ROTATING AND REP LACING THE OS 2
ROTATING INSTRUCTIONS
REPLACING INSTRUCTIONS
1 . Remove the face plate.
1. Remove the the face plate.
SA-12
DJ C R AZE S IG NATUR E MIXE R
2. Remove the 2 outer screws from the
round OS2 plate (removing the 2 inner
screws will detach the fader from the
plate)
2. Remove the 2 outer screws from the
round plate (removing the
screws will detach the fader from the
2
inner
plate)
3. Rotate the plate to the desired posi-
tion and tighten the screws back into
the top and bottom holes.
3. Remove the OS2 assembly and dis -
connect the cable coming from the
mixer.
4. Set the replacement fader assembly
in the desired position and place the
screws back in the top and bottom
holes.
WAR R ANTY
This unit has been designed and man - Consequently, the parts listed above
ufactured using quality components.
Therefore, it is warranted to be free
from defects in materials (limited as
specified below), and workmanship for
a period of twelve (12) months from the
original purchase date. During this
period, all service and parts necessary
to repair a defect will be free of charge.
This limite d wa rra nty a pplie s to
mechanical parts which are subject to
wear and tear as specified: Faders,
s pe cifie d dura bility: 15,000 cycle s ;
Rotary potentiometers, specified dura -
are warranted to be free from defects in
materials and workmanship for a peri-
od of thirty days (30) days from the
original purchase date.
For the warranty to be valid, please
complete the warranty registration card
attached or fill out the online registra -
tion
at www.stantonmagnetics.com
Mail completed warranty cards to:
bility: 10,000 cycles; Switches, speci - Stanton Magnetics, Inc, 3000 SW 42st
fie d dura bility: 10,000 cycle s. • Hollywood, FL 33312
OWNER’S MANUAL
STANTON MAGNETICS, INC
info@stantonmagnetics.com • (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
© 2001, Stanton Magnetics, LLC
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F ADE R C LE ANING AND R E P LAC E ME NT
S A-1 2 F UNC TIO NS & F E ATUR E S
It’s only the 3x champion, DJ Craze signature mixer! This battle mixer has the all
the quality of a club mixer and meets all the requirements of today's Turntablist.
After years in the making the ultimate Scratch DJ mixer is here and ready for bat-
tle.
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 slid -
er assembly by gently wiping the wiper contacts and slider bearings (E)
using a tissue or cotton bud. If slider bearing are exessively worn, as indi-
cated by exessive slider rocking then contact Stanton for replacement.
Removable Effects Module
The MOD1 removable effects module This switch allows you to set your cue
includes effects: Pitch Shifter, source to PFL/Pre -crossfader,
Flanger, and Delay. All effects have PFL/Post-crossfader, or Master. This
adjustable parameters and levels, can unique PFL/Post-crossfader features
be assigned (turned on / off) to all allows you to practice and cue your
channels or master output, and can be scratches using the crossfader
turned ON/OFF using any standard (instead of the cue pan fader) during a
3 pos ition Cue Select
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 conta -
3
mination.
G
4. Remove the fader track (G) by slowly with -
drawing 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
footswitch via the remote Start output.
live show.
OS2 Optical Scratch Switch
Mic/Line Channel
I
the track. (Note: Lint free cloth should be used to avoid
These ultra quiet, non friction The SA-12’s Mic/Line channel features
phono/line switches allow you to trans- an input selector switch activating a 3rd
form without the clicking or static noise line input (RCA) or a standard micro-
found in other line switches. Now phone input, both controlled by a 2-
including a special feature that locks band EQ with gain adjustment. This
dust/fibres being deposited on the track). If the track appears
exessively worn, or if cleaning does not improve operation,
replacement may be necessary.
5. Examine the center channel of the fader body and if dirty, clean using cot-
ton buds.
the last position of the switch.
can also be used as a "session in" with
volume control for linking additional
mixers.
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.
FEATURES:
• Focus Fader V2 Digital Optical
Crossfader (Patent Pending) with
curve adjustment and reverse switch.
• 3 band EQ with complete kill, Gain,
and Pan control per channel.
6.4) Lubricate the guide rail by placing one drop of silicon liquid oil onto
the guide rail (F).
• Program Faders reverse switches &
curve adjustments.
• OS2 (Patent Pending) Optical Scratch
6.5) Insert dust cover.
switches with lock feature
6.6) Insert fader track back into fader body with wires coming out open
end of fader body.
• Headphone mute.
• Cue Pan Fader
• Removable effects module (Patent
Pending). SA-12 includes MOD1:
Pitch Shifter, Flanger, and Delay; with
Parameter and Mix controls.
6.7) Secure the remaining end block ensuring that the track wires (I) are
not pinched between the endblock and fader casing.
• Dual headphone inputs (1/4 and 1/8
mini-jack).
7. Once assembled, move the slider from end to end to ensure operation is
smooth.
• TRS balanced Master output.
• Mono-Stereo Switch.
• Effects fully assignable
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 created in step 1, then tight-
en fader plate screws.)
• Foot pedal output to control effects.
• Output Trim control.
• 3 position cue select (Patent Pending)
Pre CF Cue / Post CF Cue / Master.
• Quiet-Start feature to avoid pops /
noise when mixer is powered on.
• 2 line, 2 phono, and 1 mic/line (switch -
able) inputs.
• Program Reverse.
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F ADE R C LE ANING AND R E P LAC E ME NT
DE S C R IP TIO N O F F UNC TIO NS
After constant scratch use the SA-12 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 the 3 fader
knobs and then remove the 4 screws located on
the sides of the mixer (2 on each side). See Figure
1. 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). See Figure 2.
4. Disconnect the fader from mixer by removing the 4-
pin connector on the bottom of the fader.
Replacing a fader
:
1. Once original fader has been removed, simply plug
the 4-pin connector into the new fader. NOTE: The
SA-12 comes with 2 connectors, one for P+G
faders and one for Focus Faders. Make sure you
plug in the correct fader with the correct connector.
See Figure 3.
PostScript Picture
SA-12_callouts.eps
2. Set selector switch to position of fader you are using
(P+G or Focus Fader). See Figure 3.
3. Place fader back in mixer and replace 2 outer
screws to secure fader.
Figure 3
Cleaning a Penny & Giles fader
:
1. Remove 2 mounting scews from faderplate. (NOTE:
The P&G fader is designed with floating mounting
threads for precise mechanical centralising 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 posi -
tion.) See Figure 4.
C
B
2. Once fader is removed from unit,
remove the two screws (A) from
the end of the fader body where
F
A
the wires exit the fader casing. Pull
away the end block. Withdraw the
dust cover (B). Taking great care,
E
G
D
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F O C US F ADE R V2
TOP PANEL
Improving on the original and world's first optical fader design that brought the
industry and art to a new plateau, the Focus Fader V2 is truly curve adjustable to
accommodate to any style of DJ artist. Created to meet the requirements of
today’s higher standards , if your style requires a smooth fade for long mixes or a
razor sharp cut-off for precise scratching, V2 is the answer.
1. Mic/Line 3 level control: Controls
the output level of the microphone/
Line channel.
9. Channel fader: Controls the chan-
nel output level.
10. Cros s fader: Fa de s the ove ra ll
mixer output between channels 1 and
2. See “Focus Fader V2” section for
more details.
2. Gain: Controls the gain of each input
channel.
Just as it's predecessor started a movement in contactless fader designs, the
Focus Fader V2 Digital Optical Fader will continue to push the envelope. No more
bleeding, no more static, no more wasted time, just hours of practice enjoyment
and flawless performance.
3. Mic/ Line 3 EQ: Individual controls
for low and high frequency equaliza - 11. Input Level Meter: Monitors each
tion with (+/-10 dB)
channel’s input level with peak hold
function
The Focus Fader V2 is highly advanced and opens many doors for innovations in
DJ equipment technology. Fitted with an array of optic sensors and microproces -
sor controlled to eliminate the need for contacts or graphite material. V2 is as pure
as the sun rays. It will outlast any standard graphite or conductive plastic fader on
the market. This is why the it has a limited lifetime warranty (see warranty infor -
mation section).
4. EQ
:
Individual controls for low fre -
quency, midrange, and high frequency 12. Cue pan : Fades the headphone
equalization with (+9dB/Kill) Note: Any
cha nge s ma de to EQ se ttings will
change the overall output level.
output between channels
1
and 2,
effectively allowing the user to preview
a mix.
5. FX ON/OFF: These backlit buttons
control the signal flow of the effects
module. Press any of the buttons sep - "PRE" position, the signal of control
arately to turn the effects on or off for selected by the Cue pan fader will be
Ch1, Ch2, or Mic/ Line 3. The correc - monitored (pre-line fader, pre-crossfad-
sponding button will light up to show er) as stereo signal in the head -
13. Cue select:On this feature, PRE
and POST refer to the crosfader. In
The Focus Fader V2 is history in the making.
a
the effect is on. When turned on indi - phone s . The “P OS T” pos ition, is
vidually, there can only be one channel somewhat similar to the “PRE” posi -
effected. Assigning the effect toi a dif - tion, except the singal is post crossfad-
OP TICAL S CRATCH S WITCH (OS 2)
Since the early days of DJing and Scratching the Phono/Line Switch had been an
integral part of an artist’s performance. In recent years the new techniques in
scratching have evolved to a point that surpassed the typical contact switch which
is too noisy to use in a performance. This led to the decline of its use. In any art
form the goal should be to move forward, the slow decline of the phono/line switch
use was a step backwards. Introducing the OS2.
ferent channel will turn off the effect on
the previous channel. When Ch1 and
Ch2 are pressed simultaneously, the
er (pre-line fader, post-crossfader), so
if the cue pan fader is centered, the
s igna l re ce ive d in the he a dphone
effect signal is sent to the master out - depends on the position of the cross -
put, and both (Ch1 & Ch2) buttons will
be lit. When connecting a foot pedal to
the remote output (31), the FX ON/OFF
buttons become assign switches and
the foot pedal becomes the actual
ON/OFF switch. The selected button
will flash to show it is selected, and it
will light up once the foot pedal is
pressed to show the effect has been
turned on.
fader. In "MASTER" position, the signal
monitored will be pre-master volume
(post-faders), meaning the signal will
still be present in the headphone even
if the Master volume control is turned
down.
Just as the introduction of the Focus Fader V1 has changed the face of the DJ
world for the good of all, so will the OS2. The Benefits are the same as other opti -
cal devices, such as the Focus Fader.: 1. No more static, 2. No more bleeding, 3.
Lots of scratching fun.
14. Cue Level: Controls the head -
phone output level.
One Step Further: In addition to the sound benefits the OS2 also represents a
Stanton innovation in it's mechanical properties as well. It is the 1st phono/line
switch which uses a fader as the user interface. This will allow the same
hand/wrist movement to be executed when using the crossfader and OS2 which
in turn translates into efficiency in Scratching performance.
15. Mas ter level control: Controls the
6. Pan control: Controls left/right out - overall signal output level of the mixer.
put balance of each channel.
16. Program reverse : Reverses the
7. Optical Scratch Switches (OS2)
Switches between the phono and line
inputs.
:
signal of input channels 1 and 2. When
switched to 2/1 channel 1 will control
channel 2’s inputs, and vice versa.
The flat handle and soft slide action of the OS2 makes it easy to perform any exist -
ing techniques including the Crab Scratch. The small travel and slide motion will
be a positive tool in conditioning the hand/wrist movements to be more minute and
precise. In conclusion the OS2 is another step forward in the Evolution of the DJ
Culture and of course as always Scratching.
8. Headphone mute
:
Mutes the
17. OS2 lock
:
Locks the OS2 in its
headphones without having to change
its level.
current position to avoid accidentally
switching sources. Wherther the OS2
is in phono or line, activating the OS2
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DE S C R IP TIO N O F F UNC TIO NS
PostScript Picture
MOD-1_callouts.eps
MOD1 - REMOVABLE EFFECTS MODULE
lock will keep it there even if the OS2 is
moved.
18. Effects: Used to select an effect.
Effe cts include d on the MOD1a re
Echo, Flanger, and Pitch Shifter.
mixe d for e a s y control (a nd cool
effect). The Pitch shifter only has one
parameter.
20. Mix: Controls the dry/wet signal(dry
= original signal, wet = processed sig-
nal). In the center position, the signal
includes an exact 50/50 combination of
both signals. Turning the knob to “wet”
will have only the processed signal,
19. Parameter : Controls the effect
parameters. for Echo and Flanger, the
s pe e d a nd de pth pa ra me te rs a re
PostScript Picture
BASE_callouts.eps
FRONT & BACK P ANELS
without the original signal.
affected by the Master volume control.
It can be used to record even while the
master volume is off.
21. Output Trim: Blue LED indicates
whether mixer is ON or OFF.
27. Inputs
inputs for channels 1 and 2.
:
Line and phono signal
22. Power switch: Selects power "ON" 28. Line3 Input
or "OFF".
:
This extra line level
input can be selected with the Mic/Line
switch (29) and can be used as an
extra line input or as a session input for
team routines.
23. AC IN: Input connection for the
included power supply.
24. Balanced Mas ter output
balanced (1/4”) connectors are typical- the Mic/Line3 channel to either the Mic
:
TRS
29. Mic/Line3 switch: Used to assign
FRONT & BACK PANELS (CONT’D)
ly used to connect to a P.A. mixer or an
amplifier for live performances or a
recording console for recording.
input or the Line3 input.
30. Microphone input: 1/4” connector
output from stereo to mono (use it in
case a channel fails on the power amp,
cartridge, etc. it can be very useful
live).
channel fader. Includes bi-color LED to
indicate the status of the reverse func -
tion. When LED is green, the fader is
normal. When LED is red, the fader
direction is reversed.
31. FX ON/OFF output: 1/4” connec -
25. Unbalanced Master output: RCA tor, Used to connect a foot pedal to turn
connectors are typically used to con - the MOD1 effects on or off.
nect to a home stereo or to another
34. Input Fader Curve Adjustment
Adjusts the curve of the input faders
between quick (6dB), normal (20dB),
or long (30dB) fade.
:
mixer with RCA inputs for practicing or 32. Ground connector: Connects to
36. Crossfader Curve adjustment
Adjusts the shape of the crossfader
:
team routines. Several SA-12’s, can be
daisy chained from this output via the
Line 3 input (28).
the turntable ground connector to elim -
inate electrical hum. Ground connec -
tors usually supplied with turntables
curve from a quick cut for scratching
and cutting to a longer fade for mixing.
35. Input Fader Reverse : Reverses
the direction of each respective input
26. REC: The record output is not
33. Mono/Stereo: Switches the mixer
37. Crossfader Reverse : Reverses
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