Midas | Siena | Specifications | Midas Siena Specifications

OPERATORS MANUAL
Telex Communications (UK) Ltd,
Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.
Tel:+44 1562 741515
Fax:+44 1562 745371
Website: www.midasconsoles.com
MIDAS Siena audio mixing console
DOC02-Siena Issue 1.0 - Janruary 2005
© Telex Communciations (UK) Ltd.
In line with the company’s policy of continual improvement, specifications and function may be
subject to change without notice. This Operators Manual was correct at the time of writing. E&OE.
Important Safety Instructions
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
These symbols are internationally accepted symbols that warn of potential hazards with
electrical products.
The lightning flash with arrowhead symbol, within an equilateral
triangle is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert
the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufacturers
instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. If the provided plug does not
fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the apparatus.
11. Only use attachments / accessories specified by the manufacturer.
12.
Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer,
or sold with the apparatus. When a cart is used, use caution when moving the
cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified personnel. Servicing is required when the apparatus is damaged in
any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped.
IEC-60065-Edn7-Midas
Telex Communcations (UK) Ltd, Klark Teknik Building, Walter Nash Road,
Kidderminster. Worcs. DY11 7HJ. England
Tel:+44 1562 741515 Fax:+44 1562 745371
www.midasconsoles.com www.klarkteknik.com
DECLARATION OF CONFORMITY
We, Telex Communications (UK) Ltd
of,
Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ.
Declare that a sample of the following product:Product Type Number
Siena
Product Description
Professional Audio
Mixing Desk
Nominal Voltage (s) Current
115V AC
230V AC
2.2A
1.1A
Freq
50/60Hz
to which this declaration refers, is in conformity with the following directives and/or standards:Directive(s)
Generic Standard using EN55103 Limits and Methods
Class B Conduct Emissions
Class B Radiated Emissions
Fast Transient Bursts
Static Discharge
Electrical Safety
Signed:............................
Name: Simon Harrison
Test Standard(s)
EN50081/2
EN55103
EN55103
EN61000-4-4
EN61000-4-2
EN60065:2002
UL60065-03 Pending
CAN/CSA60065-03 Pending
IEC60065-2001 Pending
Date: 1st February 2005
Authority: Research and Development Director, Telex Communications (UK) Ltd
Attention!
Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations
of use which must be observed when these products are taken into service to maintain compliance with
the above directives. Details of these special measures and limitations to use are available on request
and are available in product manuals.
A Subsidiary of Telex Communications, Inc.
Welcome
Thank You for using a Midas Siena mixing console. The Siena has been developed to meet the needs of even the most
demanding live sound applications. The console delivers both the quality of build and superior audio performance that you
would expect from a Midas. All backed up, of course, by the standard Midas Three Year Warranty.
The Siena is an all purpose Monitor or Monitor/Front of House (FOH) hybrid console that is quickly and easily configurable.
Available in 24, 32, 40, 48, 56 and 64 input channel frame sizes, each mono input channel offers microphone and line inputs
with four band swept equaliser, direct output and insert send/return. In addition to a master stereo bus, each channel may
be assigned onto the console's 16 mix sends, configurable for mono or stereo operation, and featuring independent
pre/post switching, level/level or level/pan control.
The 16 mix bus outputs provide the flexibility to generate mono floor monitor or stereo wireless in-ear monitor feeds, with
each bus featuring dedicated metering, an insert point and fader level control. In addition, any mix bus from 9 to 16 may be
routed and panned onto the stereo master providing sub mixing capabilities for FOH applications.
A comprehensive solo system and five auto mute groups further enhance the Siena's feature set for dealing with the most
demanding of applications.
Please take the time to complete and return the registration card and, to obtain the best results, please read this operator's
manual.
Finally,
Enjoy your new Midas Siena Console!
Contents
ATTENTION:
Installation and power
Connections
6
Input Channels
Rear Panel and Gain
Channel Equalisation
Mix sends (Auxiliary sends and groups)
Routing to Stereo Master Outputs
Metering and Automutes
7
8
9
10
11
12
Master Section : Mix Bus Outputs
Mix Bus Outputs (Auxiliary Send/ Group Masters)
Rear Panel and Metering
Direct Input to Mix
Mix Bus 1-8 Master Controls
Mix bus 9-16 Master Controls
13
14
15
16
17
18
Master Section: Stereo Master and Monitoring Controls
Rear Panel and Metering
Direct Input Master Controls
Talkback
Auto Mute Masters
Local Monitoring and Headphone Outputs
The Solo System (AFL and PFL)
Helix Digital Equaliser and Solo Tracking System
Stereo Master Output Controls
19
20
21
22
23
24
25
26
Setting up the Siena
27
Functional Block Diagrams
Mono Input Diagram
Mix Output Diagram
Master Module Diagram
35
36
37
38
Dimensions and Weights
39
Rear Panel Description
41
Specification and Features
43
Crib Sheet
47
Operators Manual - Page 5
ATTENTION
The following special limitations must be observed in order to maintain safety and electromagnetic
compatibility performance.
Power Connection
The console should only be operated with the power
supply connected to ground via the ground in the mains
connector.
Audio Connections
The console should only be operated with high quality
twisted-pair audio cables. All connector shells should be
of metal construction so that they provide a screen when
connected to the console. All jack connector shells should
be connected to the cable screen. All XLR plugs should
have pin one (1) connected to the cable screen.
Electric Fields
If the console is operated in an electromagnetic field that is
amplitude modulated by an audio frequency signal, the signal to
noise ratio may be degraded. Degradation of up to 60dB may be
experienced under extreme conditions (3V/m, 90%
modulation).
INSTALLATION
Position
The position of the console will vary from venue to venue. However, when positioning the console for front of house usage it
is worth placing the console in a position where the sound system used can be heard properly from the mix position. Try to
avoid placing the console behind pillars or large objects , or mixing from a level above the speaker position (e.g. from a
balcony).
Also try to avoid placing the console near or on any power distribution units or power amplifiers.
Power
If using an external power supply, it should be located as far away from the console as the connecting cable will allow. The
power supply should be set for the voltage supply available in your area and plugged into the mains outlet using the cable
provided.
!
THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH
THE MAINS EARTH DISCONNECTED
Please note that the power supply contains LETHAL VOLTAGES greatly in excess of
the mains voltage and that it’s rails can produce extremely large currents which
could burn out equipment and wiring if shorted. All testing and servicing should
ONLY be carried out by a qualified engineer.
Connections
The console should only be operated with high quality twisted-pair audio cables. All connector shells should be of
metal construction so that they provide a screen when connected to the console. All jack connector shells should
be connected to the cable screen. All XLR plugs should have pin one (1) connected to the cable screen.
Female XLR
2
1
Male XLR
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
1
2
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
3
3
Quarter Inch Jack
TRS Signal
Sleeve
Screen/Ground
Ring
Cold Signal
Tip
Hot Signal
TRS Insert
Screen/Ground
Insert Return
Insert Send
Operators Manual - Page 6
TRS Headphone
Screen/Ground
Right
Left
Input Channel
Operators Manual - Page 7
Input Channels
Rear Panel
48v
15
power
pad
30
45
15
60
mic gain
O
mic
insert
51
direct
out
ins
60
160
20
400
hi-pass
line L
5k
15
10k
2k
20k
15
treble
line
in
The Siena channel inputs are located on the rear of the console. Each channel provides:
one insert point on a single TRS jack socket.
one direct output on a single impedance balanced quarter-inch jack socket
one line in quarter-inch TRS balanced jack socket
one mic balanced XLR female
The channel insert point is unbalanced and requires a conventionally wired insert lead
where:Tip - Channel Signal Send
Ring - Channel Signal Return
Sleeve - Signal Common Ground
The direct out and insert points operate at a nominal level of 0dBu.
Balanced XLR and Jack inputs are conventionally wired:
XLR - 1. Screen - 2. Hot Signal - 3. Cold Signal
TRS - T. Hot Signal - R. Cold Signal - S. Screen
15
15
1k
3k
400
8k
300
1k
100
2k
PUSH
mic
50
100
The console's direct outputs are set post fader as standard. However, an internal jumper
may be set to offer one of four alternatives:
Pre EQ, insert, channel fader and mute.
Pre EQ and channel fader, but post insert and mute.
Post EQ and insert, but pre channel fader and mute.
Pre channel fader, but post insert, EQ and mute.
20
400
Please refer to the service manual or contact your authorised Midas service agent for more details on setting this option.
hi-mid
lo-mid
15
15
bass
Front Panel
15
15
mix pre
All input channels on the Siena console are mono and the actual
number available will depend on your choice of frame.
eq
on
eq
off
0
pre
l
1-2
r
0
-15dB Pad - The Pad switch provides 15dB
attenuation to the input signal allowing for
the connection of high output microphones
and line level signals without overloading
the channel input amplifier. Overloads are
indicated on the in-channel meter by the
red LED at the top.
0
pre
3-4
l
r
0
0
pre
l
5-6
r
0
0
pre
7-8
l
r
0
0
pre
9-10
l
48V Power - When depressed, the Siena
will apply 48 volts phantom power to the
microphone input. This is used to power
condenser microphones, direct inject boxes
and other devices that require phantom
power.
48v
-15
power
pad
+30
+45
+15
+60
Mic Gain - The mic gain is continuously
variable from +15dB to +60dB (0dB to
+45dB with the Pad enabled). The actual
value of the gain required will depend upon
the source and should ideally be set such
that peaks in level on the input should not
cause the input amplifier to overload
(occasional peaks of +12dB is okay, +18dB
is too high).
r
0
0
The red phantom LED will light to indicate
that 48V phantom is in operation.
mic gain
pre
11-12 l
r
0
pre
13-14 l
r
0
0
pre
15-16 l
r
0
c
l
pan
r
stereo
MUTE
10
18
12
5
0
18
0
auto
5 mute
Mic Ø - The mic phase switch, when
depressed, causes a 180 degree phase
change (with respect to the input signal) to
occur in the input amplifier such that the
channel signal will have opposite polarity to
the input signal.
mic
O
0
ins
Ins - The ins switch enables the channel
insert point by connecting the insert return
to the channel signal path. The insert is
switched into circuit before the EQ section,
and may be used to apply external
processing such as compression, gating or
effects to the channel signal.
The mic phase switch is commonly needed
where two microphones are used facing
each other (for example when using a
microphone on both the top and bottom of a
snare drum). Ordinarily the two
microphones would be out of phase causing
cancellation when the console sums the two
signals into the output. Reversing the phase
of one signal causes the microphones to
have the same phase and no cancellation.
1
10
2
60
15
20
3
30
4
40
5
SOLO
MIDAS
Hi-Pass - The Hi-Pass switch enables the
high pass filter in the channel signal path.
The filter is located before the insert point
and channel equaliser, and is ideal for
removing low frequency handling noise,
bass rumble or mains hum.
hi-pass
20
160
400
Operators Manual - Page 8
High Pass Frequency - The cutoff
frequency of the high pass filter is
continuously variable from 20Hz to 400Hz.
Input Channels
48v
15
power
pad
30
45
15
60
mic gain
O
mic
Channel Equalisation
Each input channel of the Siena has a four (4) band sweep EQ allowing
tonal control over the input signal.
ins
60
160
20
400
5k
15
10k
2k
20k
hi-pass
15
treble
15
15
1k
3k
5k
15
10k
2k
20k
15
hi-mid
400
8k
300
1k
100
2k
Treble (Gain) - The gain of the treble equaliser is continuously variable from -15dB to +15dB
with a centre detent at 0dB.
treble
lo-mid
Treble (frequency) - The centre frequency of the treble equaliser is continuously variable from
2kHz to 20kHz.
15
15
50
100
20
400
bass
15
15
15
15
Hi-Mid (Gain) - The gain of the hi-mid equaliser is continuously variable from -15dB to +15dB
with a centre detent at 0dB.
1k
3k
hi-mid
mix pre
Hi-Mid (frequency) - The centre frequency of the hi-mid equaliser is continuously variable from
400Hz to 8kHz.
eq
on
eq
off
400
8k
300
1k
0
pre
l
1-2
Lo-Mid (frequency) - The centre frequency of the lo-mid equaliser is continuously variable from
100Hz to 2kHz.
r
0
lo-mid
100
0
2k
pre
3-4
l
r
0
0
15
15
pre
l
5-6
Lo-Mid (Gain) - The gain of the lo-mid equaliser is continuously variable from -15dB to +15dB
with a centre detent at 0dB.
r
0
50
100
20
400
0
pre
7-8
l
r
0
bass
Bass (frequency) - The centre frequency of the bass equaliser is continuously variable from
20Hz to 400Hz.
0
Bass (Gain) - The gain of the bass equaliser is continuously variable from -15dB to +15dB with a
centre detent at 0dB.
pre
9-10
l
r
0
15
15
0
pre
11-12 l
r
0
0
pre
13-14 l
r
0
0
pre
15-16 l
r
0
c
l
pan
r
mix pre
eq
off
eq
on
EQ On - The Equaliser can be enabled by depressing the EQ On switch. Otherwise changes on the
Equaliser controls have no effect. This can be used to compare the sound with and without EQ
during sound check.
EQ Off (mix pre) Depressing the EQ Off (mix pre) switch causes pre fader sends onto mix busses
1-16 to be sourced before the channel equaliser. For example, you may wish to EQ the channel
signal feeding the master stereo bus while deriving mix sends pre EQ.
Note: post fader sends are always post EQ.
stereo
MUTE
10
18
12
5
0
18
0
auto
5 mute
1
10
2
15
20
3
30
4
40
5
SOLO
MIDAS
Operators Manual - Page 9
Input Channels
48v
15
power
pad
30
45
15
60
mic gain
O
mic
Mix Sends
(Auxiliary Sends and Groups)
ins
60
160
20
400
5k
15
10k
2k
20k
hi-pass
15
treble
15
15
1k
3k
400
8k
hi-mid
300
1k
100
2k
lo-mid
15
15
50
100
20
400
bass
mix pre
eq
on
eq
off
0
pre
l
1-2
For example, today you may be using the console purely as a monitor
desk, in which case you probably want to generate as many auxiliary sends as possible. In addition, you may
require both mono and stereo mixes to feed a mixture of floor monitors and wireless in-ear monitoring. By
configuring any odd/even pair of the Siena's mix busses for stereo operation, you have complete flexibility over
the console layout.
Alternatively, in a hybrid FOH/monitor application, you may wish to create both auxiliary sends and group
masters. Note that the controls for mix outputs 9-16 vary slightly from those for mix outputs 1-8. This is due to
the fact that mix bus outputs 9-16 may be routed, and panned, onto the stereo master bus. Therefore, mix
busses 9-16 are ideal for use as group outputs as they may be output separately from the console and/or
summed onto the stereo master for a FOH mix. For these reasons, use mix busses 1-8 for auxiliary sends and 916 to create audio sub groups when working in a hybrid FOH/Monitor application.
Pre Fade mix sends are sourced after the channel insert, mute and EQ but before the channel fader. They will
also be fed pre EQ if the mix pre (EQ Off) switch is depressed. As a result, the actual level sent to the aux bus is
proportional to the mix send control only.
15
15
For maximum flexibility, the Siena has 16 mix busses for use as
auxiliary sends or groups. In addition, any pair of busses may be
configured for mono or stereo operation.
r
Post Fade mix sends are sourced after the channel insert, mute, EQ and channel fader. As a result, the actual
level sent to the mix bus is proportional to the aux send control AND the channel fader.
0
0
pre
3-4
l
r
0
Please note that, for illustration purposes, mix sends 1 and 2, only, are shown below. However, all 16 mix sends
work in the same manner. In addition, to help locate the correct send more easily, sends 9 to 16 are highlighted
by a lighter background panel colour.
0
pre
l
5-6
r
0
0
pre
7-8
l
r
0
0
pre
9-10
l
r
0
0
pre
11-12 l
r
0
Mix Send Pre/Post Switching Any
mix send may be sourced pre fader by
depressing the pre button. In this
mode, the channel fader has no effect
upon the level of the signal sent to the
mix bus.
0
pre
1-2
l
r
0
Note: both pre and post fade sends are
muted when the channel mute is
enabled.
Mix Send Level - The mix send level is
continuously variable from off (-inf) to
+6dB.
0
pre
13-14 l
r
0
0
pre
15-16 l
r
0
If mix busses are configured for stereo operation, the two rotary controls and pre switches behave slightly
differently from mono mix sends to provide stereo pan, send level and pre/post fader control:
c
l
pan
Stereo Send Operation
Stereo sends are configured globally for each odd/even pair of mix busses by the recessed stereo switches
located beside each pair of master faders in the Master section. Please refer to Page 17 for more details.
r
stereo
MUTE
10
When configured for stereo operation,
the upper pre switch is inactive.
18
12
5
0
0
18
0
auto
5 mute
1
10
2
15
20
3
30
4
40
5
SOLO
MIDAS
Mix Send Pre/Post Switching Use
the lower of the two pre switches to
switch the stereo send pre fader. In this
mode, the channel fader has no effect
upon the level of the signal sent to the
mix bus.
pre
1-2
l
r
0
Note: both pre and post fade sends are
muted when the channel mute is
enabled.
Operators Manual - Page 10
Mix Send Pan The mono signal from
the channel may be positioned within
the stereo field using the left/right pan
control. Turn the control fully
anticlockwise to pan signal to the left
(mix bus 1) or clockwise to pan to the
right (mix bus 2). Adjustment between
hard left and hard right is continuous.
Note: the pan control obeys a constant
power law (i.e. -3db at the centre.)
Mix Send Level - The mix send level is
continuously variable from off (-inf) to
+6dB.
Input Channels
48v
15
power
pad
30
45
15
60
mic gain
O
mic
Routing to the Stereo Master Output
In addition to the 16 mix bus sends, Siena features a stereo master
output.
ins
60
160
20
400
5k
15
10k
2k
20k
hi-pass
15
Typically, this would be used to generate the Front of House (FOH) mix
for hybrid FOH/monitor applications. In stand alone monitor
applications, the master output may remain unused or provide an
additional stereo output bus.
treble
15
15
1k
3k
400
8k
hi-mid
300
1k
100
2k
lo-mid
15
15
50
100
20
400
bass
15
15
Stereo Depressing the stereo switch
routes the channel signal onto the
stereo (master left and right) bus. The
signal is sourced post EQ, pan, mute
and fader.
mix pre
eq
on
eq
off
0
pre
l
1-2
r
0
0
pre
3-4
l
r
0
Pan The mono signal from the channel
may be positioned within the stereo
field using the channel pan control. Turn
the control fully anticlockwise to pan
signal to the left or clockwise to pan to
the right. Adjustment between hard left
and hard right is continuous, with a
centre detent.
c
l
pan
r
stereo
MUTE
0
pre
l
5-6
r
0
Note: the pan control obeys a constant
power law (i.e. -3db at the centre.)
0
pre
7-8
l
r
0
0
pre
9-10
l
r
0
Note: the mute switch may be
controlled from any of the five Auto
Mute masters, see Page 22 for details.
0
pre
11-12
l
r
0
0
pre
13-14 l
r
0
0
pre
15-16 l
r
0
c
l
pan
r
stereo
MUTE
10
18
12
5
0
18
0
auto
5 mute
1
10
2
15
20
3
30
4
40
5
Mute - The MUTE switch mutes the
channel signal feeding all 16 mix bus
(pre or post fader) and stereo master
bus outputs. However, signal will still be
sent to the insert send. The mute status
of the channel is indicated by the
corresponding mute LED.
SOLO
MIDAS
Operators Manual - Page 11
Input Channels
48v
15
power
pad
30
45
15
60
mic gain
O
mic
4 LED Meter - The 4 LED meter
indicates the channel's peak signal
level, measured after the insert point
and EQ, but before the channel fader
and mute. This provides a confidence
meter, allowing the user to monitor the
input signal prior to opening the fader,
or deselecting the channel mute.
ins
60
160
20
400
5k
15
10k
2k
20k
hi-pass
15
treble
With the insert and EQ disabled, the
meter shows the peak signal level in
four stages:
15
15
1k
3k
400
8k
300
1k
100
2k
hi-mid
+18dB
+12dB
0dB
-18dB
lo-mid
15
15
50
100
20
400
bass
15
15
mix pre
eq
on
eq
off
Channel Fader - The channel fader
allows for continuous adjustment of the
channel level from off (-inf) to +10dB.
At 0dB, the output of the channel to the
stereo master and 16 Mix busses will be
at unity gain (i.e. no boost or cut in level
from the input).
The in-channel meter is especially
useful when setting the microphone
gain of a channel. Also, as the, meter is
post EQ, it is possible to see the effect
that the channel equalisation has upon
the level.
10
0
pre
l
1-2
For optimal performance, the level for
input channels should be around +6db.
Therefore, ideally, the in-line meters
should show the 0dB LED illuminated
consistently when signal is present,
with occasional illumination of the
+12dB LED.
18
12
r
0
5
0
0
18
pre
3-4
l
r
0
0
0
pre
l
5-6
r
0
0
pre
7-8
l
r
0
Solo - When selected, the channel
SOLO switch routes signal onto the After
Fade Listen (AFL) and Pre Fade Listen
(PFL) outputs. The solo LED indicator
illuminates to show that the channel
solo is active.
0
pre
9-10
l
r
0
0
pre
11-12
l
r
0
0
Depending on the AFL and PFL selector
in the master section, you may now be
listening to the channel signal after the
fader (AFL) or pre fader (PFL) on either
the main monitor or headphone
outputs.
pre
13-14 l
r
0
0
pre
15-16 l
r
0
Note: the AFL bus is a stereo bus; the
PFL bus is mono. For more details on
AFL and PFL monitoring, please refer to
the 'The Solo System' on page 24.
auto
5 mute
1
pan
r
stereo
2
15
20
3
30
4
40
5
SOLO
MIDAS
MUTE
10
Auto Mute 1, 2, 3, 4 & 5 The Siena has
five auto mute groups that can be
controlled from the master section of
the console. To assign an input channel
to an auto mute group, switch in the
desired auto mute switch.
Note: auto mute 5 is also available on
the 16 mix and stereo output masters
and, therefore, you may wish to reserve
this group for dealing with output mute
functions.
Commonly, the auto mute groups are used to provide easy muting of similar channels. For
example:
18
12
5
Note: it may be necessary to turn the
input gain down when excessive EQ is
used to prevent the channel from
overloading.
10
c
l
- Overload (Peak)
- High Level
- Normal Level
- Signal Present
0
18
0
auto
5 mute
1
10
2
15
20
Reason
Allows the engineer to mute the whole drum kit at once.
Allows the engineer to quickly remove all choir mics at once
Allows the engineer to zone mics together (e.g. Brass,
Strings, etc.) and mute sections together if they were not playing.
3
30
4
40
5
SOLO
MIDAS
Channels
Drum Mics
Choir Overheads
Orchestra Parts
Note: the auto mute groups and the individual channel mutes work like a logical OR where any
single or combination of mutes will mute the channel output. This means, for example, that if
channel 1 is assigned to auto mute group 4, and both the auto mute master and channel mute
are active, the output of the channel will remain muted until both the auto mute master and
individual channel mute are deactivated.
Operators Manual - Page 12
Master Section
Operators Manual - Page 13
Master Section
The Master Section of the Siena console is divided into two principal areas:
On the left hand side of the panel, the two rows of eight faders, associated controls and metering provide output
control for the console's 16 mix busses. Typically, these 16 mix bus outputs are used for auxiliary send masters and/or
group outputs.
On the right hand side of the section, you will find the stereo master output, local and headphone monitoring, master
AFL/PFL selector, talkback, tone, direct input and auto mute master controls.
Mix Bus Outputs
(Auxiliary Send/Group Masters)
The Siena has 16 mix bus outputs for use as auxiliary sends or group outputs. The console uses a generic approach to the
mix bus structure to enable it to cover a wide range of applications.
For example, today you may be using the console purely as a monitor desk, in which case you probably want to generate as
many auxiliary sends as possible. In addition, you may require both mono and stereo monitor mixes to feed a mixture of
floor monitors and wireless in-ear monitoring. By configuring any odd/even pair of the Siena's mix busses for stereo
operation, you have complete flexibility over the console layout.
Alternatively, in a hybrid FOH/monitor application, you may wish to create both auxiliary sends and group masters. You may
already have noticed that the controls for mix outputs 9-16 vary slightly from those for mix outputs 1-8. This is due to the
fact that mix bus outputs 9-16 may be routed, and panned, onto the stereo master bus. Therefore, mix busses 9-16 are
ideal for use as group outputs as they may be output separately from the console and/or summed onto the stereo master
for a FOH mix. For these reasons, use mix busses 1-8 for auxiliary sends and 9-16 to create audio sub groups when working
in a hybrid FOH/Monitor application.
Operators Manual - Page 14
Master Section:
Mix Bus Outputs
Rear Panel
1 mix meters 2
21
21
18
18
15
15
12
12
9
9
6
insert
2
insert
1
Each of mix bus outputs 1-16 may be connected to external equipment by
means of one single balanced male XLR socket (0dBu nominal level).
6
3
3
0
insert
10
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
insert
9
mix
2
mix
1
mix
10
mix
9
9 mix meters 10
21
21
18
18
15
15
12
12
9
9
6
6
3
In addition to this, each mix bus provides an insert send and return on a single
unbalanced quarter-inch TRS jack conventionally wired (0dBu nominal level).
Mix Bus Inserts
Mix Bus Outputs
XLR Sockets
1- Screen 2 - Signal Hot 3 - Signal Cold
TRS Insert Jacks
T - Signal Send R - Signal Return S - Screen
3
0
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
0
0
direct
direct
Mix Bus Outputs
(Auxiliary Send/Group Masters)
2
1
6
6
0
0
direct
direct
10
9
6
6
Metering
On Siena, every one of the 16 mix bus outputs features its
own dedicated LED meter, providing a constant overview of
every mix leaving the console.
stereo
insert
insert
MUTE
MUTE
mix 1
mix 2
10
10
stereo
5
5
0
0
5
1 mix meters 2
5
10
15
15
20
20
auto
30 mute
auto
30 mute
40
40
5
5
SOLO
stereo
c
c
insert
pan
r
21
21
18
18
15
15
12
12
10
SOLO
l
The meters are arranged in pairs so that when busses are
configured for stereo operation, metering may be clearly
identified. In addition, they are laid out in two rows reflecting
the 1-8 and 9-16 layout of the master faders lower down the
module.
stereo
insert
l
pan
r
6
3
0
3
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
Each LED meter indicates the peak signal
level of the mix bus output from -24dB to
+21dB in 3 dB steps. Signal is measured
after the master fader and mute providing
a true representation of the level leaving
the mix output XLR on the rear of the
console.
9 mix meters 10
MUTE
mix 9
mix 10
10
10
stereo
5
0
9
6
stereo
MUTE
5
9
21
21
18
18
15
15
12
12
0
5
5
10
10
15
15
20
20
auto
30 mute
auto
30 mute
40
40
9
9
6
6
3
5
SOLO
MIDAS
0
3
0
3
3
6
6
9
9
12
12
5
15
15
18
18
SOLO
21
21
24
24
Operators Manual - Page 15
Master Section:
Mix Bus Outputs
Direct Input to Mix
1 mix meters 2
21
21
18
18
15
15
12
In addition to the console's input channels, Siena features a
single stereo direct input (line level) which may be added to any
of the 16 mix bus outputs or stereo master.
12
9
9
6
6
3
3
0
A common application is to use the direct input as a stereo
effects return. For example, you may be using an auxiliary send
to feed signals to an external reverberation unit. Connecting the
reverb return to the direct input allows you to add reverb back
to each of your artist's monitor sends, without needing to use
an additional pair of input channels for this purpose.
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
9 mix meters 10
21
21
18
18
15
15
12
The direct input is a stereo line level input available on the rear panel of the master section. It features its own input
level control, solo and mute facilities. For more details on these controls and connections, please refer to Page 20.
12
9
9
6
6
3
3
0
Following the input stage, the direct 1 to direct 16 controls adjust the amount of direct input signal added to the
each of the 16 mix busses.
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
0
0
direct
direct
2
1
6
6
0
0
direct
direct
10
9
6
6
0
stereo
insert
insert
MUTE
MUTE
mix 1
mix 2
Direct Input Level to Mix - Controls
the direct input level added to each mix
bus output. Level may be adjusted
continuously from off (-inf) to +6dB.
direct
Direct
1
6
2
6
0
0
direct
direct
10
9
6
10
0
6
10
stereo
5
5
0
0
5
5
10
10
15
15
20
20
auto
30 mute
auto
30 mute
40
40
5
Note: a -3dB offset is applied to the mono
sum. This automatic level compensation
ensures that when adding the direct input
to a mixture of mono and stereo mix
busses, similar direct level settings may be
applied without any perceptible difference
in level.
5
SOLO
SOLO
stereo
c
c
insert
l
pan
r
stereo
insert
l
pan
r
stereo
MUTE
MUTE
mix 9
mix 10
10
10
stereo
5
5
0
0
5
5
10
10
15
15
20
20
auto
30 mute
auto
30 mute
40
40
5
SOLO
The signal added to each mix bus is
affected by the mono/stereo configuration
of each mix bus. For example, if mix
busses 1 and 2 are configured for stereo
operation, bus 1 is fed from direct input left
and bus 2 from direct input right according
to the level settings of the direct 1 and
direct 2 controls. However, the left and
right direct input signals are also summed,
so that if say mix bus 3 is configured as a
mono bus, it is the mono sum which is
added to this output.
5
SOLO
MIDAS
Operators Manual - Page 16
Master Section:
Mix Bus Outputs
Auxiliary Send/Group Masters
1 mix meters 2
21
21
18
18
15
15
12
The master controls for mix bus outputs 1-8 vary slightly from
those offered on mix bus outputs 9-16. This is due to the fact
that mix busses 9-16 offer the additional feature of routing, and
panning, onto the stereo master bus. This makes mix busses 916 ideal for use as group outputs in a hybrid FOH/Monitor
application.
12
9
9
6
6
3
3
0
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
Mix Bus 1-8 Master Controls
9 mix meters 10
21
21
18
18
15
15
12
First, let's deal with the controls for mix bus masters 1-8. Note that for clarity, only the first pair of mix bus
outputs are illustrated on the front panel drawings below.
12
9
9
6
6
3
3
0
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
0
0
direct
direct
stereo
2
1
6
6
0
insert
0
direct
direct
10
9
6
6
stereo
insert
insert
MUTE
mix 1
mix 2
10
10
5
5
0
0
5
5
Fader The fader provides continuous
adjustment of the mix bus output level
from off (-inf) to +10dB.
10
10
15
15
20
20
auto
30 mute
auto
30 mute
40
40
5
5
SOLO
SOLO
stereo
c
Mute The MUTE switch mutes the mix
bus output signal post fader. (i.e. signal
is muted at all points except the mix bus
insert send and PFL bus). The mute
status is indicated by the corresponding
mute LED.
Note: the mute switch may be controlled
by Auto Mute master 5, see below.
MUTE
stereo
Auto Mute 5 Depress this switch to
assign any of the 16 mix bus output
mutes to auto mute group 5. The Siena
has five auto mute groups that can be
controlled from the master section of the
console. Any input channel may be
assigned to auto mute groups 1-4; both
input channels and mix bus masters may
be assigned to group 5.
insert
MUTE
MUTE
mix 1
mix 2
10
10
5
5
0
0
5
5
10
10
15
15
20
20
auto
30 mute
auto
30 mute
40
40
5
pan
r
stereo
pan
r
stereo
MUTE
MUTE
mix 9
mix 10
10
10
stereo
5
5
0
0
5
5
10
10
15
15
20
20
auto
30 mute
auto
30 mute
40
40
5
SOLO
MIDAS
SOLO
insert
l
5
SOLO
Insert When depressed, the
corresponding mix bus insert return is
inserted pre fader into the mix bus
output signal path.
Stereo/Mono Use the recessed stereo
switch to link the odd/even pair of mix
busses for stereo operation. When set
for stereo, the following operational
changes occur:
stereo
5
c
insert
l
Stereo LED
Illuminates when mix
busses are linked for stereo operation,
see below.
SOLO
Solo When selected, the mix bus SOLO
switch routes signal onto the stereo After
Fade Listen (AFL) and mono Pre Fade
Listen (PFL) busses. The solo LED
indicator illuminates to show that the
mix bus solo is active. Depending on the
AFL/PFL selector in the master section,
you may now be listening to the mix bus
output signal after the fader (AFL) or pre
fader (PFL) on your local monitoring or
headphone outputs.
Any of the 16 mix bus master SOLO
switches may also trigger auto solo
messages on an external Helix digital
equaliser via the console's Solo Tracking
System. For more details, please refer to
Page 25.
Operators Manual - Page 17
On each input channel,
separate level and pan controls
become available for the stereo
mix send. To switch the stereo
send pre fader, use the lower of
the two channel pre switches.
(The upper pre switch is inactive
in stereo mode.) Please see Page
10 for more details on input
channel controls.
The solos for a stereo bus are
adjusted such that odd bus solos
route signal to AFL left and even
bus solos route signal to AFL
right. When mix busses are
configured for mono operation,
solos are summed in mono onto
the AFL output.
All other controls (e.g. fader output
level, mute, solo and insert return
switching) remain independent for the
left and right sides of the mix bus master.
Master Section:
Mix Bus Outputs
Auxiliary Send/Group Masters
1 mix meters 2
21
21
18
18
15
15
12
Mix Bus 9-16 Master Controls
12
9
9
6
6
3
3
0
0
3
3
6
6
9
9
12
The master controls for mix bus outputs 9-16 are identical to
those for mix bus outputs 1-8 with the addition of the following
features:
12
15
15
18
18
21
21
24
24
9 mix meters 10
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
0
0
stereo
direct
direct
2
1
6
6
c
0
c
0
direct
direct
9
10
6
insert
insert
6
l
stereo
insert
insert
MUTE
MUTE
mix 1
mix 2
10
10
Route to Stereo Master Depressing
the stereo switch routes the mix bus
output onto the stereo (master left and
right) bus. The signal is sourced post
insert, pan, mute and fader.
pan
r
stereo
l
pan
r
stereo
MUTE
MUTE
mix 9
mix 10
10
10
Note: the pan control obeys a constant
power law (i.e. -3db at the centre.)
stereo
5
5
0
0
5
5
10
10
These additional features make mix
busses 9-16 ideal for creating sub mix
groups from the console.
stereo
5
5
0
0
5
5
10
10
15
15
20
20
auto
30 mute
auto
30 mute
15
15
40
40
20
20
auto
30 mute
auto
30 mute
40
40
5
5
SOLO
SOLO
5
5
stereo
c
c
insert
l
pan
r
stereo
insert
l
pan
r
SOLO
SOLO
stereo
MIDAS
MUTE
MUTE
mix 9
mix 10
10
10
stereo
5
5
0
0
5
5
10
10
15
15
20
20
auto
30 mute
auto
30 mute
40
40
5
SOLO
Pan The signal from the mix bus output
may be positioned within the stereo
master field using the pan control. Turn
the control fully anticlockwise to pan
signal to the left or clockwise to pan to
the right. Adjustment between hard left
and hard right is continuous, with a
centre detent.
5
SOLO
MIDAS
Operators Manual - Page 18
Master Section:
Stereo Master & Monitoring Controls
Rear Panel
insert
MR
master meters
insert
ML
The Siena's stereo master and monitoring outputs are located on the
rear of the console and provide:
direct in
L
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
talk
in
talk out
monitor
R
monitor
PUSH
direct in
R
3
0
0
3
Output
Master L
Master R
PFL Out
Monitor L
Monitor R
Monitor M
Talk Out
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
L
monitor
M
right
21
21
18
18
15
15
12
12
9
9
6
master
R
master
pfl out
L
6
3
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
direct input
500
150
Stereo Master and
Monitoring Controls
0
MUTE
5k
50
SOLO
frequency
0
direct to
masters
0
Nom. Level
0dBu
0dBu
0dBu
0dBu
0dBu
0dBu
0dBu
3
0
20
Connector
XLR Male (Bal)
XLR Male (Bal)
XLR Male (Bal)
XLR Male (Bal)
XLR Male (Bal)
XLR Male (Bal)
XLR Male (Bal)
Also provided are Master L and R insert points (Insert MR and Insert
ML) on conventionally wired quarter-inch TRS jacks (0dBu nominal
level), a stereo direct input (Direct In L and Direct In R) on line level
balanced jack inputs and Talk Input (Male XLR balanced, 0dBu nominal
level).
solo meters
left
Source
Left Bus
Right Bus
PFL Solo Bus
Local Monitor Left
Local Monitor Right
Local Monitor Mono
Talk Bus
10
generator
6
Metering
talk mic
3
2
1
NEUTRIK
15
60
talk gain
talk
on
talk
ext
auto
mute
masters
input
1-2
master meters
1
3-4
right
left
21
21
18
18
15
15
12
12
5-6
2
7-8
9-10
3
11-12
4
13-14
9
6
6
3
3
0
input / output
15-16
9
5
0
3
3
6
6
masters
clear
add
monitor
9
9
phones
12
12
0
SOLO
SOLO
input
output
PFL
PFL
auto mute
21
21
24
24
local
5
5
MUTE
MUTE
left
right
mono
SOLO
MUTE
masters
15
18
MUTE
MUTE
SOLO
15
18
10
mono sum
stereo
10
10
5
5
Solo Meters
The two solo meters
always follow what is being monitored on
the local monitor and headphone
outputs. Therefore, they will meter either
stereo AFL or mono PFL signals
depending on the solo selections across
the console and master AFL/PFL selector.
Please refer to Page 24 for more details
on the console's solo system.
0
0
5
5
10
10
15
15
20
20
30
30
40
40
Note: when in PFL mode, the mono PFL
bus appears on the left and right Solo
meters.
The solo meters are pre monitor and
phones mute and level control, and so are
unaffected by changes in headphone or
local monitoring level.
solo meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
0
3
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
S0011
Operators Manual - Page 19
Master Meters The two master meters
indicate the peak signal level of the left
and right master outputs from -24dB to
+21dB in 3 dB steps. Signal is measured
after the master fader and mute
providing a true representation of the
level leaving the output on the rear of the
console.
Master Section:
Stereo Master & Monitoring Controls
master meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
Direct Input Master Controls
In addition to the console's input channels, Siena features a
single stereo direct input (line level) which may be added to
any of the 16 mix bus outputs or stereo master.
0
3
3
6
6
9
9
12
A common application is to use the direct input as a stereo
effects return. For example, you may be using an auxiliary
send to feed signals to an external reverberation unit. Connecting the reverb return to the direct input allows you to
add reverb back to each of your artist's monitor sends, without needing to use an additional pair of input channels
for this purpose.
12
15
15
18
18
21
21
24
24
solo meters
right
left
21
21
18
18
15
15
12
The direct input is a stereo line level feed available on the rear panel of the master section. It features its own input
level control, solo and mute facilities as follows:
12
9
9
6
6
3
3
0
0
3
3
6
6
9
9
12
12
15
15
18
Direct Input Level The direct input
level provides continuous adjustment of
input level from off (-inf) to +20dB. Use
this control to set the optimum input
level for the stereo direct input.
18
21
21
24
24
direct input
500
150
0
MUTE
5k
50
SOLO
20
frequency
direct input
0
150
500
0
MUTE
direct to
masters
0
10
generator
5k
50
6
20
0
SOLO
frequency
0
direct to
masters
10
generator
talk mic
6
Direct to Masters Level This level
control sets the level of the direct input
applied to the stereo master bus when
the Direct to Masters switch is
depressed. Level may be adjusted from
off (-inf) to +6dB.
3
2
1
NEUTRIK
15
60
talk gain
talk
on
talk
ext
Mute The MUTE switch mutes the direct
input cutting off all feeds except to the
PFL bus. The mute status is indicated by
the corresponding mute LED.
auto
mute
masters
input
1-2
Solo The SOLO switch routes the direct
input signal onto the mono PFL and
stereo AFL busses. The solo status is
indicated by the solo LED.
Direct to Masters When depressed,
this switch routes the stereo direct input
to the master stereo bus, via the Direct
to Masters level control.
1
3-4
5-6
2
7-8
9-10
3
11-12
4
13-14
input / output
15-16
Note: the direct 1 to direct 16 controls
located above the mix bus output master
faders adjust the amount of direct input
signal added to the each of the 16 mix
busses. For more details on these
controls, please refer to Page 16.
5
masters
monitor
add
clear
SOLO
SOLO
input
output
PFL
PFL
phones
Tone Generator (Oscillator)
0
auto mute
10
MUTE
The Siena provides an internal tone generator which may be routed to any of the console's 16 mix bus and stereo
master outputs.
local
5
5
MUTE
MUTE
MUTE
left
right
mono
SOLO
MUTE
SOLO
masters
mono sum
When enabled, the output of the tone generator is added to the talk bus where it may be combined with the
console's talk mic and external talk inputs. The combined signals are then routed to any of the bus masters using
the 'talk to mix' and 'talk to masters' switches located in the Talkback section.
stereo
10
10
5
5
0
0
5
5
Note: to route only the tone generator to a mix bus output or stereo master, without talkback, make sure that both
the talk on and talk ext switches are disabled.
direct input
150
500
0
MUTE
10
10
15
15
20
20
30
30
40
40
50
20
0
SOLO
direct to
masters
5k
frequency
0
10
generator
Generator On
generator.
Enables the tone
Frequency The output frequency of the
generator is continuously variable from
50Hz to 5kHz allowing the user to test,
for example, three or four bands of a
crossover system.
6
S0011
Operators Manual - Page 20
Generator Level
The level of the
generator output is continuously
variable from off (-inf) to +10dB.
Master Section:
Stereo Master & Monitoring Controls
master meters
right
left
21
21
18
18
15
15
12
Talkback
12
9
9
6
6
3
3
0
The Siena provides talkback which may be routed to any of the
console's 16 mix bus and stereo master outputs. There are two
options for connecting talkback sources to the console:
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
On the front panel, a conveniently located internal talk mic
socket, supplied with 48V phantom power, allows connection of a condenser microphone.
solo meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
On the rear panel of the master section, the talk in XLR allows connection of an external talkback source.
Each of these circuits is individually routed to the talk bus, and combined with the tone generator if it is enabled.
The combined talkback and tone signals may then be routed to any of the console's 16 mix bus and stereo master
outputs using the 'talk to mix' and 'talk to masters' switches shown below.
0
3
3
6
6
9
9
12
Note: to route only talkback to a mix bus output or stereo master, without the tone generator, make sure that the
Generator On switch is disabled.
12
15
15
18
18
21
21
24
24
direct input
In addition to routing talkback to the console's mix bus and master outputs, the talk out circuit available on the
rear panel of the master section, provides an output of the talk bus enabling the combined talkback and tone
signals to be output to an external communications system.
500
150
0
MUTE
5k
50
SOLO
20
frequency
0
direct to
masters
0
10
generator
6
talk mic
3
2
1
NEUTRIK
15
60
talk gain
talk
on
talk
ext
Talk Mic Gain The gain of the internal
talk mic input is continuously variable
from +15dB to +60dB.
auto
mute
masters
input
1-2
1
3-4
talk mic
3
1
2
2
5-6
NEUTRIK
7-8
9-10
3
11-12
4
13-14
input / output
15-16
5
Talk On When depressed, the internal
talk mic input is enabled and routed to
the talk bus. In addition, all local monitor
outputs are attenuated by 20dB to help
prevent feedback.
15
60
talk gain
talk
on
talk
ext
3-4
monitor
clear
input
1-2
masters
add
auto
mute
masters
1
phones
0
SOLO
SOLO
input
output
PFL
PFL
auto mute
5
5
MUTE
local
mono sum
MUTE
MUTE
MUTE
left
right
mono
SOLO
MUTE
SOLO
masters
Talk to Mix Bus Outputs (1-2, 3-4,
etc.) The 16 talk to mix switches route
the combined talkback and tone
generator signals individually to each of
the console's 16 mix busses.
10
5-6
2
7-8
9-10
13-14
stereo
10
10
5
5
0
0
5
5
10
10
15
15
20
20
30
30
40
40
Talk to Masters The masters switch
routes the combined talkback and tone
generator signals to the console's stereo
master.
3
11-12
15-16
4
input / output
5
masters
S0011
Operators Manual - Page 21
Talk Mic The internal talk mic socket is
a conventionally wired XLR male and is
supplied with 48V phantom power
allowing the connection of condenser
microphones for engineer talkback.
Talk External The talk ext switch
enables both the talk in and talk out
connections on the rear panel of the
master section. This adds the external
talkback source connected to the talk in
XLR to the talk bus. It also activates the
talk out connection providing an output
feed from the talk bus.
Master Section:
Stereo Master & Monitoring Controls
master meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
Auto Mute Masters
The Siena provides five auto mute groups commonly used to
provide easy muting of similar channels. For example:
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
Channels
Drum Mics
Choir Overheads
Orchestra Parts
solo meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
Any input channel may be assigned to auto mute groups 1-4; both input channels and mix bus masters may be
assigned to group 5, therefore, you may wish to reserve this group for dealing with output mute functions.
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
For example, when using the console to run monitors during a live concert, there may be one song where most of
the band will leave the stage. During this part of the show, monitor sends are only needed for one or two
performers. By selecting auto mute 5 on all of the other band members' auxiliary send masters, you may mute
these monitor feeds with one switch press auto mute master 5.
24
direct input
Reason
Allows the engineer to mute the whole drum kit at once.
Allows the engineer to quickly remove all choir mics at once
Allows the engineer to zone mics together (e.g. Brass, Strings, etc.) and
mute sections together if they were not playing.
500
150
0
MUTE
5k
50
SOLO
20
frequency
direct to
masters
0
The auto mute master switches located in the master section activate each auto mute group as follows:
0
10
generator
6
talk mic
3
2
1
NEUTRIK
15
60
talk gain
talk mic
auto
mute
masters
3
talk
ext
input
1
NEUTRIK
1-2
1
3-4
15
60
talk gain
5-6
2
7-8
9-10
talk
on
3
talk
ext
auto
mute
masters
11-12
input / output
15-16
input
1-2
4
13-14
2
talk
on
3-4
1
5
5-6
masters
2
monitor
clear
add
phones
7-8
0
SOLO
SOLO
input
output
PFL
PFL
9-10
auto mute
11-12
local
13-14
5
5
MUTE
MUTE
left
right
mono
SOLO
SOLO
MUTE
masters
3
10
MUTE
4
mono sum
15-16
MUTE
input / output
5
masters
stereo
10
10
5
5
0
0
5
5
10
10
15
15
20
20
30
30
40
40
S0011
Operators Manual - Page 22
Auto Mute Masters 1, 2, 3, 4 & 5
Press the corresponding auto mute
master switch to mute all input channels
and/or bus masters included within the
auto mute group (1 through 5). The auto
mute master status is indicated by the
corresponding LED.
Note: don't forget to check the status of
your auto mute masters and auto mute
group assignments carefully, as any
mutes on assigned input channels or bus
outputs will not be released until the auto
mute master is disabled!
Master Section:
Stereo Master & Monitoring Controls
master meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
Local Monitoring and Headphone
Outputs
The Siena provides local stereo and mono monitor outputs,
stereo headphone and separate PFL output. Typically, each of
these outputs is provided for the following applications:
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
Output
Local Monitor L/R
Local Monitor M
Headphone (Phones)
PFL Out
solo meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
0
3
3
6
6
9
9
12
15
18
21
21
24
24
direct input
500
150
Connection
Rear Panel
Rear Panel
Arm Rest
Rear Panel
console.
Application
For connection of local stereo loudspeakers.
For connection of a local mono loudspeaker.
For connection of stereo headphones.
For linking the PFL output of the Siena to another
Tip: when running monitors, you may wish to listen to your mono floor monitor feeds on a separate speaker to your
stereo in-ear monitoring so that you know what the artist is hearing from each system. Connect a pair of stereo
speakers to the Local Monitor L/R output and a separate mono speaker to the Local Monitor M output. Now solo
the mix bus masters feeding both the in-ear monitoring and floor monitors. Using the mono and stereo local
monitor MUTE switches, you will now be able to mute the floor monitor speaker to listen to the stereo in-ear
monitor feed or vice versa.
12
15
18
Format
Stereo
Mono
Stereo
Mono
0
MUTE
5k
50
SOLO
20
0
direct to
masters
0
Do not confuse the Local Monitor M output with the PFL Output connection, as the PFL Out is always active and
does not feature level or mute control. This is because the PFL Out is typically used to connect the PFL bus to a
second console. For example, if the Siena is working with the support band, it may be necessary to feed its PFL
output to the main band's console.
frequency
10
generator
6
By default, you will be monitoring the AFL bus on the local monitor and headphone outputs. However, you may
choose to monitor the PFL bus for either inputs and/or outputs using the master AFL/PFL selector, see 'The Solo
System' on Page 24 for more details.
talk mic
3
2
1
NEUTRIK
15
60
talk gain
talk
on
talk
ext
auto
mute
masters
1-2
Phones Level
The level of the
headphone output is continuously
variable from off (-inf) to +20dB.
monitor
clear
add
input
phones
0
1
3-4
SOLO
SOLO
input
output
PFL
PFL
5-6
2
7-8
9-10
3
11-12
4
13-14
input / output
15-16
Local Monitor Mono Mute The mono
MUTE switch mutes the Monitor M
output. The mute status is indicated by
the corresponding LED.
5
masters
monitor
clear
add
phones
Local Monitor Stereo Mute
The
stereo MUTE switch mutes the Monitor L
and Monitor R outputs. The mute status
is indicated by the corresponding LED.
0
SOLO
SOLO
input
output
PFL
PFL
auto mute
10
MUTE
local
5
5
MUTE
MUTE
left
right
mono
SOLO
SOLO
MUTE
masters
mono sum
auto mute
local
5
5
MUTE
MUTE
left
right
mono
SOLO
SOLO
MUTE
masters
Phones Mute The MUTE switch mutes
the headphone output. The mute status
is indicated by the corresponding LED.
10
MUTE
mono sum
Mono Sum The mono sum switch
sums the left and right monitor signals
feeding both the local monitor and
headphone outputs so that the stereo
output may be checked for phasing
issues and mono compatibility
MUTE
stereo
10
10
5
5
0
0
5
5
MUTE
stereo
10
10
Local Monitor Fader The local monitor
fader allows for continuous adjustment
of both the mono and stereo local
monitor outputs (Monitor L, Monitor R
and Monitor M) from off (-inf) to +10dB.
5
5
10
10
0
0
15
15
5
5
10
10
15
15
20
20
30
30
40
40
20
20
30
30
40
40
S0011
S0011
Operators Manual - Page 23
Master Section:
Stereo Master & Monitoring Controls
master meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
The Solo System (AFL and PFL)
Siena's hierarchical solo system and master AFL/PFL selector
provides the flexibility to monitor signals pre fade (PFL) or post
fade (AFL) quickly and easily.
0
3
3
6
6
9
9
12
By default, you will be monitoring channels or outputs in AFL on
the local monitor and headphone outputs when you press a
SOLO switch. To change to PFL monitoring, use the master AFL/PFL selector as described below.
12
15
15
18
18
21
21
24
24
solo meters
Normally, solo switches intercancel. However, if you press a number of SOLO switches in less than a second, they
will latch on together. This provides a quick way of listening to a number of channels or outputs. For example, to
solo both the left and right sides of a stereo mix bus output. Alternatively, you can force the console solos to always
be additive by enabling the Solo Add mode. Note: in this mode, solos are prioritised according to the type of input
or output see 'Solo Hierarchy' below for more details.
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
0
3
3
6
6
9
9
12
12
15
15
18
Note also that the master stereo left and right SOLO switches are both mechanically latching. By selecting these
two switches you can set the default solo state to monitor the stereo master output whenever other solos are
cleared.
18
21
21
24
24
direct input
Note: If these stereo master SOLO switches are not pressed, and no other solos are active, then no signal will feed
the AFL or PFL busses and you will be monitoring silence.
500
150
0
MUTE
5k
50
SOLO
20
frequency
0
direct to
masters
0
10
generator
6
SOLO Add When depressed, the SOLO
Add switch allows multiple SOLO
switches to be selected.
talk mic
AFL/PFL Selector By default, you will
be monitoring channels or outputs in AFL
on the local monitor and headphone
outputs when you press a SOLO switch.
Press input PFL to force all input (input
channels and the stereo direct input)
solos into PFL mode. Press output PFL
to force all output (16 mix bus and
stereo master) solos into PFL mode.
Select both switches to force PFL solos
across the console.
3
2
1
NEUTRIK
15
60
talk gain
talk
on
talk
ext
auto
mute
masters
input
1-2
1
3-4
5-6
2
7-8
9-10
3
monitor
clear
add
phones
0
SOLO
SOLO
input
output
PFL
PFL
auto mute
10
MUTE
local
5
5
MUTE
MUTE
left
right
mono
SOLO
SOLO
MUTE
masters
SOLO Clear
The SOLO Clear LED
illuminates to show a solo is active. Press
the SOLO Clear switch to cancel all
active solos. Note: Solo Clear does not
apply to the stereo master left and right
solos as these are mechanically latching
switches.
mono sum
MUTE
stereo
11-12
4
13-14
input / output
15-16
Solo Hierarchy
5
In addition to the master AFL/PFL selector, Siena's hierarchical solo system allows you to quickly switch between
monitoring say an input channel in PFL and a mix bus output in AFL. The local monitor and headphone outputs are
controlled according to the following solo hierarchy:
masters
monitor
clear
add
phones
0
SOLO
SOLO
input
output
PFL
PFL
auto mute
10
local
5
5
MUTE
MUTE
MUTE
left
right
mono
SOLO
MUTE
SOLO
masters
1.
2.
3.
MUTE
mono sum
stereo
10
10
5
5
0
0
5
5
10
10
15
15
20
20
30
30
40
40
Input channels and the stereo Direct Input solos take highest priority.
The 16 mix bus master solos take second priority.
The stereo master left and right solos take lowest priority.
To best explain the power of this system, let's take a typical operating scenario. For example, you may wish to set up
the console so that you can PFL any input channel quickly, but still monitor your mix bus auxiliary sends or group
masters in AFL. Select the input PFL switch to force all input channel and the stereo direct input solos into PFL
mode. Also check that the output PFL switch is not selected so that all output solos remain in AFL. Turn on the Solo
Add switch to enable additive solo selections. Finally, turn on the stereo master left and right SOLO latching switches
and check that you are now monitoring the stereo master output post fader (in AFL).
Now press any of the 16 mix bus master SOLO switches. Since the mix bus master solos are higher in priority than
the stereo master solos, you will be monitoring only the output of the mix bus (in AFL) even though all three SOLO
switches remain illuminated.
Then select a SOLO switch on any input channel. This time the hierarchical system works to provide you with
monitoring of the input channel only. The input channel is monitored pre fader (in PFL) since this was the selection
made from the master AFL/PFL selector.
If you now deselect the input channel solo, you will go back to monitoring the mix bus output in AFL.
S0011
Remember that you can also use SOLO Clear at any time to clear down all selections except the stereo master solos.
This allows you to quickly revert to monitoring the stereo master output.
Operators Manual - Page 24
Master Section:
Stereo Master & Monitoring Controls
master meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
HELIX Digital Equaliser
Solo Tracking System
The Siena console features a Solo Tracking System which allows
any of the 16 mix bus master or stereo master solos on the
console to trigger auto solo messages on the Klark Teknik
DN9340 (HELIX) digital graphic equaliser. This unique interface
allows engineers to quickly view the equaliser settings for a mix
output on the HELIX master display simply by pressing the corresponding mix solo switch on the console.
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
solo meters
right
left
21
21
18
18
15
15
12
Note: the Solo Tracking System supports the Klark Teknik DN9340 (HELIX) digital graphic equaliser only. Multiple
Helix units may be linked together to provide enough digital equalisers for all 16 mix bus and stereo master outputs
as required. Please refer to the HELIX Operator's Manual for more details on configuration.
12
9
9
6
6
3
3
0
The console is connected to the master HELIX equaliser system using the RS-232 (9-pin) data port located on the
lower rear connector panel. The data LED is not normally lit but will illuminate briefly each time a mix bus or master
solo is triggered.
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
direct input
500
150
0
MUTE
5k
50
SOLO
20
frequency
0
direct to
masters
0
10
generator
6
DATA
talk mic
3
2
1
NEUTRIK
15
60
talk gain
talk
on
talk
ext
auto
mute
masters
input
1-2
1
3-4
Pressing any one of the 16 mix bus master or left/right stereo master solo switches on the console triggers the
corresponding auto solo message to the HELIX. This results in the relevant EQ being automatically shown on the
HELIX master display allowing you to now quickly view and adjust the master's EQ settings.
5-6
2
7-8
9-10
3
11-12
4
13-14
input / output
15-16
5
masters
monitor
add
clear
SOLO
SOLO
input
output
PFL
PFL
phones
0
auto mute
10
MUTE
local
5
5
MUTE
MUTE
left
right
mono
SOLO
SOLO
MUTE
masters
Note: the Solo Tracking System responds to the console's Solo Clear and the hierarchical system. For example,
when you select the stereo master left SOLO switch, the HELIX will respond by displaying equaliser settings for the
stereo master output. Now select one of the 16 mix bus master solos. As these are higher priority, the system
cancels the stereo master solo trigger and the HELIX will now display equaliser settings for the chosen mix bus
output. If you then deselect the mix bus master solo, the system reactivates the stereo master solo returning the
Helix display to show EQ settings for the stereo master.
mono sum
MUTE
stereo
10
10
5
5
0
0
5
5
10
10
15
15
20
20
30
30
40
40
S0011
Operators Manual - Page 25
Master Section:
Stereo Master & Monitoring Controls
master meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
Stereo Master Output Controls
In addition to the console's 16 mix bus outputs, the Siena
provides a stereo master typically used to generate the front of
house (FOH) mix, if required. Independent controls are
provided for the left and right sides of the stereo master
retaining ultimate control at all times.
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
solo meters
right
left
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
0
3
3
6
6
9
9
12
12
15
15
18
18
21
21
24
24
direct input
Auto Mutes
The two auto mute 5
switches are used to assign the left or right
stereo master output mute to auto mute
group 5.
500
150
0
MUTE
5k
50
SOLO
20
frequency
0
direct to
masters
0
auto mute
5
5
local
mono sum
10
generator
MUTE
MUTE
MUTE
left
right
mono
6
Solos The two SOLO switches route the
left and right stereo master signals onto
the stereo AFL and mono PFL busses. The
solo LED indicators illuminate to show that
the master solos are active. Depending on
the PFL selector in the master section, you
may be listening to the master output
signal in AFL or PFL on your local
monitoring or headphone outputs.
talk mic
3
2
1
NEUTRIK
15
60
talk gain
talk
on
talk
ext
auto
mute
masters
input
1-2
SOLO
MUTE
masters
stereo
10
10
5
5
0
0
5
5
10
10
15
15
20
20
30
30
40
40
1
3-4
5-6
2
7-8
9-10
3
11-12
4
13-14
input / output
15-16
5
Note: the left and right master SOLO
switches are mechanically latching and are
not affected by the SOLO Clear function.
By selecting these two switches you can
set the default solo state to monitor the
stereo master output whenever other
solos are cleared.
masters
monitor
clear
add
The two stereo master SOLO switches may
also trigger auto solo messages on an
external Helix digital equaliser via the
console's Solo Tracking System. For more
details, please refer to Page 25.
phones
0
SOLO
SOLO
input
output
PFL
PFL
auto mute
10
MUTE
local
5
5
MUTE
MUTE
left
right
mono
SOLO
SOLO
MUTE
masters
S0011
mono sum
MUTE
stereo
10
10
5
5
0
0
5
5
10
10
15
15
20
20
30
30
40
40
S0011
Operators Manual - Page 26
Mutes The two MUTE switches mute
the left and right stereo master signals
post fader. (i.e. signal is muted at all
points except the master insert send and
PFL bus). The mute status is indicated by
the corresponding mute LED. Note: the
mute switch may be controlled by Auto
Mute master 5, see left.
Faders The two stereo master faders
provide continuous adjustment of the
left and right master outputs from off
(-inf) to +10dB.
Setting up the
Siena
Operators Manual - Page 27
Setting Up The Siena
The Siena has been designed with real world sound engineering in mind. With its flexible routing and feature
set, the console is as happy running the front of house (FOH) mix as it is providing monitor mixes for the
artists on stage.
In this section of the manual, we will introduce some of the basic operating principles of the Siena console,
and discuss some typical operating scenarios and the best way to approach them.
Setting the Correct Input Gain
The Siena’s input channel has a mono microphone and line input. Gain is provided on these channels to allow the
operator to obtain the optimal signal for the system.
Microphone Gain
Mono Channel Line Gain
+15dB to +60dB (0dB to +45dB with pad switch enabled)
0dB to +45dB (-15dB to 30dB with pad switch enabled)
Each channel of the Siena includes an in-line channel LED meter indicating the channel level (measured after the
channel insert and EQ but before the channel fader). With the insert and EQ disabled, the in-channel meter will
show the level at the input in four stages:-18dB
0dB
+12dB
+18dB
- Signal Present
- Normal operating level
- High Signal Level
- 3dB before channel overload (clipping)
The input gain of the channel can be used to obtain the best operating level for the console. Too small a signal level
(too little gain) and the best signal to noise ratio will not be achieved; too high a signal level (too much gain) and
there is the chance of overloading the channel causing distortion.
Clearly, the gain should be positioned between these two points, to gain an optimal signal to noise ratio without
overloading the channel. The ideal level for input channels would be around +6dB with occasional illumination of
+12dB.
Leaving Enough Headroom
A channel signal is only permitted to swing high and low by an amount fixed by the power supply. If the maximum
output of the Siena channel strip is +21dBu (0dBu = 0.775 volts RMS) then imagine the following situation:
Headroom is the amount of spare ‘swing’ available to the system. If 6dB headroom was desired at all times, a
maximum level of +15dB is required to retain the headroom.
To prevent overload, the gain must be set to a point that even the highest output from the microphone during
sound check has some headroom left to prevent any surprises during the show!
The consoles Busses (e.g. Left and Right Main buss) are the point where all channel signals are summed together.
In normal operation, it is unlikely that all channels will receive the same signal at the same time so typically when
48 channels are summed together a gain of around 6 to 9dB will be seen. It is important to leave some headroom in
the summing amplifiers so that they do not overload, should the sum exceed the maximum level.
The Effect of EQ
Channel equalisation should be used with care. Boosting or cutting equaliser bands can make monitoring your
actual input level very difficult. Excessive boosting of EQ (+15dB is available on each band)will have the same
effect as applying more gain to the input, taking up valuable headroom. Consider backing off the channel gain
when using large amounts of boost (if you have to use large amounts of boost) to retain a sensible level at the
output.
Excessive EQ cut can have a similarly undesirable effect. If a large amount of signal is cut in the equaliser section,
gain may be used to ‘make up’ the level lost in the equaliser. However, the input pre-amplifier still has the same
amount of available headroom. If gain, added to ‘make up’ the loss in the equaliser, exceeds the maximum level
into the microphone pre-amp then the channel won’t appear to be overloaded but the microphone pre-amp will.
Turning off the equaliser will reveal the true story, whereby the microphone pre-amp may be overloaded. It is
worth considering whether such large amounts of EQ cut is really required, or whether it is being used rather more
as a volume control (in which case the input gain could be set to a normal operating level and the output adjusted
on the channel fader).
TIP: You can monitor the level pre-EQ and post-EQ using the in-channel LED meter by switching the EQ in and out
during sound check.
Operators Manual - Page 28
Setting Up The Siena
Using Dynamics Processing to Control Gain
When working with signals that are constantly at a high level, the channel gain can accommodate these signals
with ease. When working with varying signals (such as the vocals) it may be desirable to reduce the dynamic range
of the signal so that the loud parts aren’t so loud (and don’t overload your channel input) and the quiet bits aren’t
too quiet (so the signal to noise ratio would be increased).
Limiters and Compressors have a similar function which is to reduce the dynamic range of a signal. The means by
which they do this won’t be discussed here but, these devices have the ability to reduce the level of loud signals
automatically and also raise the gain to ‘make up’ the level as desired. The channel gain can now be set with
adequate headroom to accommodate both loud and quiet signals and the compressor can reduce the dynamic
range and ‘make up’ any reduction in level. By inserting such a device into the channel’s insert point you have the
ability to remove the guesswork from setting your system gain.
However (and this is a big however), there are still sources of potential problems. The Siena is able to operate at
levels up to +21dBu on both the insert send and return. If the maximum input level of the compressor was less
than +21dBu then it is possible to overload the input of the compressor. The only way to resolve this situation
would be to drop the channel input gain so that the input level of the compressor was not being overloaded. Bear in
mind however, the level returned from the compressor would also be lower than +21dBu and excessive use of the
compressor ‘make up’ gain would overload the output of the compressor!
What is Unity Gain?
Unity gain is a gain of 1 (i.e. no gain or attenuation is applied to a signal).
If a signal entered a mono line level input of the Siena at 0dBu and the gain was set to +15dB (an internal 15dB
attenuation sets the net gain to 0dB), then the signal was routed to each output at 0dB, the channel fader was set
to 0dB and each output fader was set to 0dB, the output should be 0dBu (or unity). Some console manufacturers
mark the 0dB level of their faders and pots ‘U’.
Simple. But that’s just one signal. If we have two 0dBu signals entering the Siena (assuming they are coherent i.e. the same level and phase) to be summed in the busses, the output would no longer be 0dBu.
Simply,
0dBu = 0.775 volts
0.775 volts + 0.775 volts = 1.55 volts
1.55 volts is 0.775 volts +6dB (or a gain of 2)
To retain an output of 0dBu (our previous unity level) each input must be reduced.
0.775 volts / 2 = 0.3875 volts
0.3875 volts is 0.775 volts -6dB (or a gain of 1/2)
So each fader must be reduced to -6dB to retain the unity gain level of 0dBu on the console output. When using four
inputs at 0dBu, the faders must be reduced to -12dB. Real life signals are not continuous, but the principal is the
same. If you have a sinusoidal input that is nominally 0dBu on all 48 inputs with the channel faders at 0dB, the
output is likely to be well above the 21dBu maximum output of the console and leave no headroom spare. With real
world signals, 48 channels summed together will give around 6 to 9dB gain because it is unlikely that all 48
channels will receive the same signal at the same time. Instead signals will occur at different times, and there will
be cancellation due to phase and frequency differences.
Operators Manual - Page 29
Setting Up The Siena
Signal Processing and Amplifiers
The final links in the system tend to be graphical equalisers, loudspeaker processors and finally amplifiers and
speakers.
Graphical equalisers have the same problems as the Siena’s EQ. If excessive boost is applied to the signal, the
graphic equaliser’s output may be overloaded. If, the output of the Siena is higher than the maximum input level of
the graphic, the input of the graphic may be overloaded.
Loudspeaker processors have similar problems. If the input level to the processor is too high, the input may be
overloaded and introduce distortion into the outputs (and to the speakers!). In addition to this, any boost on the
processors outputs (say you want 3dB more bass) will cause that output to overload earlier (in this case 3dB before
the other outputs).
Finally, amplifiers can introduce the most interesting results.
An amplifier has a sensitivity. That is, an input signal level that causes the amplifier to produce it’s maximum output
level. For many amps this is 0dBu (0.775 volts RMS), others use 0dBV (1 volt RMS) others use different levels.
Beyond this sensitivity, the amplifiers output will not be able to produce any more power and ‘CLIP’ (usually
indicated by some serious looking red lights). Sending +21dBu level from the Siena will clip the output of most
amplifiers causing damage to your loudspeaker system.
There are a number of solutions to this problem:
Reduce the amplifiers input attenuators to a level where the amplifier and console clip at the same point.
E.g. The input sensitivity is 0dBu, setting the input attenuator on the amplifier to -21dB would mean
that the console would clip at the same time as the amplifier. So operating the console sensibly
the amplifier should never be clipped. The console led Meters will also accurately show the
Available headroom left in the entire system.
-21dB may not be a sensible level to set as many operators choose not
to run the output of the console so high. That is personal choice.
Run the output of the console at a level below 0dBu
This solution means that you won’t get full benefit of the console, and may
suffer a reduced signal to noise ratio especially when running over long signal cables. But the
amplifiers should be saved from clipping.
As with many things in the audio world, use your ears. If something sounds distorted check:
Input Gain too high?
EQ Too Much Boost?
EQ Too Much Cut coupled with a High Input Gain?
Too High a level into Inserted Processor?
Clipping Loudspeaker controller or Amplifiers
(lower input gain and check)
(disable eq and check)
(disable eq and check)
(disable insert and check)
(check CLIP lights on amps etc.)
Operators Manual - Page 30
Setting Up The Siena
Busses and Routing
Siena has a master stereo bus plus 16 mix bus outputs which may be used as auxiliary sends or group outputs
depending on the application of the console. This generic approach to the mix bus structure enables the console
cover a wide range of applications. Here are two typical examples:
Monitors (Creating Auxiliary Sends)
When using the Siena purely as a monitor desk, you will want to generate as many auxiliary sends as possible to
feed each artist's monitoring. In addition, you may require both mono and stereo monitor mixes to feed a mixture
of floor monitors and wireless in-ear monitoring. By configuring any odd/even pair of the Siena's mix busses for
stereo operation, you have complete flexibility over the console layout. A typical layout may be as follows:
Mix Bus
1-8
9 & 10
11-16
Master Stereo
Format
mono
mono
stereo
stereo
Application
sends to eight mono floor monitors.
sends to an external effects unit (e.g. reverb).
sends to three stereo wireless in-ear monitor systems.
may remain unused, or generate an additional
send to the stage.
stereo
monitor
You may now use the mix bus master controls to adjust the level of each artist's send on the master fader, mute
single or multiple feeds and solo your sends on local monitoring or headphones in AFL or PFL. Use the mix bus
master insert sends and returns to apply any external master processing (e.g. a protection limiter) to individual
sends.
Tips
* The stereo direct input provides an additional input to the console. A common application is to use the direct
input as a stereo effects return, which saves using two input channels for this purpose. For example, connect the
output of your external reverb unit to the console's direct input. Now use the Direct Input Level to Mix controls,
located above the mix bus master faders, to add reverb onto each artist's send.
* You may wish to listen to your mono floor monitor feeds on a separate loudspeaker to your stereo in-ear
monitoring so that you know what the artist is hearing from each system. Connect a pair of stereo speakers to the
Local Monitor L/R output and a separate mono speaker to the Local Monitor M output. Now solo the mix bus
masters feeding both the in-ear monitoring and floor monitors. Using the mono and stereo local monitor MUTE
switches, you will now be able to mute the floor monitor speaker to listen to the stereo in-ear monitor feed or vice
versa.
* The Siena provides five auto mute groups to provide easy muting of similar channels. For example, during a live
concert, there may be one song where most of the band will leave the stage. During this part of the show, monitor
sends are only needed for one or two performers. By selecting auto mute 5 on all of the other band members'
auxiliary send masters, you may mute these monitor feeds with one switch press auto mute master 5.
Operators Manual - Page 31
Setting Up The Siena
Busses and Routing
Dual Purpose Front of House (FOH) and Monitor Applications
With its flexible routing and feature set, the Siena is happy to run both the front of house (FOH) mix and provide
monitor mixes for the artists on stage. In this dual purpose application, you will want to use some of the 16 mix
busses, as above, to generate your monitor feeds to the stage, while the remaining busses can be used to generate
audio sub groups.
The master controls for mix outputs 9-16 vary slightly from those for mix outputs 1-8. This is due to the fact that
mix bus outputs 9-16 may be routed, and panned, onto the stereo master bus. This makes mix busses 9-16 ideal
for use as group outputs as they may be output separately from the console and/or summed onto the stereo
master for a FOH mix. For these reasons, use mix busses 1-8 for auxiliary sends and 9-16 to create audio sub
groups when working in a hybrid FOH/Monitor application. A typical console layout may be as follows:
Mix Bus
Format
1-2
stereo
3-7
mono
8
mono
9-16
stereo
Master Stereo
stereo
input channels to create the FOH mix.
Application
send to one stereo wireless in-ear monitor feed.
sends to five mono floor monitors.
send to an external effects unit (e.g. reverb).
four stereo group outputs.
summed from the group outputs (mix
busses
9-16)
and/or
Group Outputs Typical Applications
Applications for groups vary, but include:
Sub mixes
Sub mixes are a common way of saving time (and possibly embarrassment) when using a large number of
microphones. For example: multiple microphones for Choirs, Drum Kits/Percussion, Orchestras, etc . . .
Typically, the sub mixes will probably be stereo so switch your chosen mix bus masters (e.g.9-16) into stereo mode
using the recessed stereo switches located beside the mix bus master faders.
Each input channel to be sub mixed should be routed to the mix bus send ONLY (i.e. not to the stereo master).
Remember to set both the level and pan on the input channel send. The channel fader sets the relative level
between the channels in the sub mix.
The group masters (e.g. mix bus masters 9-16) should then be routed to the stereo master bus and panned L-R as
required. The sub mix is now set up.
The group master controls (mix bus masters) can now be used to control the overall level of the sub mix, mute the
sub mix output or solo the sub mix signal.
Note: muting the sub mix is not the same as muting the input channels, as other input channel sends remain
active. If channels within a sub mix are required to be muted, use the auto mute facility.
Master EQ/External Signal Processing
Often, it is either too expensive or undesirable to apply signal processing to each channel individually (for example:
compression on a whole choir, graphic eq on a number of microphones, etc...).
Set up a sub mix, as described above, to group similar signals together. Now the desired external processor can be
inserted into the group (mix bus master) insert send and return to apply processing to the sub mix.
Alternative Outputs
When mixing for a number of speakers in a venue, it may be necessary to generate separate mixes with different
levels or processing.
Route the input channels to the chosen mix bus sends, let's say mix busses 9 and 10 and adjust the channel send
and fader controls.
Make sure the groups (mix bus masters) are NOT routed to the stereo master output. The group outputs (e.g. mix
bus 9 and 10) should then be wired into the amplification feeds to the speaker systems.
You may now control the separate mixes using the channel mix sends and master mix bus controls.
Operators Manual - Page 32
Setting Up The Siena
Busses and Routing
Auxiliary Sends Typical Configuration
When determining how many mix busses you wish to use for auxiliary sends, you may wish to consider the
following. We've also provided some recommendations on how to configure each send, depending on its
application.
Application
Artist Monitor Sends
Pre/Post Fade Reason
Pre (Post EQ)
The level in the monitor stays constant so that the
engineer can change the FOH level without affecting the
performer.
Effects Sends
Post
The level sent to the effects is proportional to the level on
the fader so the balance between wet (processed) and dry
(un-processed) sound stays the same even when the
channel level is changed.
Multitrack Recording
or Monitors from FOH
Pre (Pre-EQ)
The recording is made at constant level without EQ
so that these changes can be set in post-production when
more time, and a better listening environment are available.
(You can also use the channel insert send as a Direct Out for
this application but note that the output will be at unity).
Operators Manual - Page 33
Functional
Block Diagrams
Operators Manual - Page 35
Operators Manual - Page 36
automute 5 bus
automute 4 bus
automute 3 bus
automute 2 bus
automute 1 bus
mic
power
48v
phantom
5
4
3
2
1
MUTE
-15
line in
post eq
pre eq
pad
-15
mix pre
+60
+45
mic gain
+15
+30
40
30
20
15
10
5
0
5
10
eq
off
-
phase
reverse
+10dB
mic O
/
400
160
pre(7)8
pre7
pre(5)6
pre 5
pre(3)4
pre3
pre(1)2
pre1
hi-pass
0
0
0
0
insert
l
l
l
l
return
send
r
0
r
0
r
0
r
0
insert
SIENA - MONO INPUT MODULE
BLOCK DIAGRAM
20
60
hi-pass
filter
20
50
bass
200
100
+15
mix 8 st R bus
mix 7 st L bus
mix 8 mono bus
mix 7 mono bus
mix 6 st R bus
mix 5 st L bus
mix 6 mono bus
mix 5 mono bus
mix 4 st R bus
mix 3 st L bus
mix 4 mono bus
mix 3 mono bus
mix 2 st R bus
mix 1 st L bus
mix 2 mono bus
mix 1 mono bus
-15
-15
100
300
lo-mid
l
2k
1k
pan
c
+15
r
1k
400
-15
equaliser
8k
3k
hi-mid
+15
pre(15)16
pre15
pre(13)14
pre 13
pre(11)12
pre11
pre(9)10
20k
SOLO
stereo
2k
10k
treble
5k
pre9
-15
+15
0
0
0
0
eq
on
l
l
l
l
r
0
r
0
r
0
r
0
-18
0
12
18
solo logic bus
pfl bus
right solo bus
left solo bus
right bus
left bus
mix 16 st R bus
mix 15 st L bus
mix 16 mono bus
mix 15 mono bus
mix 14 st R bus
mix 13 st L bus
mix 14 mono bus
mix 13 mono bus
mix 12 st R bus
mix 11 st L bus
mix 12 mono bus
mix 11 mono bus
mix 10 st R bus
mix 9 st L bus
mix 10 mono bus
mix 9 mono bus
Post Fader (Default)
Pre Fader
Pre EQ, Post mute
Pre EQ, Pre insert
Post EQ
direct out
direct options
pfl meter
Operators Manual - Page 37
mix 2 st R bus
direct post R
direct post mono
mix 2 mono bus
mix 1 st L bus
direct post L
direct post mono
mix 1 mono bus
+6
0
+6
0
direct
2
stereo
send
send
return
insert M2
return
insert in
insert in
SIENA - MIX OUTPUT MODULE
BLOCK DIAGRAM
direct
1
insert M1
40
30
20
15
10
5
0
5
10
40
30
20
15
10
5
0
5
10
automute 5 bus
automute 5 bus
+10dB
+10dB
5
5
MUTE
MUTE
-24
-21
-18
-15
-12
-9
-6
-3
0
+3
+6
+9
+12
+15
+18
+21
mix 2 meter
-24
-21
-18
-15
-12
-9
-6
-3
0
+3
+6
+9
+12
+15
+18
+21
mix 1 meter
l
r
R
L
mix 2
stereo
SOLO
Note: Pan and stereo assign switch only occur on mix outputs 9-16
pan
c
mix 1-8 only
mono/stereo solo control
mix 1
SOLO
right bus
left bus
solo to Helix interface 2
solo logic bus
solo to Helix interface1
mix pfl bus
mix right solo bus
mix left solo bus
Operators Manual - Page 38
talk in
talk
mic
5k
50
OSC
500
freq
3
1
150
2
phantom
+48V
right bus
left bus
on
+15
return
generator
+10
0
talk
external
direct in R
direct in L
send
+60
return
insert MR
send
insert ML
on
talk
right bus
left bus
talk out
stereo
0
+20
mix15 mono bus
mix15 st L bus
mix13 mono bus
mix13 st L bus
mix 16
mix 14
mix 12
mix10 mono bus
mix16 mono bus
mix16 st R bus
mix14 mono bus
mix14 st R bus
mix12 mono bus
mix9 mono bus
mix10 st R bus
solo logic bus
mix right solo bus
mix left solo bus
PFL
-24
mono
-21
-24
-18
-21
-18
-15
-12
mix9 st L bus
-15
-6
-3
0
-9
-3
0
+9
+6
+3
-12
mix12 st R bus
mix 15
+9
+6
+3
-9
mix 10
mix11 st L bus
mix 13
+18
right
-24
-20dB
-20dB
+12
+15
+18
+12
+15
+21
mix8 mono bus
output
right
+21
solo meters
left
mix7 st L bus
mix pfl bus
PFL
input
direct post R
direct post mono
-24
mix7 mono bus
right bus
left bus
direct post L
left
-15
-18
-21
-15
-18
-21
-12
-6
-12
-3
-6
-9
-3
-9
0
0
+9
+3
+3
+12
+6
+9
+12
+6
+15
+15
-6
mix6 mono bus
mix5 mono bus
right solo bus
left solo bus
pfl bus
direct
to masters
MUTE
MUTE
+21
+18
+21
+18
master meters
mix8 st R bus
mix6 st R bus
mix 8
mix 6
mix4 mono bus
mix4 st R bus
mix5 st L bus
mix3 mono bus
mix3 st L bus
mix2 mono bus
mix 4
mix2 st R bus
mix 2
+6
0
direct
to masters
direct input
mix1 st L bus
MUTE
M5
+10dB
right
M5
+10dB
left
SIENA - MASTER MODULE
BLOCK DIAGRAM
automute 5 bus
mix1 mono bus
+20dB
+20dB
automute 5 bus
40
30
20
15
10
5
0
5
10
mix11 mono bus
mix 11
mix 9
mix 7
mix 5
mix 3
mix 1
direct
input
40
30
20
15
10
5
0
5
10
right
left
(dim)
local
monitor
0
+10
phones
5
0
5
10
direct
master R
master L
SOLO
SOLO
SOLO
MUTE
MUTE
pfl bus
MUTE
right solo bus
left solo bus
solo to helix R
mix pfl bus
mix right solo bus
solo to helix L
mix pfl bus
mix left solo bus
solo logic bus
5
4
3
2
1
SOLO
SOLO
phones
monitor R
monitor L
mono
monitor
pfl out
solo logic bus
solo add
solo logic bus
solo clear
automute 5 bus
automute 4 bus
automute 3 bus
automute 2 bus
automute 1 bus
auto
mute
masters
master R
master L
Dimensions and
Weights
Operators Manual - Page 39
Dimensions and Weights
Operators Manual - Page 40
Rear panel
Description
Operators Manual - Page 41
Solo
Tracking
System and
data
indicator
External
linear
power
supply
connector
Internal switching
mode power supply
mains inlet1
Recessed lamp clip
Operators Manual - Page 42
1
Refer to specifications for PSU fitting option
Model shown Siena 480
Input module
Lamp connector
Output module
Rear Panel Description
Specification and
Features
Operators Manual - Page 43
Siena Features
The following list of features is based upon the 48-channel frame size console.
The 48-channel Siena features:
48 mono input channels
16 Mix Bus Outputs
Mono Channels: 4 Swept Frequency Bands (Treble, Hi Mid, Lo Mid, Bass)
48 volt phantom power independently switched on each channel (always enabled on talk mic)
Hi-Pass filter on all inputs (Variable 20Hz to 400Hz)
Signal Generator
48 Switched Channel Inserts
16 Switched Mix Bus Inserts
48 Direct Outputs (Five jumper selectable source options)
Solo Tracking System
Connector
XLR(f)
1/4” TRS Jack
1/4” TRS Jack
Mic XLR(f)
XLR(f)
Impedance
1k5 ohm
10k ohm
10k ohm
1k5 ohm
10k ohm
Outputs Direct Out
Mix Out
Talk Out
Master Out
Monitor Out
PFL Out
Headphones
1/4” TRS Jack
XLR(m)
XLR(m)
XLR(m)
XLR(m)
XLR(m)
1/4” TRS Jack
Inserts Input
Mix
Master
1/4” TRS Jack
1/4” TRS Jack
1/4” TRS Jack
Inputs
Type
Microphone
Ch Line Input
Direct Input
Talk
Talk Input
Level Nom(Max)
Variable (+21dBu w/pad)
Variable (+36dBu w/pad)
Variable (+26dBu)
Variable (+6dBu)
0dBu (+21dBu)
No.
48
48
2
1
1
100 ohm
Imp Bal.
50 ohm
Yes
50 ohm
Yes
50 ohm
Yes
50 ohm
Yes
50 ohm
Yes
To drive headphones > 100 ohm
0dBu (+21dBu)
0dBu (+21dBu)
0dBu (+21dBu)
0dBu (+21dBu)
0dBu (+21dBu)
0dBu (+21dBu)
+10dBu (+21dBu)
48
16
1
2 (LR)
3 (LRM)
1
1
50/10k ohm (s/r) No
50/10k ohm (s/r) No
50/10k ohm (s/r) No
0dBu (+21dBu) (send/ret)
0dBu (+21dBu) (send/ret)
0dBu (+21dBu) (send/ret)
48
16
2
Total XLR input count
Total Jack input count
50
50
Total XLR output count
Total Jack output count
23
49
Total insert count
66
Balanced
Yes
Yes
Yes
Yes
Yes
XLR
2
1
3
1
2
3
Quarter Inch Jack
TRS Signal
Sleeve Screen/Ground
Ring
Cold Signal
Tip
Hot Signal
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
Note: Sockets are viewed from the front
face.
TRS Insert
Screen/Ground
Insert Return
Insert Send
TRS Headphone
Screen/Ground
Right
Left
Operators Manual - Page 44
Siena Specification
Internal Power Supply
Type
Line Voltage
Line Frequency
Switching
90 - 240V AC
50/60Hz
Input Impedance
Microphone
Line
1k5 ohm Balanced
10k ohm Balanced
Input Gain (all faders at 0dB)
Microphone
Microphone + Pad
Channel Line
Continuously variable from +15dB to +60dB
Continuously variable from 0dB to +45dB
Continuously variable from 0dB to +45dB
(-15dB to +30dB Pad enabled)
Continuously variable from off to +20dB
Direct Inputs
Maximum Input Level
Mic
Mic + Pad
Channel Line
+6dBu
+21dBu
+21dBu (+36dBu pad enabled)
CMR at 100Hz
Microphone (Gain +40dB)
Microphone + Pad (Gain 0dB)
Line (Gain 0dB)
Typ 95dB
Typ 80dB
Typ 80dB
Microphone (Gain +40dB)
Microphone + Pad (Gain 0dB)
Line (Gain 0dB)
Typ 95dB
Typ 80dB
Typ 80dB
CMR at 1kHz
Frequency Response (20Hz to 20kHz)
Microphone to Mix
+0 to -1dB
Noise 20Hz to 20kHz
Microphone EIN ref. 150 ohms (Gain +60dB)
-129dBu
System Noise (20Hz to 20kHz)
Summing Noise (48 channels
routed with faders down)
-80dB
Line to Mix Noise (48 channels
routed at 0dB, pan centre)
-75dB
Microphone to Mix (Gain +40dB,
0dBu output)
<0.03%
Channel to Channel
Mix to Mix
Channel to Mix
Max. Fader Attenuation
Max. Mute Attenuation
<
<
<
>
>
All Line Outputs
Direct Output
Insert Output
Headphones to drive
50 ohms Balanced Source to drive > 600 Ohms
100 ohms impedance balanced
50 ohms unbalanced
> 100 ohms
Distortion at 1kHz
Crosstalk at 1kHz
-100dB
-85dB
-85dB
100dB
100dB
Output Impedance
Maximum Output Level
All Line Outputs
Headphones
+21dBu
+21dBu
Nominal Signal Level
Microphone
Line
Headphones
-60dBu to 0dBu
0dBu
+10dBu
Operators Manual - Page 45
Siena Specification
Equalisation
Hi-pass slope
12dB/octave
Treble Band
Cut/Boost
Frequency range
+/-15dB
2kHz to 20kHz
Hi Mid Band
Cut/Boost
Frequency range
Bandwidth
+/-15dB
400Hz to 8kHz
1 Octave
Lo Mid Band
Cut/Boost
Frequency range
Bandwidth
+/-15dB
100Hz to 2kHz
1 Octave
Bass Band
Cut/Boost
Frequency range
Bandwidth
+/-15dB
20Hz to 400Hz
1 Octave
Power Supply Information
The number of power supplies shipped as standard with the Siena varies with the frame size as follows:
Channels
24
32 - 56
64
Internal
1
2
2
External
0
0
1
Redundancy
NO
YES
YES
The internal supplies on the 64 channel Siena should be switched on at approximately the same time so that excessive
load is not applied to any single supply.
The external power supply can be used to add or increase redundancy or to replace the internal supplies. The external
supply has a “daisy chain” facility (as shown below) allowing for a number of power supplies to be used together adding
redundancy to the system in the event of a power supply failing.
To console
Pin 1
Pin 2
Pin 3
Pin 4
Pin 5
Pin 6
Case
0V Analogue
+18V Analogue
-18V Analogue
+12V Gooseneck Light
+48V Phantom
0V Gooseneck Light
Chassis
Rear View
Front View
PSU 1
6 Pin Male XLR
PSU 2
Connection
CAUTION
CHECK VOLTAGE SELECTOR
BEFORE APPLYING MAINS.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING:
PUSH
PUSH
Pin 1 - 0VA
Pin 2 - + 18V
_
Pin 3 - 18V
Pin 4 - + 12V
Pin 5 - + 48V
Pin 6 - 0VL
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR.
NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
CAUTION:
FOR CONTINUED PROTECTION AGAINST RISK OF
FIRE REPLACE WITH THE SAME TYPE AND VALUE FUSE INDICATED.
ATTENTION: REMPLACER PAR UM FUSIBLE DE MÊME TYPE
MADE IN KIDDERMINSTER, ENGLAND
COMME INDIQUÉ.
DC Output / Link
DC Output / Link
SUPPLY
VOLTAGE
Power
Low
Mains
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING CONDITIONS:
(1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.
+48V +12V _ 18V +18V
100V/120V/220V/240V
AC~50-60Hz 460W
FUSE: 5x20mm
T5A L250V
CAUTION
CHECK VOLTAGE SELECTOR
BEFORE APPLYING MAINS.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
PUSH
Pin 1 - 0VA
Pin 2 - + 18V
_
Pin 3 - 18V
Pin 4 - + 12V
Pin 5 - + 48V
Pin 6 - 0VL
TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR.
NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
CAUTION:
FOR CONTINUED PROTECTION AGAINST RISK OF
FIRE REPLACE WITH THE SAME TYPE AND VALUE FUSE INDICATED.
ATTENTION: REMPLACER PAR UM FUSIBLE DE MÊME TYPE
MADE IN KIDDERMINSTER, ENGLAND
COMME INDIQUÉ.
DC Output / Link
SUPPLY
VOLTAGE
Power
Low
Mains
+48V +12V _ 18V +18V
US
WARNING:
PUSH
DC Output / Link
C
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING CONDITIONS:
(1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.
100V/120V/220V/240V
AC~50-60Hz 460W
FUSE: 5x20mm
T5A L250V
C
US
To subsequent supplies
Under NO circumstances should the Venice series power supply be used with the Siena. Only the Midas V190 Linear
External Power Supply is approved for use with Siena consoles.
Servicing and Maintenance
Both the Siena and the Midas V190 linear external power supply both contain potentially lethal voltages and should
only be serviced by authorised Midas service agents. In the event of malfunction, please refer servicing to qualified
personnel. Contact your Midas dealer for more information.
Due to a policy of continual improvement, Midas reserves the right to alter the specification and performance at any time without prior notification.
Operators Manual - Page 46
48v
48v
15
power
pad
48v
15
power
pad
pad
48v
15
power
pad
48v
15
power
pad
48v
15
power
pad
48v
15
power
pad
15
power
pad
30
45
30
45
30
45
30
45
30
45
30
45
30
45
30
45
15
60
15
60
15
60
15
60
15
60
15
60
15
60
15
60
O
15
10k
O
5k
15
treble
20
400
5k
15
10k
hi-pass
15
treble
300
1k
lo-mid
400
8k
300
1k
15
15
15
bass
20
20
15
15
eq
on
r
l
r
r
l
r
5-6
l
r
l
r
0
r
r
13-14
13-14
0
r
c
l
r
stereo
10
l
pan
r
stereo
10
18
12
5
l
l
pan
stereo
10
18
12
5
0
18
l
pan
r
stereo
10
18
18
l
pan
stereo
10
18
12
5
0
18
l
pan
18
r
r
stereo
r
l
r
0
0
r
13-14
0
l
r
0
0
pre
l
r
15-16
0
l
pan
l
r
0
c
r
stereo
10
12
18
r
0
11-12 l
0
MUTE
18
l
0
c
5
0
9-10
0
pre
15-16
0
10
18
l
0
r
12
5
0
0
pre
13-14
0
MUTE
r
0
0
r
l
l
pre
11-12 l
c
r
7-8
0
pre
15-16
0
MUTE
r
0
r
c
12
5
0
15-16
0
MUTE
r
pre
l
0
pre
l
pre
13-14
0
r
0
0
0
l
r
0
l
5-6
0
0
r
l
0
r
pre
0
r
c
r
l
3-4
pre
9-10
pre
13-14
0
l
r
0
r
r
0
0
11-12 l
pre
15-16
0
MUTE
r
0
0
r
c
MUTE
l
l
r
0
0
0
0
pre
13-14
0
9-10
l
1-2
pre
pre
11-12 l
pre
15-16
0
c
MUTE
r
0
0
r
r
0
0
pre
15-16
0
11-12 l
r
0
pre
15-16
l
l
l
l
7-8
0
0
pre
13-14
0
9-10
eq
on
pre
0
pre
0
r
0
pre
l
r
pre
l
r
0
15
0
pre
0
0
0
pre
r
l
pre
11-12 l
0
0
pre
9-10
pre
11-12 l
0
l
r
0
r
0
5-6
r
0
pre
400
0
pre
l
20
0
r
0
7-8
0
0
0
pre
11-12 l
l
0
pre
7-8
0
l
0
r
100
pre
3-4
pre
l
15
50
eq
off
pre
5-6
0
2k
0
r
0
r
pre
9-10
0
5-6
100
15
eq
on
1-2
0
l
1k
mix pre
0
r
300
0
pre
l
15
eq
off
r
l
8k
400
pre
3-4
pre
l
0
pre
9-10
0
r
400
bass
0
0
3k
100
15
0
0
0
7-8
0
0
pre
9-10
pan
7-8
0
l
0
r
l
1k
15
15
pre
1-2
pre
pre
l
r
20k
15
2k
20
eq
on
2k
lo-mid
50
pre
3-4
r
0
r
0
pre
r
1k
mix pre
0
0
l
5-6
0
pre
7-8
0
l
300
0
0
0
r
0
l
l
8k
400
eq
off
15
10k
15
400
15
15
5k
15
3k
bass
15
400
hi-mid
100
mix pre
20
hi-pass
15
100
15
160
20k
1k
2k
ins
60
l
pan
r
stereo
MUTE
10
18
12
5
0
18
18
12
5
0
18
0
18
0
0
0
0
0
0
0
0
auto
5 mute
auto
5 mute
auto
5 mute
auto
5 mute
auto
5 mute
auto
5 mute
auto
5 mute
auto
5 mute
1
10
1
10
2
15
20
15
3
30
4
40
5
SOLO
1
10
2
20
15
3
30
4
40
5
SOLO
1
10
2
20
15
3
30
4
40
5
SOLO
1
10
2
20
15
3
30
4
40
5
SOLO
1
10
2
20
30
4
40
5
SOLO
1
10
2
15
3
20
30
4
40
5
SOLO
1
10
2
15
3
Crib Sheet Input
treble
2k
pre
1-2
pre
l
5-6
0
pre
r
r
15
10k
lo-mid
20
pre
3-4
1k
0
0
0
r
0
pre
7-8
r
0
300
400
0
pre
l
5-6
0
l
l
0
pre
r
l
8k
50
pre
1-2
5k
15
400
15
eq
on
400
hi-mid
bass
eq
off
20
15
3k
100
15
mic
160
hi-pass
15
100
15
ins
60
20k
1k
15
mic gain
treble
2k
2k
20
eq
on
15
10k
lo-mid
50
pre
3-4
1k
mix pre
0
0
0
pre
l
r
pre
3-4
0
300
0
0
0
8k
400
eq
off
5k
15
400
15
15
400
15
3k
bass
15
20
hi-mid
100
20
mic
160
hi-pass
15
100
15
ins
60
20k
1k
2k
mic gain
treble
lo-mid
mix pre
l
15
10k
2k
pre
1-2
pre
l
1k
0
0
0
pre
300
50
pre
1-2
8k
400
0
0
400
15
eq
on
5k
15
bass
eq
off
400
15
3k
100
15
20
hi-mid
100
15
mic
160
hi-pass
15
1k
15
ins
60
20k
2k
2k
mic gain
treble
lo-mid
20
pre
3-4
1k
50
eq
on
0
l
300
mix pre
eq
off
pre
1-2
8k
100
15
mix pre
eq
off
400
400
15
mix pre
15
10k
15
bass
400
5k
15
3k
15
bass
400
hi-mid
100
50
20
hi-pass
15
1k
15
100
50
mic
160
20k
2k
2k
ins
60
treble
lo-mid
100
2k
15
10k
hi-mid
lo-mid
100
5k
15
3k
hi-mid
8k
400
15
1k
3k
400
20
hi-pass
15
15
1k
mic
160
20k
2k
15
15
hi-mid
ins
60
treble
20k
2k
O
400
mic
160
O
20
hi-pass
ins
60
mic gain
O
mic
160
mic gain
O
ins
60
mic gain
O
mic
mic gain
O
mic gain
l
48v
15
power
20
2
15
3
20
3
30
4
30
4
40
5
40
5
SOLO
SOLO
Notes:
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