Stanton DJ Equipment SA 8 User Manual

WARRANTY  
This unit has been designed and manufactured using quality components.  
Therefore, it is warranted to be free from defects in materials (limited as speci-  
fied below), and workmanship for a period of twelve (12) months from the origi-  
nal purchase date. During this period, all service and parts necessary to repair a  
defect will be free of charge. This limited warranty applies to mechanical parts  
which are subject to wear and tear as specified:  
SA-8  
DJ FOCUS SIGNATURE MIXER  
• Faders (except P&G and Focus faders), specified durability:  
15,000 cycles;  
• Rotary potentiometers, specified durability: 10,000 cycles;  
• Switches, specified durability: 10,000 cycles.  
Consequently, the parts listed above are warranted to be free from defects in  
materials and workmanship for a period of thirty days (30) days from the original  
purchase date.  
The included Penny & Giles faders carry a twelve (12) month warranty.  
The Focus Faders carries a lifetime warranty.  
For the warranty to be valid, please complete the warranty registration card  
Mail completed warranty cards to:  
Stanton Magnetics, Inc, 3000 SW 42st • Hollywood, FL 33312  
REPLACEMENT PARTS  
To replace the cross or channel faders, follow steps 1 and 2 of the  
cleaning instructions. The following replacement parts are available  
from Stanton or your local Stanton dealer.  
CF-PG110  
CF-F2  
OS2  
Penny & Giles crossfader/ line fader  
Focus Fader V2  
Optical Scratch Switch (phono/line selector)  
PROTEKT™ panel  
US Power Supply (110v)  
OWNER’S MANUAL  
PPSA8  
PS-RM19US  
PS-RM19EU  
PS-RM19UK  
European Power Supply (220v)  
UK only Power Supply (240v)  
STANTON MAGNETICS, INC  
[email protected] • (954) 689-8833  
w w w . s t a n t o n m a g n e t i c s . c o m  
© 2002, Stanton Magnetics, LLC  
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FADER CLEANING AND REPLACEMENT  
SA-12 FUNCTIONS & FEATURES  
6.5) Insert dust cover.  
6.6) Insert fader track back into fader body with  
wires coming out open end of fader body.  
6.7) Secure the remaining end block ensuring that  
the track wires (I) are not pinched between the  
end block and fader casing.  
The SA-8 DJ Focus Signature Mixer  
G
"From the mind of focus" comes the SA-8, the ultimate performance mixer. Never  
before has so much scrutiny been put into the layout of a scratch mixer, each fea-  
ture was carefully arranged and placed according to a DJs natural hand move-  
ment (notice where the gain is). The SA-8 offers features for every type of DJ,  
either strictly scratch, live performance, production, or mix. This "studio-style"  
scratch mixer gives you the technology of a professional mixing console com-  
pacted and ergonomically arranged in a format that is preferred by top DJs.  
Features include:  
7. Once assembled, move the slider from end to end to ensure  
operation is smooth.  
I
8. Attach fader to fader plate. (NOTE: As noted earlier if you do not  
want to change positioning of fader, keep the 2 fader plate screws  
loose and shift the fader until it is aligned with the marks you creat-  
ed in step 1, then tighten fader plate screws.)  
• Individual Direct outputs allow you record your mixtapes and scratches down to a multi-  
track recorder, and mix and EQ each channel separately before mixing them down to a  
tape or CD*  
• An all new concept in cueing: Post Fader Cue allows you to listen to your scratches in  
the headphone while using the crossfader as normal*  
INSTALLING THE FOCUS FADER:  
1. Once the original fader has been removed, plug  
the connector into the Focus Fader fader.  
• Autocue eliminates the need for touching the cue pan (switching from Ch.1 to Ch. 2)*  
• Adjustable Rumble Filter allows the DJ to eliminate low end frequencies*  
• 3-way adjustable curve control on line faders  
2. There is a switch just above the crossfader. Make  
sure it is set to CFF2. When reinstalling the P&G  
fader, make sure to switch it back to VR (P&G).  
• OSII Optical Switch (for "noise-free" transforms)*  
• Mono/Stereo Switch per channel  
3. Place fader back in mixer and replace 2 outer  
screws to secure fader.  
• New screwless faceplate  
• Includes custom designed P&G (Penny & Giles) crossfader Stanton Focus Fader V2  
crossfader, and custom P&G line faders.  
• All new "one of-a-kind" knobs & faders (a molded design to fit the DJ fingers)*  
• An ergonomic layout so there is no bumping or cluttering of knobs during use  
• Phono / Line / FX Toggle Switch  
• Multiple Outputs: 2-RCA (Unbalanced), 2-1/4" Direct Out ( Balanced), 1-1/4" Master  
(Balanced), Plus FX Send (1/4") ·Multiple Inputs: 2-RCA(Phono), 2-RCA(Line), 1-RCA  
(Aux), Plus FX Return (1/4")  
• Program Reverse  
• 2-Dual headphone outputs (2-1/4" and 2-1/8" mini jack) w/ Headphone mute  
• Booth Output  
P&G Vs Focus Fader  
The Focus Fader is an optical digital crossfader. The advantages are that there  
are no contacts inside the fader, which means that the audio will never degrade  
due to fader wear. This also means that the fader will be much smoother. Some  
find it too smooth. We have included the P&G fader, which is a high quality  
mechanical fader for those who prefer more resistance.  
*Original concepts by DJ Focus  
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FADER CLEANING AND REPLACEMENT  
DESCRIPTION OF FUNCTIONS  
CLEANING A P&G FADER:  
1. Remove 2 mounting screws from fader plate.  
(NOTE: The P&G fader is designed with floating  
mounting threads for precise mechanical centralizing of  
the fader. If you desire to keep your fader`s current  
mounting position we suggest that you make 2 marks  
on both ends of the fader on the fader plate to indicate the  
P&G fader position.) See Figure 1.  
A
2. Once fader is removed from unit, remove the two screws  
(A) from the end of the fader body where the wires exit the  
fader casing. Pull away the end block. Withdraw the dust  
cover (B). Taking great care, remove the slider assembly (C),  
ensuring that the wiper contacts (D) are not damaged as  
this will affect the operation of the fader. Clean the slider  
assembly by gently wiping the wiper contacts and slider  
bearings (E) using a tissue or cotton bud. If slider bear-  
ing are excessively worn, as indicated by excessive slid-  
er rocking then contact Stanton for replacement.  
B
F
(1) Hi, Mid, Low – Adjusts Hi, Mid, and and POST refer to the crossfader (21).  
Low frequencies (+ 10/-10 dB) for the In “PRE” position, the signal of control  
G
AUX/FX Return Input.  
selected by the Cue-pan (9) fader will  
be monitored (pre-line fader, pre-cross-  
(2) Aux/FX Gain – Controls gain of fader) as a stereo signal in the head-  
AUX/FX inputs (35, 36). While AUX/FX phones. The “POST” position, is some-  
switch (37) is placed in AUX, the gain what similar to the “PRE” position,  
control can be used to adjust the level except the signal is post crossfader  
of the incoming AUX input (36). While (21) (pre-line fader, post-crossfader),  
the AUX/FX switch (37) is placed in FX so if the cue pan fader is centered, the  
the gain control becomes a wet/dry signal received in the headphone  
3. Remove the single upper screw on the opposite end  
block to remove the guide rail. Clean the guide rail (F) with a  
tissue or cloth, removing all traces of dirt and contamination.  
C
4. Remove the fader track (G) by slowly withdrawing from the  
unit. Place fader track on desk or working surface with black  
contacts facing upwards. If necessary, the track can be  
washed in warm water, wiped gently then dried thoroughly  
using a dry cloth. Use a lint free cloth or swab to wipe the  
tracks and check for marks along the track. (Note: Lint free cloth should be  
used to avoid dust and fibers being deposited on the track). If the track  
appears excessively worn, or if cleaning does not improve operation,  
replacement may be necessary.  
E
control for the FX return (35).  
depends on the position of the cross-  
fader (21). In “MASTER” position, the  
(3) Aux/FX Balance – Controls the signal monitored will be pre-master vol-  
left/right output balance of the AUX/FX ume (post-faders), meaning the signal  
inputs (35, 36). will still be present in the headphone  
even if the master volume is turned  
(4) PGM1 & 2 Gain – Controls the gain down.  
level of each input channel (38, 39).  
D
(8) Auto Cue – Auto cue is an automat-  
(5) PGM1 & 2 Balance – Controls the ic cueing system that is controlled by  
left/right output balance of each chan- the position of the crossfader (21). If  
nel. the crossfader were placed on PGM1,  
PGM2 would be heard through the  
(6) FX Pre/Post – Assigns FX SEND headphones and vice versa. The auto-  
signal to either pre-fader or post-fader. cue function disables all other Cue set-  
In PRE position the external effects tings and functions.  
5. Examine the center channel of the fader body and if dirty, clean using  
cotton buds.  
6. Re-assemble and lubricate the fader as follows:  
6.1) Secure the end block and guide rail onto the fader body.  
6.2) Insert track into the fader body.  
6.3) Insert slider assembly onto guide rail and into the fader body. Move  
slider from end to end to disperse the oil evenly. Carefully wipe away any  
excess oil using a tissue or cloth.  
processor is sent a pre line fader (19)  
and crossfader (21) signal via the FX (9) Cue pan: Fades the headphone  
SEND output. In POST position the FX output between channels 1 and 2,  
device is sent a post line fader & cross- effectively allowing the user to preview  
6.4) Lubricate the guide rail by placing one drop of silicon liquid oil onto the  
guide rail (F).  
fader signal via the FX SEND output.  
(7) Cue Select – On this feature, PRE  
a mix while in “PRE” cue mode.  
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FADER CLEANING AND REPLACEMENT  
DESCRIPTION OF FUNCTIONS  
After constant scratch use the SA-8 faders may need to be cleaned and lubri-  
cated from time to time. This will ensure long life and keep a smooth feeling  
throughout the fader's lifetime. Follow the instructions below to lubricate and  
clean your faders:  
REMOVING A FADER  
1. Make sure mixer is powered off and power supply  
is disconnected from back of mixer.  
2. To remove the lower faceplate, take off all the  
fader knobs and then remove the 4 screws located  
on the side of the mixer (2 on each side). Lift up on  
the faceplate and it will slide off.  
3. Remove the fader to be cleaned or replaced by  
unscrewing the 2 outer screws on the fader plate  
(removing the 2 inner screws will detach the fader  
from the fader plate).  
(10) Cue Level – Controls the head- sor.  
phone output (23) level.  
(17) Aux / FX Cue – This button allows  
(11) Rumble Filter – Rumble is a term you to cue your FX RETURN or AUX  
used to describe mechanical vibrations input depending on the position of the  
traveling through the turntable into the AUX/FX Selector switch (37).  
stylus and being amplified as low fre-  
quencies. The rumble filter will cut (18) OSII – Optical Scratch switches  
these frequencies off and prevent feed- for each channel. This is simply an  
back from the turntable reaching the on/off switch used to perform various  
output of the mixer. The rumble filter is scratch tricks.  
4. Disconnect the fader from mixer by removing the  
connector on the bottom of the fader.  
REPLACING A FADER:  
1. Once the fader has been removed, simply plug the connector into the new  
fader.  
adjustable from 0 Hz (OFF) to 20 Hz  
(The human ear can only hear above (19) Line Faders – Controls the chan-  
2. Place fader back in mixer and replace 2 outer screws to secure fader.  
16 Hz).  
nel output level. The curve of the line  
fader is determined by curve control  
(12) Booth – Controls the level of the switch (25) located on the front panel.  
BOOTH (42) output. The line fader may also be reversed by  
using the line fader reverse switch (24)  
(13) Master – Controls the overall vol- on the front panel.  
ume level of the mixer.  
CLEANING A FOCUS FADER:  
1. Once fader is removed from unit, you will need to separate the fader casing  
from the fader itself to have access to inner suspension. The  
fader casing is the metal piece that covers 3 of the sides of  
the fader. To remove the casing pull apart the two flaps on the  
side of the fader and remove casing.  
(20) Headphone Mute Switch – Mutes  
(14) FX1 / FX2 – These 2 buttons headphone output (23). Mute is on  
assign the FX Loop to its respective when red LED is illuminated next to  
channel. the FX loop can be assigned switch.  
2. Once casing has been removed wipe down the rails with a  
cotton swab to remove excess dirt.  
to both channels at the same time.  
(21) Crossfader – Fades the overall  
(15) Hi, Mid, Low – Adjusts Hi, Mid, and mixer output between channel 1 and  
Low frequencies (+ 9/-20 dB) for PGM channel 2. The curve of the crossfader  
3. Lubricant can be applied to the rails. Thinner liquid-like  
lubricant is suggested but if you desire a slower or more resis-  
tant focus fader you may use grease like lubricant.  
1 & 2.  
is determined by the CF Curve knob  
(27) located on the front panel. The  
(16) Input Selector – Selects the input crossfader may also be reversed by  
source (FX / PHONO / LINE) for each using the CF Reverse switch (28) on  
channel. When FX is selected the FX the front panel.  
RETURN is routed to that channel and  
the line fader for that particular channel (22) Input Level Meter – Displays each  
becomes the level control for the audio channels input (in dB) level with peak  
coming back from the effects proces- hold. When indicator shows a red bar  
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DESCRIPTION OF FUNCTIONS  
on a channel the mixer is close to clip- of any effects processing device. The  
ping (distorting) the audio signal and signal that is selected by the FX On/Off  
the gains should be turned down.  
switches (14) will be sent though the  
FX send.  
(23) Phones – Standard 1/4” & 1/8”  
headphone output connectors.  
(35) FX Return – Connects to the out-  
put of the same effects processor to  
(24) Reverse – Reverses the direction complete the effects loop. In order to  
of each respective line fader.  
use the FX Loop the AUX / FX (37)  
must be set to FX.  
(25) Curve – Three-position switch  
selects between a sharp, mid and long (36) AUX – Extra input for connecting a  
fade for the corresponding line fader. line level signal. A CD player or sam-  
pler may be connected to this input or  
(26) Mono / Stereo – Individual mono / the input can be used as a session  
stereo switches for each input. input for team routines. In order to use  
this input the AUX/FX switch (37) must  
(27) CF Curve – Controls the curve of be set to AUX. This input is controlled  
the crossfader from a sharp cut for by the first set of EQ (1), Gain (2), and  
scratching to a long gradual fade for Balance (3) controls. When the  
mixing.  
AUX/FX switch is placed in FX this  
input is disabled.  
(28) CF Reverse – Reverses the direc-  
tion of the crossfader.  
(37) AUX/FX Select switch – Selects  
which signal is routed to the first set of  
(29) Power switch – Turns the mixer on EQ (1), Gain (2), and Balance (3)  
and off. knobs on the top portion of the mixer.  
When AUX is selected the AUX input  
(30) AC IN – Input connection for the (36) is controlled by these controls and  
included power supply. is sent to the master output. When FX  
is selected the FX RETURN (35) is  
(31) Balanced Master output: 1/4” TRS routed to the first set of controls.  
balanced connectors (typically used to  
connect to a P.A. mixer or an amplifier (38) Phono Inputs – Dual RCA phono  
for live performances or a recording level inputs for connecting turntables.  
(42) Booth Output – The booth output dj requires a separate control of the  
is a separate master output. The vol- booth speakers. However the booth  
ume of this output is controlled by the output may be used for recording or for  
BOOTH knob (12) located on the top of daisy chaining mixers or as simply a  
the mixer. The booth output is typically second master output.  
used in a club environment where the  
console for recording).  
(Note: Do not plug line level devices  
into this input).  
(32) Direct Outputs – Individual outputs  
for each channel allows you to record (39) Line Inputs – Dual RCA inputs for  
your mixes to a multi-track recorder. connecting line level devices such as  
These 2 outputs may also be used as cd players, samplers, etc...  
master outputs in a live performance  
situation to allow the sound engineer to (40) PGM Reverse – Reverses the sig-  
have independent control of each nal sent to line faders 1 and 2. When  
turntables signal.  
reversed, PGM 2 line fader will control  
PGM 1’s audio signal, and vice versa.  
(33) Ground connector: Connects to (41) Unbalanced Master RCA output –  
turntable ground post to eliminate elec- RCA connectors are typically used to  
trical hum. Ground cables are supplied connect to a home stereo, or to anoth-  
with turntables. (Note: Some turntables er mixer with RCA inputs for practicing  
do not need to be grounded see own - or team routines. Several SA-8’s can  
ers manual with turntable)  
be daisy chained together by plugging  
this output into the AUX input of the  
(34) FX Send – Connects to the input next SA-8 in the chain.  
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