Spirit Music Mixer UltraMic Plus User Manual

Featuring  
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Connecting Up  
TS  
Page 3  
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100Hz HI-PASS FILTER  
USING MONITOR 2  
Pressing this switch activates a steep 18dB per octave filter which reduces  
the level of bass frequencies only. Use this in live PA situations to clean up  
the mix, reducing stage rumble or ‘popping’ from microphones.  
Mono Input Channel  
1
XLR Input  
INSERT POINT  
The UltraMic Plus padless input preamp is designed to accept BALANCED or  
UNBALANCED signals at a wide range of input levels up to +28dBu. When  
using microphones, professional dynamic, condenser or ribbon mics are best  
because these will be LOW IMPEDANCE. You can use low-cost HIGH  
IMPEDANCE mics, but the level of background noise will be higher. If you  
press the 48V switch down the socket provides a suitable powering voltage  
for professional condenser mics (this is also known as Phantom Power).  
Each input is provided with a male XLR-type SPLIT OUT connector, which  
enables mic signals to be fed directly to a Front-of-House mixer without the  
need for specials cables or splitter boxes. Always provide 48V powering  
from the Monitor 2 console if required, and turn off the powering at the  
FOH console.  
The unbalanced, pre-EQ insert point is a break in the channel signal path,  
allowing limiters, compressors, special EQ or other signal processing units to  
be added in the signal path. The Insert is a 3-pole A’ gauge jack socket which  
is normally bypassed. When a jack is inserted, the signal path is broken, just  
before the EQ section. The Send may be tapped off as a line level, pre-fade,  
pre-EQ send of a mic source if required, using a lead with tip and ring  
shorted together so that the signal path is not interrupted.  
5
2
3
4
EQUALISER  
Powerful, corrective Equalisation (EQ) is essential in live situations to cope  
with varying venue acoustics and original signals which may be far from ideal.  
Each Monitor 2 input is provided with a comprehensive 4-Band EQ section,  
with two swept mids for extra control.  
An internal jumper option is provided to allow the ground connection to the  
SPLIT OUT connector to be lifted to prevent ground loops in certain  
installations.  
HF EQ  
Turn clockwise to boost high (treble) frequencies (12kHz and above) by up  
to 15dB, adding crispness to cymbals, vocals and electronic instruments.  
Turn anticlockwise to cut by up to 15dB, reducing hiss or excessive sibilance  
which can occur with certain types of microphone. Set the knob in the  
centre-detented position when not required.  
ONLY connect condenser microphones with the 48V  
powering OFF (switch UP), and ONLY turn the 48V  
powering on or off with all output faders DOWN, to  
prevent damage to the mixer or external devices. If the  
SPLIT OUT connectors are used to feed another mixer,  
the MONITOR 2 console should be powered up first, or  
the faders on the FOH console should all be down when  
the MONITOR 2 is powered up or split feeds connected.  
6
7
MID EQ (HMID & LMID)  
There are two pairs of knobs which work together to form HI and LO MID  
frequency EQ sections. The lower knob in each pair provides 15dB of boost  
and cut, just like the HF EQ knob, but the frequency at which this occurs can  
be set by the upper knob over a range of 550Hz to 13kHz (HMID) or 80Hz  
to 1.9kHz (LMID). This allows some truly creative improvement of the  
signal in live situations, because the mid bands cover the range of most  
vocals. Listen carefully as you use these controls together to find how  
particular characteristics of, for instance, a vocal signal can be enhanced or  
reduced. Set the gain (lower) knob to the centre-detented position when  
not required. Note: Q is set at 1.5.  
DO NOT turn on the +48V when using unbalanced sources  
or line level signals, which may be damaged by the phantom  
power voltage on pins 2 & 3 of the XLR connector, and  
ONLY connect the SPLIT OUT feed to inputs which can  
tolerate phantom power voltages if the powering is in use.  
LF EQ  
Turn clockwise to boost low (bass) frequencies (60Hz and below) by up to  
15dB, adding warmth to vocals or extra punch to synths, guitars and drums.  
Turn anticlockwise to cut low frequencies by up to 15dB for reducing hum,  
stage rumble or to improve a mushy sound. Set the knob to the centre-  
detented position when not required.  
PHASE REVERSE  
Pressing this switch reverses the polarity of the input, providing a  
convenient method of compensating for incorrect wiring or microphone  
placement. In some circumstances it may be found that pressing PHASE  
REVERSE will help with feedback avoidance. The switch should normally  
be released when not required. Note that the SPLIT OUT feed is NOT  
affected by this switch.  
EQ SWITCH  
The EQ switch bypasses the Equalisation section when released. Alternately  
pressing and releasing the switch provides an easy way of comparing the  
equalised and unequalised signals.  
SENS (Sensitivity)  
This knob sets how much of the source signal is sent to the rest of the  
mixer. Too high, and the signal will distort as it overloads the channel. Too  
low, and the level of any background hiss will be more noticeable and you  
may not be able to get enough signal level to the output of the mixer.  
Setting the knob to the `0’ mark gives unity gain for line level signals. See  
`Setting Up & Troubleshooting’ on page 8 to learn how to set SENS  
correctly.  
8
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MONITOR SENDS  
7
These controls route the input channel signal to any one or more Monitor  
busses and the associated Monitor Outputs, allowing a number of unique  
monitor mixes to be created. The sends are arranged as a group of mono  
sends (1-8) and two stereo pairs (9/10 & 11/12). Each group of sends is  
normally POST-FADE, POST-EQ but may be switched to PRE-FADE,  
POST-EQ by pressing the corresponding PRE switch. All sends are muted  
when the MUTE switch (9) is pressed. Sends 9-12 are arranged as two  
stereo pairs, with a send level control and a PAN control to position the  
channel signal in the stereo image. With the PAN control centered, the  
signal is fed equally to both sends in the pair. You get most control when the  
input Sensitivity is set up correctly, giving maximum travel on the send  
controls. See the `Setting Up & Troubleshooting’ section on page 8 for help  
in setting a suitable signal level.  
MUTE  
All monitor sends are disabled when the MUTE switch is down, and the  
associated amber LED illuminates to show that the switch is pressed.  
8
FADER  
The FADER provides overall level control of any Monitor Sends which are  
selected as post-fade. You get most control when the input Sensitivity is set  
up correctly, giving full travel on the fader. See the `Setting Up &  
Troubleshooting’ section on page 8 for help in setting a suitable signal level.  
SIGNAL LED  
This green LED illuminates to show that a signal with a level greater than  
-20dB is present in the channel.  
PFL/PEAK  
When the latching PFL switch is pressed, the pre-fade, post-EQ signal is fed  
to the headphones and engineer’s wedge outputs, replacing the selected  
wedge source and illuminating the SOLO/PFL LED on the Master section to  
show that a PFL is active. The adjacent red LED lights to identify the  
selected channel. This is a useful way of listening to any required input  
signal without interrupting any of the monitor sends, for making  
adjustments or tracing problems.  
When the PFL switch is released the LED serves as a PEAK indicator which  
illuminates approximately 4dB before clipping to give warning of a possible  
overload. The signal is sampled at two points in the EQ section and at the  
Insert Send.  
9
11  
12  
10  
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FOH Facility  
OUTPUT SECTION  
A sub-grouping facility is included on outputs 1-10 to allow the  
console to be used as a FOH mixer. Pressing the 11-12 switch  
routes the post-fade, post-insert signal to the Monitor 11/12  
busses, enabling these outputs to be used as a stereo final mix.  
The PAN control positions the monitor signal in the stereo  
image (outputs 1-8 only). Final mix level is controlled by the  
11-12 Monitor Fader.  
MONITOR OUTPUTS  
These outputs provide summing of the corresponding input channel  
monitor sends, and drive XLR-type output sockets from impedance  
balanced outputs. A break-point is included before each output socket for  
the connection of an external graphic equaliser.  
11  
Outputs 1-8 are configured as mono sends, and outputs 9/10 and 11/12 are  
arranged as stereo pairs.  
HOUSE  
On the stereo output pairs (9/10 and 11/12) the HOUSE control injects an  
ambience signal picked up from the stereo House Mic inputs into the  
monitor outputs, which is particularly important when feeding in-ear  
monitors.  
MUTE  
The monitor send is completely disabled when the MUTE switch is pressed,  
and the adjacent LED illuminates to warn that the mute is active.  
HIGH PASS FILTER (1-8 only)  
MNTR (Monitor - Engineer’s Wedge)  
A variable High Pass Filter is provided to reduce the level of stage-driven  
low frequency feedback, or particularly to tailor the output frequency to  
match the frequency range of smaller wedge monitor speakers which may  
not be able to tolerate high levels of LF signal. Rotate the control fully  
anticlockwise when the filter is not required.  
A separate monitor mix may be created for the Engineer’s Wedge monitor  
or Headphones. The POST EQ/PRE EQ switch selects the source for the  
mix as before or after the Graphic EQ insert point, and will normally be  
post-EQ (switch released). Rotate the MNTR control fully anticlockwise  
when not required.  
9
10  
60Hz Filter (9-12 only)  
8
7
SOLO  
A fixed 60Hz high-pass filter is provided on outputs 9/10 and 11/12, which  
might typically be used for in-ear monitor transmitters, effects sends or  
FOH PA. The filter helps to clean up the mix and reduce large low  
frequency transients.  
When the latching SOLO switch is pressed, the post- or pre-Graphic EQ  
signal (as selected by the POST EQ/PRE EQ switch) is fed to the  
headphones and engineer’s wedge outputs, replacing the selected wedge  
source and illuminating the SOLO/PFL LED on the Master section. The  
adjacent red LED lights to identify the active solo. This is a useful way of  
listening to any required output signal without interrupting any of the  
monitor sends, for making adjustments or tracing problems. In the case of  
outputs 1-8 the SOLO signal will be mono to left and right, while 9/10 and  
11/12 are fed as stereo.  
6
1
T/B  
Pressing the T/B (Talkback) switch routes the talkback mic signal to the  
monitor output and simultaneously dims the monitor signal to allow the  
engineer’s voice to be heard over the mix. The Talkback level is set by the  
T/B SENS control on the Master section. Talkback is disabled when the  
DIM switch is pressed.  
2
BARGRAPH METERS  
3
4
3-colour peak reading BARGRAPH METERS are provided to monitor the  
final output, giving you a constant warning of excessive peaks in the signal  
which might cause overloading. Aim to keep the signal within the amber  
segments at peak levels for best performance. Similarly, if the output level  
is too low and hardly registering at all on the meters, the level of  
background noise may become significant. Take care to set up the input  
levels for best performance.  
DIM  
Pressing the DIM switch attenuates the monitor output by 6dB as an  
immediate way of eliminating feedback while the source of the problem is  
identified.  
FADER  
5
The 100mm fader controls the overall level of each output. The ‘0’ mark  
gives unity gain from the fader, leaving 5dB in hand.  
The source for the meter may be selected as PRE or POST the Graphic EQ  
insert point, as set by the adjacent METER switch. With the switch released  
the meter will be fed from the POST-EQ signal.  
FX RETURNS  
The signal from either of the two stereo FX Returns may be mixed directly  
to the Monitor output at a level set by the local control (overall level is set  
by the FX1 RET and FX2 RET controls on the Master section). The  
RET1/RET2 switch selects FX Return 1 when released, and FX Return 2  
when pressed. On outputs 1-8 the FX Return signal will be a mono sum of  
left and right, and on 9-10 and 11-12 the signal will be fed in stereo. Note  
that FX Return 1 may be globally switched from the Master section to be  
the House Mic signal if required.  
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FX RETURNS  
MASTER SECTION  
Two balanced Stereo Returns are included for the outputs of effects units  
and are made available for mixing directly to the Monitor outputs at a level  
set by the FX1 RET or FX2 RET controls. If a mono source is used, plugging  
into the Left jack only automatically feeds the signal to both Left and Right.  
Pressing the HOUSE switch replaces the FX Return 1 signal with the House  
Mics signal (at a level set by the HOUSE SENS control), to allow the House  
Mics signal to be fed to any of the monitor outputs. Note that the House  
Mics signal can be injected directly into outputs 9/10 and 11/12 without  
using this facility.  
WEDGE SOURCE  
The Engineer’s Wedge outputs are normally fed from a mix of the MNTR  
feeds from outputs 1-12. The pre-fade wedge signal feeds the headphones  
and meters and the post-fade signal feeds the XLR outputs.  
Pressing the WEDGE SOURCE switch selects monitor outputs 11-12 as the  
source for the wedge outputs, and would be used to monitor those outputs  
when the mixer is used as a FOH console with outputs 1-10 submixing to  
11-12.  
2
When any PFL or SOLO switch is pressed the source for the Wedges is  
switched to the PFL/SOLO signal without interrupting the other outputs  
from the mixer, to allow individual signals to be monitored. The original  
wedge source is restored when the PFL/SOLO switches are released.  
T/B SENS  
4
5
A balanced XLR input is provided for a local talkback microphone, and this  
controls sets the level that this mic signal is fed to the selected monitor  
outputs.  
BARGRAPH METERS  
MASTER T/B  
3-colour peak reading BARGRAPH METERS are provided to monitor the  
wedge outputs, giving you a constant warning of excessive peaks in the  
signal which might cause overloading. Aim to keep the signal within the  
amber segments at peak levels for best performance. Similarly, if the output  
level is too low and hardly registering at all on the meters, the level of  
background noise may become significant. Take care to set up the input  
levels for best performance.  
Pressing this switch routes the Talkback signal to ALL monitor outputs and  
simultaneously dims the monitor signals to allow the engineer’s voice to be  
heard over the mix. The Talkback level is set by the T/B SENS control.  
Talkback is disabled when the Master DIM switch is pressed.  
1
6
MASTER DIM  
Pressing the DIM switch attenuates ALL monitor outputs and the wedges  
output by 6dB as an immediate way of eliminating feedback while the  
source of the problem is identified. The previous level is restored when the  
switch is released.  
The source for the meter is selected by the WEDGE SOURCE switch (see  
above).  
FADER  
7
8
The 100mm fader controls the overall level of the wedges output. The ‘0’  
mark gives unity gain from the fader, leaving 5dB in hand.  
LAMP CONNECTOR (not illustrated)  
Two 4-pin XLR-type connectors are fitted at either end of the console for  
the mounting of 12V gooseneck lamps (Littlite or similar).  
The connector pinout is as follows:  
PHONES  
This control sets the level to the PHONES jack. The source for the Phones  
is selected by the WEDGE SOURCE switch.  
Pin 1  
Pin 2  
Pin 3  
Pin 4  
-
-
-
-
12V AC (1)  
No connection  
12V AC (1)  
12V AC (2)  
When any PFL or SOLO switch is pressed the source for the Headphones  
is switched to the PFL/SOLO signal without interrupting the other outputs  
from the mixer, to allow individual signals to be monitored. The original  
phones source is restored when the PFL/SOLO switches are released.  
9
10  
SOLO/PFL TRIM  
The TRIM control provides +/-15dB level adjustment of the SOLO/PFL  
signal to allow for differences in operating levels. Note that the position of  
this control does not affect the level to the meters.  
3
HOUSE MICS  
Two balanced XLR inputs are provided for House Mics, and the HOUSE  
SENS control sets the input level.  
Pressing +48V switches on the powering voltage for condenser  
microphones if required.  
ONLY connect condenser microphones with the 48V  
powering OFF (switch UP), and ONLY turn the 48V  
powering on or off with all output faders DOWN, to  
prevent damage to the mixer or external devices.  
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l
Feed the signal to selected monitor outputs by  
setting the appropriate monitor sends to an initial  
working level (approx. position 7 on the send  
knob). Listen to the signal by feeding the  
selected monitor signal to the engineer’s wedge  
by turning up the MNTR control on the  
appropriate outputs, checking that the wedge  
source is selected to MNTR.  
Setting Up & Troubleshooting  
Troubleshooting  
Hum on outputs when SPLIT OUT sockets are used  
No Power  
Initial Set Up  
l
Check for ground loops, and try isolating the  
SPLIT OUT ground connection by removing the  
internal jumper which is normally fitted (see  
below).  
Once you have connected up your system (see the  
sections on connection and wiring earlier in this manual  
for guidance) you are ready to set initial positions for  
the controls on your mixer.  
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Is the mains supply present? Check the mains  
outlet with another device.  
Is the power lead firmly connected?  
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Repeat this procedure on other channels as  
required. As more channels are added to the  
mix, the meters may move into the red section.  
Adjust the overall level using the Monitor Output  
faders if necessary.  
Condenser Mic Not Working  
The front panel drawing on page 17 shows typical  
initial control positions which may serve as a  
useful guide to setting up the mixer for the first  
time.  
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Is the 48V turned on?  
Is there an unbalanced device connected to the  
SPLIT OUT connector?  
Listen carefully for the characteristic sound of  
`feedback’. If you cannot achieve satisfactory  
input level setting without feedback, check  
microphone and speaker placement and repeat  
the exercise. If feedback persists, it may be  
necessary to use a Graphic Equaliser to reduce  
the system response at particular resonant  
frequencies.  
l
Is the mic cable a balanced 3-wire type?  
Set up individual input channel as follows:  
l
Connect your sources (microphone, keyboard  
etc.) to the required inputs. Note: Phantom  
powered mics should be connected before the  
48V is switched on.  
Meters not showing any signal  
RB3831  
REV  
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Has the input gain been set correctly (see  
above)?  
JMP1  
SPLIT OUTPUT  
PIRIT MO  
PIN 1 GROUNDING  
LINK  
NO LINK  
-
-
GROUNDED  
GROUND LIFT  
SPIRIT B  
Are the Monitor faders set at a working level.,  
and are input faders set high enough?  
The input provides very wide gain range without  
the need for a pad. When using LINE level  
sources, set the INPUT SENS control fully  
anticlockwise as a preliminary position.  
Note: The initial settings should only be regarded as a  
starting point for your mix. It is important to remember  
that many factors affect the sound during a live  
performance, for instance the channel EQ settings or even  
the size of the audience!  
Is the MUTE switch released on the relevant  
channels?  
l
Set Monitor faders at 0, input faders at 0, and set  
power amplifier levels to suit the application.  
Make sure that the EQ switches are released to  
bypass the EQ sections.  
If monitoring on the wedge outputs, is the  
appropriate Monitor output feeding the wedges  
(MNTR control set to working level), and the  
wedge source selected to MNTR?  
Each monitor mix can now be built up progressively,  
listening carefully for each component in the mix and  
watching the meters for any hint of overload. If this  
occurs, back off the appropriate Input Fader slightly  
until the level is out of the red segments, or adjust the  
Monitor Faders.  
l
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Provide a typical performance level signal and  
press the PFL button on the first channel,  
monitoring the level on the L/R bargraph meters.  
l
Is there a PFL/AFL pressed on another channel?  
No Monitor output, or output low level  
Adjust the input sensitivity until the meter display  
is in the amber section, with occasional peaks to  
the first red LED at a typical maximum source  
level. This allows sufficient headroom to  
accommodate peaks and establishes the  
maximum level for normal operation (but see  
note below).  
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Is the MUTE switch released?  
Is a Graphic EQ or other external device  
connected to the graphic Insert, and is this  
device switched on and set up correctly?  
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Are the local or Master DIM or T/B switches  
released?  
Headphones Distorting  
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Are the headphones less than 200W impedance?  
Is the Phones level set too high?  
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APPLICATIONS  
Live Monitor with Effects  
BAND INSTRUMENTS/VOCALS  
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Live Monitor with In-Ear Monitoring  
BAND INSTRUMENTS/VOCALS  
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Theatre  
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FOH Console  
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FOH Console with Subgrouping  
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System Block Diagram  
+48V  
+48V  
PEAK DETECT  
& PFL ON  
INPUT  
SENS  
PHASE  
PFL  
PEAK  
DETECT  
100Hz  
SOLO/PFL  
TRIM  
MIC  
PFL  
INPUT  
2
1
3
3
PHONES  
SOLO  
SOLO  
L
PHONES  
MONITOR  
1
EQ  
SPLIT  
INSERT  
TIP: SEND  
R
2
1
MASTER  
T/B  
MASTER  
DIM  
RING: RETURN  
SPLIT OUTPUT  
(Internal Link)  
WEDGE/SOLO  
2
3
SOLO  
L
METER  
L
Link  
-
Grounded  
Ground Lift  
No Link  
-
SIG  
MNTR  
11-12  
WEDGE  
SOURCE  
SIGNAL  
DETECT  
WEDGE  
L
WEDGE  
3
4
5
DIM  
DIM  
2
1
MUTE  
WEDGE  
R
6
7
3
2
1
1-8  
PRE  
SOLO  
R
PFL/SOLO  
ENABLE  
8
INPUT  
WEDGE/SOLO  
METER  
FADER  
R
9
9-10  
OUT 11 OUT 12  
PAN  
9-12  
PRE  
MONO OUTPUT (1 of 8 Shown)  
10  
11  
PAN  
HOUSE  
11-12  
FX RET 1  
PAN  
SOLO  
*
FOH MODE SUBGROUPING  
FX RET 1  
LEFT  
MNTR  
11-12  
12  
POST EQ  
METER  
PRE EQ  
POST EQ  
MNTR  
RET LEVEL  
PRE EQ  
FX RET 1  
RIGHT  
METER  
MUTE  
FADER  
GRAPHIC EQ  
(INSERT)  
TO FROM  
FX RET 2  
RET1  
RET2  
TB  
&
FX RET 2  
LEFT  
3
DIM  
HIGH PASS  
OFF-160Hz  
2
1
T/B ALL  
DIM ALL  
OUT (1-8)  
TALKBACK SIGNAL  
DIM T/B  
FX RET 2  
RIGHT  
SOLO  
STEREO OUTPUT (1 of 2 Shown)  
+48V  
*
FOH MODE SUBGROUPING  
+48V  
HOUSE  
SENS  
MNTR  
POST EQ  
PRE EQ  
(9-10 only)  
METER  
POST EQ  
PRE EQ  
11-12  
LEFT  
2
3
3
3
MNTR  
RET LEVEL  
1
HOUSE  
MICS  
WEDGE  
SOURCE  
SELECT  
(11 ONLY)  
HOUSE  
METER  
MUTE  
FADER  
GRAPHIC EQ  
(INSERT)  
TO FROM  
RIGHT 2  
1
TB  
&
RET1  
RET2  
3
DIM  
2
1
T/B SENS  
OUT  
T/B MIC  
2
9
(11)  
WEDGE  
60Hz  
SOURCE  
SELECT  
1
(12 ONLY)  
METER  
3
GRAPHIC EQ  
(INSERT)  
TO FROM  
TB  
&
DIM  
2
1
T/B ALL  
DIM ALL  
TALKBACK SIGNAL  
OUT  
10 (12)  
DIM T/B  
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Connecting Leads  
’Y’ Leads (Balanced)  
Balanced  
Unbalanced  
Headphone Splitter  
’Y’ Leads (Unbalanced)  
Insert Leads  
Lamp Connections  
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Control Position Sheet  
You may freely copy this page to mark control positions to assist in resetting the desk between performances.  
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INPUTS  
MONITOR 2 CONSOLE  
Typical Starting Out Control Positions  
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Dimensions  
87.5 mm  
(3.44")  
Specifications  
dim. ’x’  
dim. ’y’  
Noise  
Measured RMS, 22Hz to 22kHz Bandwidth. Inputs at unity gain and terminated 150W  
Output Noise  
24 inputs routed, sends down, master @ unity  
< -80dBu  
-129dBu  
EIN  
Mic EIN @ max. gain (150W terminated)  
THD+N  
Width without end trim  
(for flight case mounting)  
Mic sens. -10dBu, Faders @ unity, send at max.,  
+20dBu at all outputs @ 1kHz  
<0.005%  
Crosstalk (@1kHz) Typical  
Channel send range  
Channel fader range  
Mute attenuation  
>90dB  
>80dB  
>100dB  
>90dB  
Console  
dim ’x’  
dim ’y’  
24 channel 1200.6 mm 1116.6 mm  
Adjacent output isolation  
(47.27") (43.96")  
32 channel 1454.6 mm 1370.6 mm  
(57.27") (53.96")  
40 channel 1708.6 mm 1624.6 mm  
(67.27") (63.96")  
CMRR  
Typical at max gain @ 1kHz  
Typical at any gain @ 50Hz  
>85dB  
>65dB  
Frequency Response  
Input to output, medium gain, via output (Hi-pass filter off)  
15Hz to 45kHz  
25Hz to 25kHz  
<-3dB  
<-1dB  
Typical Input and Output levels  
Maximum output  
>+22dBu  
+28dBu  
+22dBu  
-15dBu  
+3dBu  
+8dBu  
Maximum signal into mic input  
590.5 mm  
(23.25")  
Maximum signal into FX return & insert return  
Maximum sensitivity of FX return (Output faders @ unity)  
Maximum level into Talkback mic input  
Maximum level into House mic input  
Headphones (@ 200W)  
150mW  
Input and Output Impedance  
Mic Input  
1.8kW  
8.6kW  
75W  
FX returns  
Monitor Outputs, Wedge & Inserts  
Page 18  
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A Harman International Company  
Part No: ZM0192  
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