoring)
3)If the channel is being used for a tape input during mix-down , roll and already-recorded track from your recorder
4)The channel's -10 dB led should light. The L/R main meters will show the actual internal operating level. Now you
will optimize levels.
5)Adjust the TRIM control clockwise to get peaks that regularly hit 0dB on the L/R meters.
6)If you use EQ, adjust the TRIM control after EQ controls set up.
7)Repeat steps 1-5 on the next channel that is being used.
34
8 BUS MIXING CONSOLE
Applications-1
PA&SOUND REINFORCEMENT CONNCTION
Keyboard other line level input
IN
OUT
Digital Delay
Keyboard other line level input
Studio monitors
Studio monitors
Keyboard other line level input
POWER SUPPLY
Amplifier
Vocal
Microphones
Graphic Equalizer
Some as AUX Send 6
IN
OUT
Graphic Equalizer
OUT
Amplifier
DAT or Cassette Deck
IN
Stereo Compressor
Control Room Monitor
Any Line
Level Input
OUT
IN
Noise Gate
OUT
OUT
Graphic Equalizer
IN
Reverb 1
IN
OUT
IN
Mono Compressor
OUT
Amplifier
Reverb 2
Studio monitors
35
8 BUS MIXING CONSOLE
Applications-2
OVER DUBBING CONNECTION
Control Room Monitor
1
IN
Tape Deck
2
Vocal
Microphones
Amplifier
OUT
IN
3
Tape Deck
OUT
IN
POWER SUPPLY
Tape Deck
OUT
Out
Reverb 1
Vocal
Microphones
Vocal
Microphones
Guitar
Effects
Box
Any Line
Level Input
Keyboard other line level input
OUT
Mono Compressor
36
IN
In
8 BUS MIXING CONSOLE
Applications-3
Control Room Monitor
MULTI-TRACK MIXING CONNECTION
Studio monitors
Studio monitors
1
IN
Tape Deck
OUT
Amplifier
2
Reverb
Tape Deck
IN
IN
OUT
OUT
3
Tape Deck
Vocal
Microphones
Digital Delay
IN
OUT
OUT
OUT
IN
IN
IN
Stereo Reverb
DAT or Cassette Deck
Keyboard other line level input
IN
Stereo compressor
OUT
Processor
Keyboard other line level input
IN
OUT
OUT
IN
Noise Gate
OUT
OUT
IN
IN
Mono compressor
Digital Delay
37
R
INPUT
+4dB
L/MDNO
CH2
R
CH2
INPUT
+4dB
R
L
EXTERNAL
R
L
2-Track
TALK BACK
-50dB
R
AUX RETURN 1-6 L/MONO
STEREO
-10dB
STEREO
-10dB
CH1
L/MONO
DIRECT
OUT
0dB
TAPE IN
LINE
-20dB
2
3
1
4
4
3
2
3
1
FLIP
HA
HA
HA
HA
HA
HA
HA
OPTIONAL
METER BRIDG
TAPE IN
TRIM
LEVEL
+4dB
-10dB
+4dB
-10dB
+4dB
-10dB
+4dB
-10dB
HA
MIC/LINE
HA
-18dB/-80dB
80Hz
18dB/-8dB
HPF
CHANNEL INSERT
0dB
FREQ
FREQ
PEAK
SIGNAL
LOW
PEAK
SIGNAL
HIGH
TONE
LOW
TONE
CHANNEL
MIX-B
SOURCE
FLIP
PARAMETRIC
EQ
HI MID LOW MID
HIGH
PEAK
+
LEVEL
LEVEL
LEVEL
LEVEL
MIX-B
HI-LOW EQ
SHELVING
EQ
HIGH LOW
3 SECT EQ
SIGNAL
CHANNEL
FADER
+15V
MUTE
MUTE
PAN
B+
B+
SOLO
ON
BALANCE
BALANCE
B+
AUX 3
POST
GR 1
GR 2
GR 3
GR 4
GR 5
GR 6
GR 7
GR 8
AUX1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
AUX 7
AUX 8
ST L
ST R
MIX-B L
MIX-B R
ST R
ST L
GR 8
GR 7
GR 6
GR 5
GR 4
GR 3
GR 2
GR 1
ST R
ST L
GR 8
GR 7
GR 6
GR 5
GR 4
GR 3
GR 2
GR 1
ST R
ST L
GR 8
GR 7
GR 6
GR 5
GR 4
GR 3
GR 2
GR 1
AUX 5
AUX 6
AUX 7
AUX 8
AUX 4
AUX 2
ST
AUX1
ST L
GR 7
GR 8
GR 6
GR 5
GR 3
GR 4
GR 2
GR 1
PRE
PAN
BALANCE
MUTE
1
2
3
4
5
6
7
8
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
1
2
3
4
5
6
7
8
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
GROUP
38
MONO INPUT
MIC
-60dB
+48V
PHANTOM
POWER
SA
SA
TO MAX
SA
SA
SA
SA
SOLO
SA
STERE0 L INSERT
0dB
STERE0 L INSERT
0dB
TO MIX
B+
EXTERNAL
2-TRACK
MIX-B
MAIN MIX
SA
STERE0 L INSERT
0dB
B+
SOLO
MASTER
FADER
AUX 7
AUX 8
AUX 5
AUX 6
EXTERNAL
AUX 7/8
AUX 5/6
MIX-B
MONITOR
MASTER FADER
MASTER
FADER
MASTER
FADER
PAN
GROUP 1 INSERT
0dB
SOLO CONTROL
LEVEL
LA
LA
LA
LED METER (MONITOR R)
LED METER (MONITOR L)
LEVEL
MUTE
MUTE
LEVEL
LED METER (GROUP)
R
L
MIX - B (R OUT)
MIX - B (L OUT)
AUX SEND 1-8
2
3
1
2
3
1
1
2
3
GROUP 1~8
+4dB
MAIN MIX
+4dB
GROUP 17~24
GROUP 9~16
CTRL ROOM
OUTPUT
R
+4dB
CTRL ROOM
OUTPUT
L
+4dB
STUDIO
OUTPUT
R
+4dB
STUDIO
OUTPUT
L
+4dB
HEADPHONES
100mW
TIP - LEFT
RING - RIGHT
MIX - B
R
+4dB
MIX - B
L
+4dB
AUX SEND 1
+4dB
MONO OUT
+4dB
GROUP 1-24
CH OUT
TAPE IN
GROUP 1
GROUP 2
GROUP 3
GROUP 4
GROUP 5
GROUP 6
GROUP 7
GROUP 8
VU METER
LEO METER
VU METER
8 BUS MIXING CONSOLE
Block Diagram
SOLO L
SOLO R
PFL CTRL
MIX-B L
MIX-B R
MIX L
MIX R
8 BUS MIXING CONSOLE
Specifications
*0dB=0.775Vrms,0dbV=1Vrms
-GENERAL
Maximum Output Level
(0.5% THD at 1kHz)
Output Level
T.H.D
Frequency Response
Hum and Noise
(Average,Rs=150Ω)
Maximum Voltage Gain
Crosstalk(at 1kHz)
Gain Control (Input Channel)
Input Channel Equalization
+24dB(MIX L/R,GROUP OUT,MONO OUT)@600Ω
+20dB(DIRECT OUT,AUX SEND 1-8)@600Ω
+20dB(INSERT) @10kΩ
+20dB(CTRL ROOM,STUDIO OUT)@600Ω
More than 100mW(HEADPHONES)@40Ω
0dB(@10kΩ):INSERT
0dB(@600Ω):DIRECT OUT
<0.1%+14dB 20Hz~20kHz
(MIX L/R,GROUP 1-8,MONO OUT,AUX SEND 1~8,CTRL ROOM,STUDIO OUT)@600Ω
20Hz~20kHz,+1dB/-2dB
(MIX L/R,GROUP 1-8,MONO OUT,AUX SEND 1~8,CTRL ROOM,STUDIO OUT)@600Ω
-129dB equivalent input noise
-95dB residual noise
(MIX L/R,GROUP 1~8,MONO OUT ,CTRL ROOM OUT,STUDIO OUT)
-88dB(MIX L/R,GROUP 1~8,MONO OUT,CTRL ROOM OUT,STUDIO OUT)
*Master fader at nominal level and all channel assign switch OFF
84dB MIC IN to MIX L/R,GROUP OUT 1~8
76dB MIC IN to AUX SEND 1-4,AUX SEND 5-8(PRE)
86dB MIC IN to AUX SEND 5-8(POST)
90dB MIC IN to STUDIO OUT,CTRL ROOM OUT
84dB MIC IN to MONO OUT
44dB LINE IN to MIX L/R,GROUP OUT 1-8
36dB LINE IN to AUX SEND 1-4, AUX SEND 5-8(PRE)
46dB LINE IN to AUX SEND 5-8(POST)
50dB LINE IN toSTUDIO OUT, CTRL ROOM OUT
44dB LINE IN to MONO OUT
34dB ST IN to MIX L/R, GROUP OUT 1-8
26dB ST 1,3 IN to AUX 1,2
36dB ST 2,4 IN to AUX 3,4
34dB ST IN to MONO OUT
6dB EXTERNAL IN to CTRL ROOM OUT
24dB 2-TRACK IN to CTRL ROOM OUT
70dB TALK BACK to MIX L/R, GROUP OUT 1-8
66dB TALK BACK to AUX 1-8
16dB AUX RETURN to MIX L/R,GROUP OUT 1-8
23.8dB TAPE RETURN to MIX-B L/R
-70dB between input channels
-70dB between output channels
44dB Variable (-60dB~-16dB)
±15dB Maximum Boost or Cut
HIGH:12kHz peaking(Variable)
MID-HI:800Hz~8kHz peaking(Variable)
MID-LOW:160Hz~1.6kHz peaking(Variable)
LOW:80Hz shelving
* Turnover/roll off frequencies:located3dB below maximum boost/cut
10 Segment LED
GROUP 1~8,MIX L/R or MONITOR L/R,CHANNEL INPUT
Analog type VU meter
MIX OUT L/R
Mono Control(Input CHANNEL) Peak:An indicator for each channel turns on when the pre-channel fader signal is 3dB
below clipping.
Input Channel Equalization
Signal:An indicator for each channel turns on when the pre-channel fader signal is
-10dB below.
+48V,DC
Phantom Power
External Power Supply
Power Source
32 CH:41.5Kg; 40 CH:54Kg
Weight
Dimensions
32 CH:1210(W)×675(D)×170(H)mm
40 CH:1400(W)×675(D)×170(H)mm
LED Meters
39
8 BUS MIXING CONSOLE
- INPUT
Intput
Connector
CH Mic
Input
Impedance
4kΩ
Nominal
Impedance
50~600Ω
CH Line
10kΩ
600Ω
-20dB
Stereo Input
5kΩ
600Ω
-10dB
2-Track
External Input
AUX Return
10kΩ
600Ω
10kΩ
600Ω
-10dBV
+4dB
0dB
10kΩ
600Ω
+4dB
Tape In
10kΩ
600Ω
-10dB
Group Out
Insert In
10kΩ
600Ω
0dB
Talk Back
10kΩ
600Ω
-50dB
Output
Impedance
150Ω
150Ω
75Ω
75Ω
75Ω
150Ω
600Ω
Nominal
Impedance
600Ω
600Ω
600Ω
600Ω
600Ω
10Ω
Input
Nominal Level
+4dB
+4dB
+4dB
+4dB
+4dB
+4dB
0dB
Output
Connector
600Ω
10Ω
0dB
Direct Out
Phones Out
600Ω
100Ω
10Ω
40Ω
0dB
3mW
Channel Insert In
Input
Nominal Level
-60dB
Connector Type
XLR 3-31 Type
Balanced
Phone Jack(TRS)
T=HOT
R=COLD
S=GND
Unbalanced
Phone Jack
Unbalanced
Phone Jack
Unbalanced
Phone Jack
Phone Jack(TRS)
T=HOT
R=COLD
S=GND
Balanced
Phone Jack
Phone Jack(TRS)
T=HOT
R=COLD
S=GND
Unbalanced
XLR Jack
- OUTPUT
Output
Connector
MIX Out L/R
Group Out 1-8
CTRL Room Out
Studio Out
AUX Send 1-8
Mono Out
Output
Connector
Connector Type
XLR 3-32 Type
Unbalanced Phone Jack
Unbalanced Phone Jack
Unbalanced Phone Jack
Unbalanced Phone Jack
Balanced XLR 3-32 Type
Phone Jack(TRS)
T=HOT
R=COLD
S=GND
Phone Jack(TRS)
T=HOT
R=COLD
S=GND
Unbalanced Phone Jack
Stereo Phone Jack
* Specifications and design subject to change with notice for improvements.
40
Contents
1. Introduction ............................................................................................................................. 1
2. Upacking and Installation ...................................................................................................... 1
3. Features .................................................................................................................................... 2
4. Precautions ............................................................................................................................... 3
5. Control Panel
5-1. Mono Input Section .............................................................................................................. 4
5-2. Stereo Input Section ............................................................................................................... 9
5-3. Aux Return Section .............................................................................................................. 12
5-4. Aux Send Section ................................................................................................................. 13
5-5. Group Section ...................................................................................................................... 14
5-6. Master Section ..................................................................................................................... 15
5-7. Control Room and Mono Section ........................................................................................ 16
5-8. Talkback and Headphone Section ........................................................................................ 18
5-9. Master LED Section ............................................................................................................. 20
5-10. Master Bridge ..................................................................................................................... 21
6. Rear Panel Connectors
6-1. Input Section Connectors ..................................................................................................... 22
6-2. Output Section Connectors .................................................................................................. 24
7. Wiring
7-1. General Wiring Prcedures .................................................................................................... 27
7-2. Initial Wiring Considerations ............................................................................................... 27
7-3. Audio Wiring ........................................................................................................................ 28
7-4. Shielding .............................................................................................................................. 28
8. Point to Remember................................................................................................................. 29
9. Audio Connectors .................................................................................................................. 30
10. Grounding on the Road ...................................................................................................... 31
11. Application Examples ......................................................................................................... 33
11-1. Application-1 ..................................................................................................................... 35
11-2. Application-2 ..................................................................................................................... 36
11-3. Application-3 ......................................................................................................................37
12. Block Diagram .....................................................................................................................38
13. Specifications
13-1. General Specifications ....................................................................................................... 39
13-2. Input/Output Specifications .............................................................................................. 40
2006 Dap Audio.