MotleyUMC Portable Sound System Description

MotleyUMC Portable Sound System Description
Abstract
The MotleyUMC Portable
Sound System is used to
capture, process and play
sound at events outside
the MotleyUMC Church.
The purpose of this
document is to describe
that system as of June 1,
2017. It can be used to
trouble shoot the
Portable Sound System
and as a starting point
when making any future
additions and/or changes
to that system. It is also
provided as a reference
document to anyone who
wants to learn how to
operate the MotleyUMC
Portable Sound System.
MUMC Sound System
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Table of Contents
MotleyUMC Sound Systems Overview ................................................................................... 3
MotleyUMC Portable Sound System ...................................................................................... 5
MotleyUMC Portable Sound System Overview .......................................................................... 5
Portable Sound System Components ......................................................................................... 6
Inputs ...................................................................................................................................... 6
Stands and Cables ................................................................................................................... 6
Mixers...................................................................................................................................... 7
Portable Mixer .................................................................................................................... 8
Remote Mixer ..................................................................................................................... 8
Outputs ................................................................................................................................... 8
Speakers .................................................................................................................................. 9
Main Speakers..................................................................................................................... 9
Monitors.............................................................................................................................. 9
Component Schematic .......................................................................................................... 10
Sound Capture .......................................................................................................................... 10
Capturing Live Sound ............................................................................................................ 10
MICs .................................................................................................................................. 11
Instruments ....................................................................................................................... 12
Capturing Prerecorded Sound .............................................................................................. 13
Sound Processing ...................................................................................................................... 13
Overview ............................................................................................................................... 13
Mixer ..................................................................................................................................... 14
Mixer Basic Functions ....................................................................................................... 15
Mixer Controls .................................................................................................................. 16
Remote Mixer ....................................................................................................................... 22
Sound Output............................................................................................................................ 24
Amplified Speakers ............................................................................................................... 24
Main Speakers................................................................................................................... 24
Monitor Speaker ............................................................................................................... 26
Amplifier and Wedge Monitors ........................................................................................ 26
Sound Recording ....................................................................................................................... 27
MotleyUMC Portable Sound System Summary ........................................................................ 27
MUMC Sound System
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It is anticipated that no one will ever read this document cover to cover. In addition, this
document is not meant as a training manual for a sound operator. That training will still require
hands on instruction by a qualified operator. Instead this document is provided as a reference
document that describes the status of the MotleyUMC Portable Sound System.
There are two types of the sound systems at Motley United Methodist Church:

Primary Sound Systems: These sound systems are designed to capture sound from a
variety of live and pre-recorded sources, play the sound so it can be heard live over a
large area and record the sound for later playback.

Secondary Sound Systems: These sound systems are dedicated to specific sound
sources, play the sound at specific locations and cannot record the sound for later
playback. These systems are not described in this document.
Primary Sound Systems
Motley United Methodist Church currently has two (2) primary sound systems:
1. Main Sound System: This sound system has components that are permanently located
at the church with the purpose of capturing live and prerecorded sound, playing an
accurate and pleasing reproduction of that sound at multiple locations in the church,
and recording the sound for later playback.
2. Portable Sound System: The purpose of this sound system is the same as the
MotleyUMC Main Sound System located at the church, but its purpose is to fulfill that
purpose at a location other than the church.
Although many of the components of the Primary Sound Systems at MotleyUMC can be used
with both the Main and Portable System (MICs, Direct-In Boxes, stands and cables), they
capture and process sound in very different ways. This document only describes the
MotleyUMC Portable Sound System; the Main Sound System is described in a separate
document.
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Secondary Sound Systems
MotleyUMC currently has three (3) other sound systems that are not described in this
document:
1. MotleyUMC Organ: MotleyUMC has an organ with its own speakers (located at the back
of the Sanctuary) that is not directly connected to any other sound system. Organ music
is only captured by the MotleyUMC Main Sound System on a MIC positioned for that
purpose or as ambient sound on other MICs.
2. HDMI Video Network: MotleyUMC has a wired and wireless HDMI video network that
can play sound on flat panel TVs connected to that network. This system is described in
the ‘MotleyUMC Video System’ document.
3. Coaxial Cable Network: MotleyUMC has a wired coaxial cable network that can play
sound on any TV connected to that network. This network is currently not used.
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MotleyUMC Portable Sound System Overview
This purpose of this section of the document is to provide an understandable description of the
MotleyUMC Portable Sound System and how it processes sound. The system is an analogue
sound system that captures, processes, records and plays sound. Accomplishing those tasks
requires a significant amount of sophisticated sound equipment that together comprise the
MotleyUMC Portable Sound System. The system is run as a ‘stereo’ system with two channels
of sound output and recorded.
The section of the document is divided into the following sections:

Sound System Components
This section describes the MotleyUMC Portable Sound System equipment components
and includes a schematic showing how they are connected.

Sound Capture
This section provides an overview on how sound (both live and prerecorded) is captured
and input into the system.

Sound Processing
This section describe how sound is mixed and then processed by the system.

Sound Output
This section provides an overview of how sound is ‘played’ through amplified speakers
and how the sound level for each is controlled.

Sound Recording
This section provides an overview of how captured sound is recorded for later playback.

MotleyUMC Portable Sound System Summary
This section includes observations about the current state of the MotleyUMC Portable
Sound System and recommendations on making changes or enhancements to the
system in the future.
MotleyUMC Portable Sound System
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Portable Sound System Components
The Portable Sound System at MotleyUMC is composed of the following components:
Inputs
Sound is received into the MotleyUMC Portable Sound System from the following sources:
1. Wired Microphones: Currently the church has the five (5) stand mounted condenser
MICs (Choir MICs) and five (5) stand mounted dynamic MICs (Solo MICs) that can be
used with the MotleyUMC Portable Sound System. They can be connected through a
series of MIC jacks on the Portable Mackie Mixer that can handle both condenser and
dynamic MICs.
2. Wireless Digital Systems: Currently the church one (1) head-worn digital wireless
system with a single channel is assigned to the Portable Sound System. It can be
connected through a MIC jack or line-in jack on the Portable Mixer. Optionally, the two
(2) channel digital wireless system that is assigned to the Main Sound System can be
connected to the Portable Mixer.
3. Laptop: A Laptop running Windows 7 or Windows 10 can be connected to the Portable
Mixer through a USB jack located at the back of the Mixer. Sound played on the Laptop
can be added to the main mix.
4. Direct-in Boxes: Currently the church has three (3) Direct-in Boxes. One (1) Pro Co AV1A and two (2) Behringer ULTRA-DI DI100 Boxes. These boxes convert unbalanced linelevel inputs to balanced XLR mic-level output (required by XLR input jacks). The Pro Co
Direct-in Box is normally used is to connect a Laptop and the Behringer Direct-in Boxes
to connect a guitar pickup to an XLR input jack.
5. Line In: Instruments can be directly connected to the Portable Mixer through line-in
cables (1/4” TRS). Channel 1 can handle a high-impedance guitar input.
6. Tape In: A CD/DVD player can be connected to the Mixer through two RCA unbalanced
inputs. Inputs through these jacks are only active when the ‘break’ switch is activated
(down) and the volume is controlled through the tape level knob.
Stands and Cables
Stands and Audio Cables are an important part of the sound system that are used to hold MICs,
place them were needed and connect them (and other instruments) to the sound system:
1. MIC Stands: The church currently has ten (10) MIC stands to hold stand mounted MICs.
Each stand consists of a base (the church has 5 weighted and 5 tripod bases), an
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extendable tube and an optional top component (the church has 3 goosenecks and 5
booms). The top components are threaded and can be attached to any MIC stand. A
stand without a top component is referred to as a ‘straight’ MIC stand and is used with
condenser MICs where the performer can and should be at least 12” from the MIC. A
stand with a gooseneck top component can be used for either condenser or dynamic
MICs. A stand with a boom top component is used where the MIC must be positioned
at a distance from the stand (ex. pianist’s solo MIC) and requires a tripod base. Either a
dynamic or a condenser MIC can be used with this top component, but they are
normally used with a dynamic MIC. A MIC Stand Clamp is also required to mount the
MIC to the stand that is designed to work with a specific MIC.
2. Speaker Stands: The church currently has two (2) speaker stands for use with amplified
speakers.
3. Audio Cables: Audio Cables are used to connect sound system capture components
(MICs, Direct-in Boxes and Wireless Receiver) to the sound system. There are multiple
types of cables that are used based on the components that are being connected:
a. XLR Cables: These cables have a female XLR and a male XLR jack. They are used
to connect MICs and Direct-in Boxes to the sound system. The church has one
(1) 7’ cable, two (2) 10’ cables, nine (9) 25’ cables and two (2) 30’ cables of this
type.
b. TRS Cables: These cables have a ¼” TRS jack at both ends. They are used to
connect instruments to Direct-in Boxes and the Wireless Receiver to the Mackie
Mixer. The church has one (1) 5’ cable, one (1) 7’ cable and three (3) 30’ cables
of this type.
c. XLR/TRS Cable: These cables have a male XLR jack and a ¼” TRS jack. They are
used to connect instruments to Direct-in boxes. The church has two (2) 15’
cables of this type.
d. Other: The church has numerous other types of cables that are dedicated to
connect various sound system components and are therefore not described in
this document.
Mixers
After capture the sound is mixed (multiple sound sources are combined), leveled (the volume of
each source is adjusted) and effects are added (reverb, chorus, etc.) before being output.
Unlike the MotleyUMC Main Sound System, sound follows a single stereo path in the
MotleyUMC Portable Sound System.
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Portable Mixer
A Mackie Mixer model ProFX12 is used to combine multiple sound inputs (mix) into multiple
sound outputs that are then sent to amplified speakers. Up to 12 sound input channels (4
mono, two mono/stereo and two stereo channels) can be connected to the Mixer for inclusion
in the Main Mix. Any device with a Bluetooth capability can be directly connected to the main
amplified speakers over a Bluetooth connection and then mixed with the Main Mix using a
mini-mixer on speaker (see Amplified Speakers below). A pair of headphones are connected to
the Portable Mixer for monitoring.
Remote Mixer
A Behringer B207MP3 amplified monitor can be used as a remote mixer providing five (5)
inputs including a CD player, 3 combined TRS/XLR inputs and a USB port for playing MP3 files.
Channel 2 (TRS/XLR) can also be directly connected to a guitar.
Outputs
The following primary sound outputs are available on the Portable Mixer:
1. Main Outputs: Two (2) XLR jacks are located on the back of the mixer that output the
left and right main mix. Amplified speakers are connected to those outputs. The signal
output (mix) is the sum of all the channels whose channel faders are set to more than
minimum plus the USB input signal. The signal is post graphic EQ and the volume is
controlled with the main fader.
2. Line Outputs: Two (2) ¼” TRS jacks are located on the top of the mixer that output the
left and right main mix. They provide an alternative output of the main mix for
connection to amplified speakers or other recording devices. The signal output is the
same as the Main Outputs.
3. Monitor Output: One (1) ¼” TRS jack is located on the top of mixer is used to connect a
performer’s monitor. The signal output (mix) is mono and is the sum of all the channels
(mix) who’s ‘aux mon control’ is set to more than minimum plus the USB input signal.
The volume is controlled with the ‘Mon’ knob.
4. Tape Out: Two (2) unbalanced RCA jacks are located on top of the mixer that output the
left and right main mix. This output is not affected by the main fader or the graphic EQ.
5. Phones: A ¼” TRS stereo jack on top of the mixer can be connected to a pair of
headphones. The signal is the main mix before the graphic EQ or the main fader. The
volume is controlled with the ‘Phones’ knob.
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6. USB: A USB jack is located on the back of the mixer. A Laptop running Windows 7 or
Windows 10 can be connected to the Portable Mackie Mixer through this jack. Two
channels of sound (Main Left and Main Right) are output through the USB jack and can
be recorded on the Laptop. The signal is the main mix independent of any adjustments
made to the main fader or the graphic EQ.
Speakers
Main Speakers
The output from the Portable Mixer is played on amplified speakers that are connected to the
XLR Main Outputs on the back of the mixer. The church has two (2) Behringer Eurolive B115W
1000 watt amplified speakers with 12” woofers.
Monitors
The church has a Behringer B207MP3 amplified monitor for placement near the performers for
monitoring. The monitor can be connected to the ¼” TRS ‘Mon Send’ jack on the top of the
Mixer. This unit can be mounted on a MIC stand and can be used as a remote mixer.
The church also has a Behringer Eurolive ER2000 two (2) channel 2000-watt amplifier in a
portable case and two (2) Behringer wedge monitors for placement near the performers for
monitoring. The amplifier can be connected to the ¼” TRS ‘Mon Send’ jack on the top of the
Mixer and then to the wedge monitors using speaker cables.
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Component Schematic
The following diagram shows the primary components of the Portable Sound System and how
they are connected.
Sound Capture
The MotleyUMC Portable Sound System can capture both live and prerecorded sound. The
system is a stereo system and mono channels are placed on the left or right channel based on
the setting of the ‘Pan’ knob for that channel. On stereo channels the ‘Pan’ knob acts like the
balance control on a home stereo. USB input must be ‘panned’ or balanced at the source of
that signal.
Capturing Live Sound
Live sound is captured by MICs and instruments that are connected to the input channels on
the mixer.
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MICs
1. Condenser Microphones
The church has five (5) stand mounted condenser microphones. The polar pattern for all
four is set to cardioid (see diagram) and all five can pick-up sound from up 20 ft. away
from the MIC. These microphones are excellent for voices, groups and instruments
(especially acoustic guitars).
Because of the range of these microphones
care should be taken that they are not placed
in a location where the speakers or the
monitor are within their pick-up pattern,
otherwise you will create a feedback loop.
These MICs are sensitive to wind noise and
should always be used with a wind screen.
They are also sensitive to rough handling.
Cardioid Polar Pattern
2. Dynamic Microphones
The church has five (5) dynamic
microphones. The polar pattern for all five is cardioid (same as condenser MICs, see
diagram) and they are sensitive to the distance to the sound source. Each MIC also has
an on/off switch on the MIC that can be used by the performer. They are normally used
for solo vocals.
Because of their sensitivity to distance they are called solo MICs and are less likely to
create feedback, but care should still be taken when placing them. An experienced
performer will also use this sensitivity to distance to vary the sound level during the
performance by moving closer to and away from the MIC. You should provide a gentle
warning to inexperienced performers to turn the MIC on and to maintain a consistent
distance from the MIC during the performance. These microphones are not sensitive to
wind noise and are very rugged.
3. Wireless Digital System
Currently the church one (1) with one (1)
channel for use with the portable sound
system. The receiver is connected to either
an XLR MIC or line input on the Portable
Mixer. It can also be connected to the Main
Sound System and the two (2) channel
digital wireless system assigned to the Main
Sound System can be connected to the
MotleyUMC Portable Sound System
Omnidirectional Polar Pattern
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portable mixer. There are two (2) handheld MICs and one belt transmitter that can be
‘paired’ to any digital channel. The church has three (4) MICs that can be connected to a
belt transmitter; three (3) ear-worn and one (1) lapel. All the wireless MICs have an
omnidirectional polar pattern (see diagram) and due to their limited pick-up range they
are not sensitive to feedback.
4. Wireless Analogue System
This unit is rarely used and functions as a backup. The unit is a Samson Airline 77
Headset with a separate receiver unit that can be used with the Portable Sound System.
The headset is fully contained including a unidirectional condenser microphone
(omnidirectional polar pattern, see diagram) and transmitter with no belt-pack or cable.
The transmitter pack has a mute button, power switch and low battery LED. Due to the
range of the MIC feedback can be a problem with this unit. The MIC is also sensitive to
wind noise and should always be used with a wind screen.
Instruments
1. Direct-in Boxes
Direct-in boxes (DI) are used to connect unbalanced line-level signals output by some
instruments (ex. guitar) to balanced XLR mic-level input that is required by the XLR input
jacks on the mixer. Currently the church has three (3) Direct-in Boxes; one (1) Pro Co AV1A and two (2) Behringer ULTRA-DI DI100 Boxes. The Pro Co AV-1A converts unbalanced
line-level inputs from 2 RCA jacks, a 3.5mm stereo mini jack or a 1/4 inch stereo phone
jack to balanced XLR mic-level input required by XLR input jacks on the mixer. The two
(2) Behringer ULTRA-DI DI100 Boxes convert unbalanced line-level input from an XLR
jack or a 1/4 inch TRS jack to balanced XLR mic-level input required by the mixer. Both
can be used to connect unbalanced line-level input (example acoustic guitar internal
pickups) to any XLR MIC input jack on the mixer. They can also accept speaker-level
input from an electric guitar amplifier through the 1/4 inch stereo phone jack. The Pro
Co AV-1A can also accept input from a laptop PC through stereo RCA jacks.
Channel 1 on the mixer can also be set to accept input from a guitar by pressing in the
‘Line/HI-Z’ switch in before connecting the guitar. This allows you to bypass the need for
a direct-in (DI) box for a single guitar.
2. Line In
An instrument that outputs a balanced or unbalanced line-level signal can be connected
to the line-in jacks on the mixer. Instruments that output a stereo signal (ex. keyboard)
should be connected to the stereo input channels on the mixer. A mono signal can be
connected to a stereo channel by connecting it to ‘left’ channel only and the signal will
be duplicated on the right channel.
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Capturing Prerecorded Sound
Prerecorded sound can be captured and played through the sound system by either connecting
the device to one of the input channels (see ‘Line In’ above) or through a PC connected to the
USB jack on the back of the mixer.
Sound Processing
For the purposes of this section of the document we are using the broadest definition of the
term ‘sound processing’ including but not limited to preprocessing, splitting, mixing, routing,
leveling, adding delays, equalizing and adding audio effects. This includes anything that
modifies the sound after it is captured but before it is output for amplification or recording.
Overview
Before the sound that has been captured can be ‘played’ it must be processed. This ensures
that each input can be heard at the proper level (the piano does not overpower the singer),
that echoes are eliminated, that feedback loops are stopped (that annoying high pitched
squeak), that the output is rich in tone, that the sound is not too loud or soft, that the sound
can be heard in the proper location(s) and finally that the sound is tailored for the location
where it is being heard. Without sound processing a pleasing sound (be it inspiring music or a
thought provoking sermon) can quickly become annoying noise.
In the MotleyUMC Portable Sound System sound that has been captured is prepared for output
(processed) by a Mackie Mixer model ProFX12. Unlike the MotleyUMC Main Sound System,
there are no dynamic processors, splitters, amplifiers or digital sound processors in the
MotleyUMC Portable Sound. Instead the system depends completely on the sound engineer
who runs the mixer.
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Mixer
A Mackie Mixer model ProFX12 is used as the mixer in the MotleyUMC Portable Sound System.
It has many knobs, buttons and sliders that are used to select, combine, split, modify and finally
output the sound that has been captured. The operator manipulates these controls during a
live performance to control how different sound inputs are combined (mixed) and the quality of
the sound that is output. Although intimidating at first, acceptable results can be obtained with
minimal training. With experience, a trained operator can produce amazing results. In addition,
the unit has capabilities and functions that are not currently being utilized.
The purpose of this section is to provide an overview of the basic functions of the Mixer, how
those functions are controlled and how they are currently used. It is not intended as a training
manual or a substitute for the unit’s user manual.
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Mixer Basic Functions
The Mackie Mixer performs the following basic functions:
1. Inputs
The mixer can accept and control the level of input from up to 9 sound sources through
14 sound channels for adding to the main mix. The first 4 channels (1-4) accept input
from either a MIC or line level input. The next four channels (5-6 and 7-8) accept either
two (2) MIC or up to four (4) line level inputs. The next four channels (9-10 and 11-12)
accept up to four (4) line-level inputs. The USB channel will accept up to 2 channels of
input through the USB jack.
2. Mixing
Each input channel can be added (mixed) at the desired level to create two output
mixes. Except for the USB channels, the mute button will remove the channel from both
outputs mixes. The USB channels are muted by turning the USB level knob to 0dB. The
outputs include the main mix and the monitor mix. The main mix is stereo and the
monitor mix is mono. The level of the output signal for each mix can be controlled
separately by using the Main Fader for the main mix and the monitor fader for the
monitor mix.
3. Input EQ Processing
Each sound source except the USB channels can be equalized by boosting or cutting low,
mid and high level frequencies.
4. Internal Effects Processing
Each source except the USB channels can be added to an internal effects mix (FX) that is
then processed by an effects processor with 16 preset effects. After processing the
revised signal can be added back into the main mix at the desired level.
5. External Effects Processing
External effects processors (compressors, equalizers, harmonizers, etc.) can be
connected to any input channel or the main mix. The signal is sent to the effects
processor and then returned to the mixer for addition to the main mix. Effects can be
added serially or in parallel with the original signal. The church does not currently have
any external effects processors so this function is not used.
6. Pan
Each input and sub channel can be ‘panned’. For mono channels this moves the signal
from the left to the right of the stereo output channel allowing the operator to ‘place’
the input within the main mix. On the stereo inputs it operates as a balance control,
attenuating one side or the other.
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7. Tape In
The ‘tape in’ function allows the operator to replace the output to the main mix with
input from the ‘tape in’ jacks by depressing the ‘Break’ button. When nothing is
connected to the ‘tape in’ jacks, engaging the ‘Break’ button will have the effect of
muting the main mix. If you are not hearing any sound this should be the first button
you check.
8. Output EQ Processing
There is seven (7) band graphic equalizer that will adjust the main mix or the monitor
mix. It does not impact the tape outputs, headphones or USB output.
Mixer Controls
The following are the controls that are used to manage the mixer’s functions. If the church
does not use a function, then the controls for that function are listed but they are not
described. The mixer’s controls are divided into two areas.

Channel Strip Controls: This area includes the controls for the mixer’s inputs and is
grouped by input channel.

Master Controls: This section includes controls for the stereo return, FX return, USB
input, effects processing, tape level, phones level, monitor fader and the master fader. It
also includes a sound meter.
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Channel Strip Controls
Each input channel has the following controls:
1. Gain Knob
This knob adjusts the
sensitivity of the MIC or
line input connected to
that channel. On the mono
channels (1 - 4) it boosts
the signal from a MIC from
0 to +50dB and for a line
input from minus 20dB to
plus 30dB. For the hybrid
channels (5-6 and 7-8) the
gain control only affects
the MIC input (XLR). For
the stereo channels (9-10
and 11-12) the input is
adjusted from -20dB to
+20dB.
2. Level Set LED
This LED lights when the
input signal reaches 0 dB
and it should flash
occasionally or not at all. It
is used to balance the
inputs when the system is
initially setup. There are no
Level Set LEDs on the
stereo channels.
3. Low Cut Knob
The Low Cut button will cut the bass frequencies below 100 Hz at a rate of 18dB per
octave. The Low Cut will affect all MIC inputs and the mono inputs of hybrid channels. It
is not available on the stereo channels.
4. EQ Section
These three knobs provide equalization control for the input channel (cutting or
boosting the signal within a defined frequency range). The first knob affects sound
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above 12 kHz, the middle knob is centered 2.5 kHz and the last knob is centered at 80Hz.
Each knob can provide up to a 15-dB boost or cut to the affected range.
5. Aux Mon
This knob taps a portion of the channel and adds it to the monitor mix. The feed for
hybrid and stereo channels is a mono sum of both the left and right side of the channel.
The channel fader, pan and mute will not impact the signal sent to the monitor mix.
Fully up the knob will provide a 15 dB gain to the signal sent to the monitor mix.
6. Aux FX
This knob taps a portion of the channel and adds it to the internal FX mix. The FX mix is
sent to the internal effects processor and the FX output jack. The feed for hybrid and
stereo channels is a mono sum of both the left and right side of the channel. The
channel fader and mute will but the pan will not impact the signal sent to the FX mix.
Fully up the knob will provide a 15 dB gain to the signal sent to the FX mix.
7. Pan Knob
For mono channels this knob moves the signal from the left to the right of the stereo
output channel allowing the operator to ‘place’ the input within the main mix. For the
stereo channels this knob operates as a balance control, attenuating one side or the
other.
8. OL LED
The OL LED flashes if the signal is too ‘hot’ causing an overload.
9. Mute Button
This button severs the input signal from main and FX mix, but the monitor mix is not
impacted.
10. Channel Fader
This fader controls the channel’s level from off to 10 dB gain.
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Master Controls
These controls include:
1. Phantom Power Switch
When this button is down and its associated LED is
on 48 volts of DC power is sent through all the XLR
input jacks on the mixer. Condenser MICs and
direct-in boxes require this power, but dynamic
MICs do not. It is called ‘phantom’ power because
it cannot be seen by and does not affect dynamic
MICs in anyway. It can be turned off because
single-ended unbalanced MICs, ribbon MICs, and
some instruments can be damaged by phantom
power. Since the system has both condenser MICs
and direct-in boxes phantom power is normally
on.
2. Power LED
When lite this LED shows that the mixer is
receiving power and is turned on.
3. Meter Section
This section does not contain any controls, but
instead a series of LEDs. The meter measures the
dB level of the main mix being output. It is made
up of two columns of twelve (12) LEDs each with
dB markings from -30dB to +15dB and OL
(Overload). The normal range of the main mix is 15dB to 0dB.
4. Break Button
When down this button mutes all MIC level and
line level inputs to the mixer. It does not mute the
‘tape in’ input or the USB input.
5. Tape Level
This knob controls the level of signals entering
from the ‘tape in’ jacks.
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6. Stereo Graphic EQ
This seven (7) band graphic equalizer adjust the main mix output and main line-level
output. It does not impact the tape outputs, headphones or USB output. A button is
provided to switch the impact from the main mix (button is up) to the monitor mix
(button is down). A bypass button will bypass the equalizer when down. The sliders
provide 15dB of cut or boost depending on their position.
7. USB Input Level
This knob adjusts the signal level of the two channels coming into the mixer through the
USB port relative to the main mix.
8. USB Thru
When disengaged (up) the USB input is included in the main mix but is not included in
USB output. This is the position to use for ‘overdubbing’ or adding an additional track to
a recording. When engaged (down) the USB input is included in the main mix and in the
USB output. This is the position to use when recording a live performance where USB
input is part of the performance.
9. Phones Level
This knob controls the signal level sent to the headphones.
10. Stereo Return OL LED
This LED will light if the signal coming in through the stereo returns is too high.
11. Stereo Return Mute
When engaged (down) this button will mute the signal coming in through the stereo
return inputs.
12. Stereo Return Fader
This fader is used to adjust the signal level of any audio coming into the stereo return
inputs.
13. FX Return Fader
This fader is used to adjust the level of signal from the internal effects processor that is
being added to the main mix.
14. Monitor Fader
This fader is used to adjust the signal level being sent to the monitor.
15. Main Fader
This fader is used to adjust the signal level that is being sent to the main and line-level
outputs. The adjustment occurs after the Stereo Graphic EQ has been applied and is
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reflected in the meters. The control does not affect the monitor output, tape output,
headphones or USB output.
16. Stereo Effects Processor
The mixer includes a Running-Man 32 bit internal effects processor that is mono-in and
stereo out with 16 presets. It is fed by adjusting the Aux FX knob on each channel. Its
output is added to the main mix by using the FX Return Fader. It is controlled by the
following knobs and buttons:
a. Preset Display
This display shows the current preset that has been selected (01 to 16).
b. Preset Selector
This knob is used to select the effects preset desired.
c. Internal FX Mute and LED
When engaged (down) the output from the effects processor is muted and will
not appear in the main or monitor mix. When engaged (down) the ‘mute’ LED
will be lite.
d. FX Master and OL LED
This knob controls the level of the signal going into the internal effects processor
from 0 dB (mute) to 15dB of gain. It also affects the signal level going out of the
FX send output. An overload (labeled OL) LED will light if the signal is too high.
Please note that the level of this signal is impacted by the Aux FX knobs on each
channel, each channel’s fader and the FX master. Adjusting any of these controls
will impact the level and/or mix of the signal being sent to the internal effects
processor.
e. FX to Mon
This knob controls the level of the output signal from the internal effects
processor being sent to the monitor mix from 0 dB (mute) to 15 dB of gain.
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Remote Mixer
A Behringer B207MP3 amplified monitor can be used as a remote mixer when it is connected
from the XLR ‘Thru’ jack on the back of the Monitor to one of the XLR input jacks on the Mixer.
This jack draws a signal from just before the MAIN LEVEL and EQ section of the Monitor that is
combined with any signal from the MAIN IN jack on the back of the Monitor and output as a
mono signal. When used as a remote mixer this unit can provide five (5) inputs including a CD
player, 3 combined TRS/XLR inputs and a USB port for playing MP3 files. Channel 2 (TRS/XLR)
can also be directly connected to a guitar. When used as a remote mixer this unit has the
following controls:
1. MP3 Playback input
accepts USB connections
from memory devices with
MP3 files.
2. LCD Display shows the
status of MP3 files being
played
3. Main Level knob adjusts
the overall volume.
4. MP3 Level independently
controls the playback level
of he currently-playing
MP3 file.
5. Phantom button sends a
48 V DC current to the
MIC/Line inputs. The LED
lights when the Phantom
button is engaged (down).
6. MP3 Playback Controls
manage navigation and
playback of files from a
USB drive.
7. Display/Mode buttons control the MP3 player’s mode and serves as a contrast control
for the LCD display.
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8. MIC/Line Inputs are XLR/TRS combination jacks that accept XLR, balanced ¼” TRS or
unbalanced ¼” TS connections.
9. Level Knobs adjust the input sensitivity of the MIC/Line inputs.
10. Instrument Button optimizes MIC/Line 2 input for unbalanced signals from instruments
using ¼” TS plugs.
11. CD Input RCA jacks accept signals from CD players, MP3 players, DJ mixers or other linelevel sound sources.
12. Level 4 knob adjust the input sensitivity (gain) for the CD Input.
13. EQ knobs cut or boost treble, mid and bass frequencies by up to 15dB.
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Sound Output
Sound is output from the MotleyUMC Portable Sound System for monitoring by the sound
engineer, for recording by other sound system components and finally to be heard by an
audience.
The ‘Phones’ output is a line-level output for the sound engineer’s headphones. The ‘tape out’
is a line-level output for recording by cassette, CD or DVD recorder. The USB connection
includes a line-level output for recording by a computer.
Amplified Speakers
The main and monitor outputs from the MotleyUMC Portable Sound System are line-level
signals that must be amplified and then played on speakers to be heard by an audience and/or
performers.
Main Speakers
The church has two (2) Behringer Eurolive B115W 1000 watt
amplified speakers with 12” woofers. Each speaker includes a
mini-mixer with up to four inputs (Input 1, Input 2, Behringer
Wireless USB and Bluetooth). The speakers can also be linked
using Bluetooth but only for playing the Bluetooth input. The
unit has the following controls:
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4. Step 1/Pair button and
indicator connect a
Bluetooth device to this the
speaker.
5. Step 2/Stereo Link button
and indicator like this
speaker to a second speaker.
6. Bluetooth Volume knob
controls the relative volume
of the Bluetooth signal in the
overall mix.
7. MIX Output is an XLR jack
that sends a copy of the mix.
8. Line 1 & Line 2 XLR/TRS
combination jacks connect a
MIC, balanced mixer output
or output from another
speaker.
9. Input 1 & Input 2 knobs control the input sensitivity of the corresponding XLR/TRS
combination jack.
10. Clip LED is lite when the input signal from the corresponding input begins to overload.
11. High Equalizer cuts or boosts treble frequencies by up to 15dB.
12. Clip Amp LED is lite when the main output signal begins to overload.
13. Low Equalizer cuts or boosts bass frequencies by up to 15dB.
14. & 15. Wireless System USB jack and signal presence indicators are for connecting and
monitoring Behringer wireless microphones.
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Monitor Speaker
The church has a Behringer B207MP3
amplified monitor that can be mounted on
a MIC stand and placed near the
performers for playing the monitor mix.
When used as a monitor it would be
connected to the ¼” TRS ‘Mon Send’ jack
on the top of the Mixer. When used as a
monitor only the following controls are
applicable:
3. Main Level knob adjusts the overall
volume.
13. EQ knobs cut or boost treble, mid
and bass frequencies by up to
15dB.
Amplifier and Wedge Monitors
The church has a Behringer ER2000 2000-watt amplifier in a carrying case and two (2) Behringer
wedge monitors. The amplifier players the monitor mix and is connected to the ¼” TRS ‘Mon
Send’ jack on the top of the Mixer. The amplifier is setup to take a single input and send it to
both channels. There are two (2) volume controls on the front of the ER2000 that control the
output volume to each of the wedge monitors. There are set at the beginning of a concert and
then the volume of the monitors is controlled on the Portable Mixer. The wedge monitors are
connected to the ER2000 with heavy weight speaker cables.
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Sound Recording
Sound that is played through the MotleyUMC Portable Sound System can be recorded for
editing and later playback. Although this can be done from any line-level output from the mixer
(monitor output, tape out, main line-level outputs or even the Phones output), it is normally
done on a Laptop or PC that is connected to the mixer through the USB jack. The mixer will
output both the left and right channels of the main mix on the USB jack. Any sound program
with selectable input sources (ex. Audacity) can be used to capture and record the resulting
signals. Note that the resulting files can be very large.
MotleyUMC Portable Sound System Summary
The MotleyUMC Portable Sound System was purchased in 2015 and at that time was a start-ofthe-art system. Inputs and outputs are wired with the only exception input to a wireless
receiver from a wireless belt worn transmitter. This results in a maze of cables that take time to
setup and can be distracting to the performers and the audience. Wireless receivers and MICs
would significantly reduce this problem, but also at a significant cost.
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