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OVERVIEW 1-1. BLOCK DIAGRAM 1-2. INTRODUCTION 2. FRONT PANEL CONTROLS, JACKS, AND LEDS 2-1. INPUT JACKS 2-1-1. LINE INPUTS 2-1-2. MICROPHONE INPUTS 2-2. CHANNEL CONTROLS 2-2-1. CHANNEL MAIN CONTROL 2-2-2. CHANNEL TONE CONTROLS 2-2-3. EFF./REV. CONTROL 2-2-4. MONITOR CONTROL 2-3. MASTER SECTION CONTROLS 2-3-1. MAIN MASTER LEVEL CONTROL 2-3-2. MONITOR MASTER LEVEL CONTROL 2-3-3. REVERB RETURN TO MAIN CONTROL 2-3-4. REVERB RETURN TO MONITOR CONTROL 2-3-5. EFF./REV. SEND LEVEL CONTROL 2-3-6. AUX. LEVEL CONTROL 2-3-7. GRAPHIC EQUALIZER 2-3-8. DIGITAL REVERB and EFFECTS CONTROLS 2-3-9. PHANTOM POWER 2-3-10. DELTACOMPTM 2-3-11. POWER LED 2-4. PATCH BAY 2-4-1. MAIN OUTPUT 2-4-2. MONITOR OUTPUT 2-4-3. EFF. OUTPUT / REVERB FOOTSWITCH 2-4-4. GEQ OUTPUT 2-4-5. GEQ INPUT 2-4-6. AUX. INPUT 2-4-7. TAPE INPUTS 2-4-8. TAPE OUTPUTS 2-4-9. PWR. AMP INPUT 3. REAR PANEL 3-1. SPEAKER OUTPUT JACKS 3-2. POWER SWITCH 3-3. POWER CORD 4. SETUP AND OPERATION 4-1. INITIAL CONTROL SETTINGS 4-1-1. TYPICAL PRESETS 4-1-2. MAIN CONTROL 4-1-3. MON. CONTROLS 4-1-4. CHANNEL TONE CONTROLS 4-1-5. GRAPHIC EQUALIZER 4-2. USING THE THE GRAPHIC EQUALIZER TO ELIMINATE ACOUSTIC FEEDBACK 4-2-1. THE CAUSE OF ACOUSTIC FEEDBACK 4-2-2. TYPICAL PROCEDURE FOR ROOM EQUALIZATION 4-3. CORDS AND CABLES 4-3-1. MICROPHONE CORDS 4-3-2. SPEAKER CABLES 4-4. INPUT PADS 4-5. PATCHING 5. UPKEEP AND SERVICE 6. TROUBLESHOOTER'S CHECKLIST 7. SPECIFICATIONS 1-1 Block Diagram Signal path exclusive of individual channel MONITOREFFECTS/REVERBMAIN MAIN MASTER MAIN OUTPUT GEQ INPUT POWER AMP SPEAKER OUTPUT 2 OHM MINIMUM EFFECTS OUTPUT REVERB FT. SW. EFF./REV. SEND LEVEL MONITOR OUTPUT MONITOR MASTER REVERB RETURN TO MONITOR REVERB RETURN TO MAIN AUX. LEVEL AUX INPUT R LTAPE INPUTS DELTACOMPTM SWITCH PEAK PILOT LAMP PHANTOMGRAPHIC EQ GEQ OUTPUT POWER AMP INPUT PHANTOM POWER SWITCH +15 VDC DIGITAL SIGNAL PROCESSER TAPE OUTPUTS R L Signal path typical for each channel MICROPHONE LINE HIGH LOW MAIN MON. EFF./REV. TO MAIN BUSS TO EFFECTS/ REVERB BUSS TO MONITOR BUSS 3 21 MID TO PHANTOM BUSS CHANNEL EQ + _ + _ 1. OVERVIEW. 1-2. INTRODUCTION. The SR series integrated mixer/amplifiers have been designed for easy setup and simple but versatile operation. Requiring only the addition of microphones and speakers, the SR powered mixers are self-contained sound reinforcement systems, with features and performance generally found only in units costing much more. Each input preamp channel provides a balanced XLR MICROPHONE input with switchable phantom power for condenser microphones, a 1/4’’ phone jack LINE input, MAIN level control, LOW, MID, and HIGH frequency tone controls, MON. send control and an EFF./REV. send control. The master section features MAIN MASTER, MON. MASTER, AUX. LEVEL, and DIGITAL REVERB and EFFECTS level controls, a GRAPHIC EQUALIZER, and a versatile patch bay. The SR series mixers include DELTACOMPTM, an adaptive compression system. DELTACOMPTM is a high performance power amp limiter that senses amplifier error due to clipping, and automatically reduces the gain until the distortion is minimized. A front panel yellow PEAK LED indicates power amp input limiting. To make setup as simple as possible, the mixer, graphic equalizer, and power amplifier are pre- patched in a standard configuration that requires plugging in only the microphones and speakers to be “on the air.” To make the system as versatile as possible, this “normalized” patch may be bypassed by using the inputs and outputs of the patch bay. These allow the individual components of the system to be used in various combinations, and for external equipment to be added into the system as the need arises. The SR Series has been designed to meet the needs of professionals, and can be counted on to provide reliable service in the most demanding situations. 1-1. BLOCK DIAGRAM. The block diagram illustrates the typical signal path for the SR series. 2. FRONT PANEL CONTROLS, JACKS AND LEDs. 2-1-1. LINE INPUTS. The 1/4” phone jacks are intended for high impedance balanced or unbalanced inputs whose amplitude is under 8 VRMS. This would include instrument and line level signals. When used as a balanced input, the tip connection of the 1/4” jack is the non-inverting (+) input and the ring connection is the inverting (-) input. 2-1-2. MICROPHONE INPUTS. The three-pin audio connectors (often called “XLR” or “Cannon” connectors) on the front panel are intended for balanced input signals from low impedance microphones. To avoid clipping in the input stage, signal levels should not exceed 0.8 VRMS. Higher amplitude signals, such as balanced line levels signals, may also be patched into these jacks if an input pad is used (see Section 44). The XLR jack is wired according to the following standard: Pin 1 is ground. Pin 2 is the non-inverting (+) input. Pin 3 is the inverting (-) input. Signals at the XLR jacks experience 20 dB more gain than those at the 1/4” channel input jacks. 2-2. CHANNEL CONTROLS. 2-2-1. CHANNEL MAIN CONTROL...
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