Fender DJ Equipment SR 6520PD User Manual

Owner’s Manual for  
SR-6520PD  
SR-8520PD  
P/N 049152  
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1 -1 Blo ck Dia g ra m  
L
R
TAPE  
OUTPUTS  
MAIN  
MAIN  
POWER  
AMP INPUT  
GEQ  
GEQ  
OUTPUT  
POWER  
AMP  
MASTER  
SPEAKER  
OUTPUT  
2 OHM  
OUTPUT INPUT  
GRAPHIC EQ  
MINIMUM  
EFF./ REV.  
SEND LEVEL  
PEAK  
PILOT LAMP  
TM  
DELTACOMP  
SWITCH  
EFFECTS  
OUTPUT  
REVERB  
FT. SW.  
DIGITAL SIGNAL  
PROCESSER  
MONITOR  
MASTER  
MONITOR  
OUTPUT  
REVERB RETURN  
TO MONITOR  
REVERB RETURN  
TO MAIN  
Signal path exclusive  
of individual channel  
+ 15 VDC  
PHANTOM  
POWER  
SWITCH  
AUX  
INPUT  
L
TAPE  
INPUTS  
AUX.  
LEVEL  
R
TO PHANTOM BUSS  
MAIN  
MICROPHONE  
+
2
1
TO MAIN BUSS  
CHANNEL EQ  
3
_
_
+
TO EFFECTS/  
REVERB BUSS  
LINE  
HIGH  
MID  
LOW  
EFF./ REV.  
Sig n a l p a th typ ica l  
for e a ch ch a n n e l  
TO MONITOR BUSS  
MON.  
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1. OVERVIEW.  
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 4-  
4). The XLR jack is wired according to the following  
standard:  
1-2. INTRODUCTION.  
The SR series integrated mixer/ amplifiers have been  
designed for easy setup and simple but versatile oper-  
ation. Requiring only the addition of microphones and  
speakers, the SR powered mixers are self-contained  
sound reinforcement systems, with features and per-  
formance generally found only in units costing much  
more.  
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.  
Each input preamp channel provides a balanced XLR  
MICROPHONE input with switchable phantom power  
for condenser microphones, a 1/ 4phone jack LINE  
input, MAIN level control, LOW, MID, and HIGH fre-  
quency tone controls, MON. send control and an  
EFF./ REV. send control.  
2-2. CHANNEL CONTROLS.  
2-2-1. CHANNEL MAIN CONTROL. The channel’s  
MAIN control determines how much of the channels  
signal is sent to the Main mixing buss and to the  
EFF./ REV. control. For best signal to noise ratio, this  
control should be set relatively high; usual settings are  
around 2 o'clock, except when input signal levels are  
great enough to cause clipping. See Section 4-1-2.  
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.  
2-2-2. CHANNEL TONE CONTROLS. The LOW, MID,  
and HIGH controls on each channel may be adjusted  
to enhance the qualities of its particular audio signal  
and to control excessive boominess or sibilance (“s”  
sounds) by using the LOW, MID, and HIGH controls.  
When these controls are at 0 (straight up), the channel  
is “flat” (no frequencies cut or boosted). The most nat-  
ural sound is achieved by avoiding extreme tone con-  
trol settings.  
The SR series mixers include DELTACOMPTM, an adap-  
tive compression system. DELTACOMPTM is a high per-  
formance 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 possi-  
ble, 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 equip-  
ment to be added into the system as the need arises.  
2-2-3. EFF./ REV. CONTROL. This control determines  
how much signal from each channel goes onto the  
Effects/ Reverb buss. All signals on this buss are com-  
bined in the master mixer section, and sent both to the  
EFF. OUTPUT jack and to the internal reverb system.  
The EFF./ REV. control is wired post MAIN control and  
post-EQ; thus, the level and tone of the EFF./ REV. sig-  
nal are altered by the settings of the MAIN, LOW,  
MID, and HIGH controls.  
The SR Series has been designed to meet the needs of  
professionals, and can be counted on to provide reli-  
able service in the most demanding situations.  
2-2-4. MON. CONTROL. The MON. control deter-  
mines how much of a channel’s signal is sent to the  
Monitor buss. This allows a separate mix to be creat-  
ed for stage monitoring. The control is wired pre-  
MAIN control and pre-EQ; thus, the monitor signal is  
independent of other channel controls.  
1-1. BLOCK DIAGRAM. The block diagram illustrates  
the typical signal path for the SR series.  
2. FRONT PANEL CONTROLS, JACKS AND LEDs.  
2-3. MASTER SECTION CONTROLS.  
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 con-  
nection is the inverting (-) input.  
2-3-1. MAIN MASTER LEVEL CONTROL. This is the  
master level control for the main mix. It controls the  
signal level present at the MAIN OUT jack, if nothing  
is patched into the EQ. IN jack or the PWR. AMP  
INPUT jack. The MAIN MASTER control also deter-  
mines the graphic equalizer and power amplifier input  
levels.  
2-1-2. MICROPHONE INPUTS. The three-pin audio  
connectors (often called “XLR” or “Cannon” connec-  
tors) on the front panel are intended for balanced  
input signals from low impedance microphones. To  
avoid clipping in the input stage, signal levels should  
2-3-2. MONITOR MASTER LEVEL CONTROL. This is  
the master level control for the monitor mix. It con-  
trols the signal level present at the MONITOR OUTPUT  
jack.  
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2-3-3. REVERB RETURN TO MAIN CONTROL. This  
control determines how much of the signal from the  
reverb system is added or returned to the main mix.  
When the LED is illuminated, the phantom power is  
on. The 15 volts used for phantom power will run  
nearly all condenser microphones.  
2-3-4. REVERB RETURN TO MONITOR CONTROL.  
Determines how much of the signal from the reverb  
system is added to the monitor mix. Many vocalists  
like to hear some reverb on their voices in the monitor  
system; be aware that reverb in the monitors increases  
the likelihood of feedback in the monitor system due  
to increased gain.  
PHANTOM POWER LED. The green LED is the “phan-  
tom power on” indicator.  
2-3-10. DELTACOMPTM. The yellow DELTACOMPTM  
LED comes on when excessive signal levels are being  
sent to the power amp. It illuminates on signal peaks  
that cause clipping (distortion) with DELTACOMPTM not  
activated, or for signal peaks that cause DELTACOMPTM  
to reduce power amp input level (DELTACOMPTM  
active). If the limiter is on for a large percentage of the  
time, the dynamic range of the system is reduced and  
the overall sound suffers; for this reason, level controls  
should be adjusted so that the LIMIT light only flashes  
on occasional signal peaks.  
2-3-5. EFF./ REV. SEND LEVEL CONTROL. The mix  
created by the settings of the channel EFF./ REV. con-  
trols appears at the EFF. OUPUT jack, as well as being  
sent to the reverb system. The signal level at the EFF.  
OUTPUT jack is adjusted by the individual channel  
EFF./ REV. controls, and the EFF./ REV. SEND LEVEL  
master control.  
DELTACOMPTM SWITCH. DELTACOMPTM is activated by  
engaging the DELTACOMPTM SWITCH.  
2-3-6. AUX. LEVEL CONTROL. Signals patched into  
the AUX. INPUT jack and / or the TAPE INPUTS are  
sent to the Main buss via the AUX. LEVEL control. This  
control determines how much of the AUX. INPUT sig-  
nal appears in the main mix.  
2-3-11. POWER LED. The red POWER LED is the front  
panel power on” indicator.  
2-4. PATCH BAY.  
2-3-7. GRAPHIC EQUALIZER. The 9 band graphic  
equalizer consists of active band pass / band reject fil-  
ters spaced at octave intervals. The lowest frequency  
filter is centered at 63Hz while the highest frequency  
filter is centered at 16kHz. All others are centered on  
the frequencies indicated below their sliders. Moving  
the sliders up or down boosts or cuts the gain at the  
indicated frequencies. This allows the sound engineer  
to suppress feedback by compensating for room reso-  
nances encountered in live sound reinforcement appli-  
cations. The EQ controls are accurately scaled in dB to  
indicate the amount of cut or boost applied at each  
frequency.  
2-4-1. MAIN OUTPUT. Signals from each of the  
channels are combined with AUX. and TAPE INPUTS  
and the REVERB RETURN TO MAIN signal to form the  
final main mix. The overall level of the mix is con-  
trolled by the MAIN MASTER control and this mix  
appears at the MAIN OUTPUT jack. The mix is also  
normally passed on to the GRAPHIC EQUALIZER and  
to the power amplifier (see Sections 2-4-5 and 2-4-9).  
Inserting a plug into the MAIN OUTPUT jack does not  
interrupt the normal signal flow. It can be used for  
inserting signal processing equipment into the signal  
path (see Section 4-5), using the MAIN OUTPUT as a  
send, and the GEQ INPUT as a return.  
NOTE: It is possible for distortion to occur in the  
Graphic Equalizer if excessive attenuation is used (slid-  
er well below center) while also trying to achieve sig-  
nificant level within the attenuated bands.  
2-4-2. MONITOR OUTPUT. Signals present on the  
Monitor buss are combined in the monitor summing  
amplifier and sent to the MONITOR OUTPUT jack.  
The signal level present at this output is determined by  
the MONITOR MASTER control.  
2-3-8. DIGITAL REVERB AND EFFECTS CONTROLS.  
The internal DSP (Digital Signal Processor) system pro-  
vides 126 different types of reverb and effects. These  
are selected by the two rotary switch controls located  
in the DIGITAL REVERB and EFFECTS section of the  
front pannel. These two controls work together to  
select and modify each reverb sound or effect algo-  
rithm. When the bottom switch chooses one of the  
fourteen reverb selections, the top switch chooses the  
reverb or delay time. When the bottom switch is in the  
SPECIAL EFFECTS setting, the top switch chooses the  
special effects algorithm. This is indicated by the pan-  
nel graphics, which show light and dark colored sec-  
tions.  
2-4-3. EFF. OUTPUT / REVERB FOOTSWITCH. Signals  
present on the Effects/ Reverb buss are mixed in the  
Effects/ Reverb summing amplifier. This mix is sent  
both to the Reverb driver and to the EFF. OUTPUT  
jack. Thus the mix created by the settings of the  
EFF./ REV. level controls on each of the preamp chan-  
nels is present at the EFF. OUTPUT jack. The overall  
level at this output is determined by the master mix  
section EFF./ REV. SEND LEVEL control. This output  
may be used to drive external effects (echo units,  
phase shifters, flangers, digital delays, etc.). The  
return signal from the effect may be patched into the  
mixer through the AUX. INPUT jack, or by way of a  
preamp channel 1/ 4” input jack. Use of a preamp  
channel as a return gives you the ability to shape the  
frequency response of the signal; however, care must  
be taken to insure that the EFF./ REV. control on that  
2-3-9. PHANTOM POWER (Select Switch and  
Indicator LED). Engaging the switch applies 15 volts of  
phantom power to all the XLR microphone input con-  
nectors for powering electret condenser microphones.  
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channel is turned all the way down - otherwise a feed-  
back loop will exist which could cause oscillation and  
possible damage to speakers. Care must be taken to  
insure that the amplitude of the return signal is not too  
great for the preamp channel input. An input pad  
may be used if needed.  
2-4-6. AUX. INPUT. This input is generally used as a  
return from an external signal processing device  
(flanger, phase shifter, etc.). Signals present at this  
input are routed to the Main buss by way of the AUX.  
LEVEL control. In emergencies, it is possible to use the  
AUX. INPUT as a line level preamp channel, although  
it lacks the preamp channel’s equalization, monitor,  
and effects sends.  
REVERB FOOTSWITCH. The Digital Reverb and Effects  
processer can be defeated by inserting an optional  
footswitch into the REVERB FOOTSWITCH jack. This  
allows the Reverb and Effects to be turned off and on  
remotely.  
2-4-7. TAPE INPUTS. Patching the output of a stereo  
tape deck into the two phono (RCA) jacks produces a  
monophonic signal in the main mix. This is useful for  
playing music during breaks in the performance, or for  
performances where prerecorded music is required.  
The TAPE INPUTS signal level is controlled by the AUX.  
LEVEL control.  
2-4-4. GEQ. OUTPUT. The output of the GRAPHIC  
EQUALIZER is present at the GEQ. OUTPUT jack;  
inserting a plug into this jack does not interrupt the  
normal signal path. The jack is useful for patching  
more power amplifiers into the system, for post-equal-  
izer recording and for inserting signal processing  
equipment (limiters, parametric equalizers, etc.)  
between the equalizer and the power amplifier (see  
Section 4-5).  
2-4-8. TAPE OUTPUTS. connecting the two phono  
(RCA) TAPE OUTPUTS to a tape deck’s recording inputs  
allows monophonic signal from the MAIN OUTPUT to  
be recorded. The signal present at the TAPE OUTPUTS  
is pre-GRAPHIC EQUALIZER and its level is determined  
by the MAIN MASTER control.  
2-4-5. GEQ. INPUT. The GRAPHIC EQUALIZER is  
prepatched to the main output signal. However, the  
GEQ. INPUT jack allows this “normalized” patch to be  
defeated; inserting a 1/ 4” phone plug into the jack  
disconnects the equalizer from the main signal and  
instead connects it to any signal carried by the phone  
plug. This allows the equalizer to be patched to other  
SR outputs or to other pieces of audio equipment.  
2-4-9. PWR. AMP INPUT. Under normal circum-  
stances, the power amplifier receives its input from the  
GRAPHIC EQUALIZER. However, by inserting a 1/ 4”  
phone plug into the PWR. AMP INPUT jack, the normal  
signal path is broken and any signal carried by the  
phone plug becomes the power amplifiers input. This  
REAR PAN EL  
SERIAL NUMBER  
MODEL  
TYPE: PR 179  
SR6520PD  
DSP POWERED MIXER  
3-1  
A PRODUCT OF:  
520 WATTS  
2 OHM  
MINIMUM  
TOTAL  
FENDER MUSICAL INSTRUMENTS CORP.,  
CORONA, CA 91720  
MADE IN U.S.A.  
3-1  
CAUTION: CHASSIS SURFACE HOT  
SPEAKER  
OUTPUTS  
WARNING: TO REDUCE THE RISK OF FIRE OR  
ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT  
TO RAIN OR MOISTURE  
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR  
ATTENTION: SUPERFICIE DE CHASSIS CHAUDE  
POWER  
ON  
3-2  
CAUTION:  
RISK OF ELECTRIC SHOCK  
DO NOT OPEN  
OFF  
INPUT POWER  
INFO  
1200W  
WARNING:  
DO NOT ALTER THE  
AC (MAINS) PLUG.  
3-3  
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allows the power amplifier to be used independently  
from the rest of the SR powered mixer. Possible uses  
of this feature include dedicating the power amp to  
the monitor system while employing an auxiliary  
power amplifier for the mains, or using the SR power  
amp as one of the two power amplifiers in a biamped  
system (this would require the addition of an external  
crossover). See Section 4-5.  
the levels appearing in the monitor mix should be fair-  
ly matched. Further adjustments can be made as  
needed.  
4-1-4. CHANNEL TONE CONTROLS. Most vocal,  
keyboard, and other full range signals are best left flat  
(controls at 0, or straight up). For signals having a  
great deal of low frequency content, such as drums  
and bass guitars, the LOW control should  
3. REAR PANEL  
initially be backed off slightly (rotated to the left) from  
the 0 position to reduce boominess. Naturally, all  
controls should be set to achieve the most pleasing  
sounds, but the settings listed above should help in  
achieving good results quickly. In general, extreme  
settings cause the sound to be unnatural and should  
be avoided.  
3-1. SPEAKER OUTPUT JACKS(In Parallel). These are  
the speaker outputs for the built-in power amplifier.  
Do not connect loads with impedances lower than 2  
ohms to the SPEAKER OUTPUT, as this may result in  
amplifier overheating which will cause the SR mixer to  
eventually self protect, “turning off” for a period of  
time. (To calculate the speaker impedance, see Section  
4-3-2.) In addition, be sure that the speaker cable  
you use is of adequate gauge; otherwise, power will  
be lost in the wire instead of being delivered to the  
speaker.  
4-1-5. GRAPHIC EQUALIZER. Start out with equalizer  
set “flat” (O dB). On the SR mixers, the 63 Hz control  
may be set initially 3 to 6 dB below the center position,  
since excessive low frequencies rob power from the  
rest of the system and low-end feedback can damage  
loudspeakers.  
3-2. POWER SWITCH. AC Power to the SR powered  
mixer is turned on and off by a rocker switch located  
on the back panel. If you have any external signal  
processing devices patched to the system, turn them  
on first to avoid pops in the loudspeakers. Also, when  
you turn on the mixer, make sure that the main fader  
is down - this eliminates the risk of the system imme-  
diately feeding back when it is turned on, and also  
minimizes turn-on-pops.  
4-2. USING THE GRAPHIC EQUALIZER TO ELIMI-  
NATE ACOUSTIC FEEDBACK.  
4-2-1. THE CAUSE OF ACOUSTIC FEEDBACK.  
Acoustic feedback in a sound system is the result of  
coupling between the speakers and microphones. The  
microphones will always pick up a certain amount of  
signal from the speakers; how much they pick up  
depends on the room acoustics, the frequency  
response of the microphones and speakers, and the  
mic and speaker placement. If the received signal is  
amplified enough (in the mixer and power amplifier),  
the speakers will continue to produce the signal, and  
the characteristic howl of acoustic feedback will begin.  
This feedback will occur at the frequency which  
receives the largest amount of gain from the sound  
system (including the room). If the signal can be  
attenuated at that frequency, more gain can be added  
to the rest of the signal frequencies before feedback  
occurs. This is the primary role of an equalizer in a  
sound system.  
3-3. POWER CORD. WARNING! Do not remove the  
grounding prong of the AC plug. To do so risks expo-  
sure to potentially lethal voltages and voids the war-  
ranty. DO NOT ALTER THE AC (MAINS) PLUG.  
4. SETUP AND OPERATION.  
FIGURE 1 illustrates the simplest way to set up your PA  
system.  
4-1. INITIAL CONTROL SETTINGS. When you first set  
up the sound system, initial settings are critical for  
arriving at a satisfactory mix quickly. Often, to the  
distress of many sound engineers, the show must  
begin without a preliminary sound check. The follow-  
ing recommendations should help to alleviate some of  
the engineers headaches.  
4-2-2. TYPICAL PROCEDURE FOR ROOM EQUALIZA-  
TION.  
1. Set up your entire sound system the way it will be  
used, including all auxiliary equipment, and adjust it  
the way you would normally use it. If feedback occurs  
during setup, reduce the gain of the mixer with the  
MAIN and MONITOR level controls. Follow the proce-  
dure outlined in the paragraphs below, first for the  
main system and then for the monitors (assuming you  
are using an equalizer in your monitor system, which  
is highly recommended).  
4-1-1 TYPICAL PRESETS. Set the channel HIGH, MID,  
and LOW frequency controls to their mid positions,  
and also set the GRAPHIC EQUALIZER to its mid or flat  
position. Set the MAIN MASTER and MONITOR MAS-  
TER controls to around the 1o'clock position. Set all  
other controls to zero.  
4-1-2 MAIN CONTROL. Adjust the MAIN controls to  
the approximate level you desire, with a mix that you  
feel will be acceptable.  
2. Set the controls on the GRAPHIC EQUALIZER to the  
“flat” position, indicated as 0 dBon the panel.  
4-1-3. MON. CONTROLS. Most groups like to hear  
their voices in the monitors; some also like to hear  
certain instruments as well (keyboard, acoustic guitar,  
and so forth). A good initial MON. control setting is 5  
(straight up). Assuming that the various vocalists use  
similar miking techniques and sing at similar volumes,  
3. Slowly increase the output level (using the appro-  
priate level control) until the sound system is on the  
threshold of feedback - a ringing sound will occur  
when you tap on the microphones.  
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4. Slowly attenuate the Equalizer control which has  
the greatest effect on reducing the ringing. This will  
take some trial and error - the first ringing usually  
occurs between 1 kHz and 4 kHz. Continue until the  
ringing has stopped.  
• Use the highest quality patch cords available  
and keep them as short as possible.  
• Avoid patching a buss output back into its input.  
An example of this is patching a phase shifter  
from the EFF. OUTPUT / REVERB FOOTSWITCH  
and returning it to the input of a channel which  
has its EFF./ REV. control turned up. Doing so  
may result in oscillation (possibly inaudible)  
that can damage loudspeakers and create dis-  
tortion.  
5. Again, slowly increase the output level control until  
the system is on the verge of feeding back. Adjust the  
equalizer to remove the potential feedback. Continue  
this procedure until you have achieved sufficient gain  
for your application or until the equalizer becomes  
ineffective at removing the ringing. It is best to back  
off the gain once maximum gain before feedback has  
been established. Avoid extreme settings or settings  
which require a large amount of cut in the middle fre-  
quency bands, as such settings impair intelligibility.  
• Do not use a mic level or instrument level effect  
(such as an effect intended for guitar) with a line  
level signal (such as the Main or Graphic EQ  
output).  
6. Fine tune” the equalizer settings as the perfor-  
mance progresses to achieve the best overall sound  
from the system.  
5. UPKEEP AND SERVICE  
The SR powered mixers have been designed to give  
years of trouble free service. With a few precautions,  
you can help to insure its continued reliable service.  
4-3. CORDS AND CABLES.  
4-3-1. MICROPHONE CORDS. On the SR mixers, use  
balanced two-conductor shielded cable for all long  
runs. Balanced systems are capable of rejecting noise  
introduced from such sources as cash registers, electric  
motors and triac-controlled lights. If a balanced cable  
is connected to an unbalanced output (e.g., a key-  
board mixer output) or microphone, use a balancing  
transformer close to the unbalanced device. This  
ensures maximum common-mode noise rejection for  
the entire system.  
• Do not obstruct the air vents on the rear panel.  
Transport the mixer with care.  
• Periodically inspect the mixer for damage which  
may occur during transportation.  
• If you leave the mixer set up when you are not  
using it, protect it from dust with a soft cover.  
DO NOT SET FOOD OR BEVERAGE on the SR powered  
mixer - this can not be overemphasized. Spilling a  
drink can be the quickest way to ruin a potentiometer  
(fader, level control, EQ control) or switch.  
If you have no choice and must use unbalanced  
cables, use the shortest cables possible and keep them  
away from AC power mains, lighting cables and  
speaker wires. If you want the quietest system possi-  
ble, you should follow these rules with balanced lines  
as well.  
• When using the mixer protect it from  
moisture (rain, sprinklers, beer, etc.)  
• Periodically clean the mixer by wiping it  
with a soft cloth and a small amount of fur-  
niture polish.  
4-3-2. SPEAKER CABLES. Use two conductor zip cord  
to connect the amplifier outputs to your speakers. The  
gauge of the wire is important; wire that is too light in  
gauge consumes power (the power from the amplifier  
heats up the wire for your particular situation). To cal-  
culate your speaker impedance, use Figure 3.  
6. TROUBLESHOOTER'S CHECKLIST:  
If the mixer is set up but does not function, check the  
following items:  
-Is the mixer power cord properly plugged into an  
electrical outlet?  
-Is there power at the outlet?  
-Are the speakers properly hooked up to the  
mixer?  
-Are the proper controls turned up?  
-Is the instrument turned up?  
-Check all cables and wires.  
4-4. INPUT PADS. If input signal levels are too great,  
the input stage may be overdriven and cause distor-  
tion. The solution in such cases is to use an input pad.  
A 30 dB pad can be made by using a Switchcraft con-  
nector (part # S3FM) with the resistor network shown  
in Figure 4.  
4-5. PATCHING. Figures 5 through 8 show possible  
ways of patching external equipment into the SR  
mixer. They are by no means the only patches possi-  
ble. If you want to try a patch that is not illustrated,  
consult the Block Diagram to determine if your patch is  
possible. When patching external equipment into the  
signal chain, best results will be obtained by following  
these rules:  
If, after checking all of the above, the mixer is still not  
performing correctly, consult your Fender Service  
Dealer.  
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7 . SPECIFICATIO N S  
SR-6 5 2 0 PD / SR-8 5 2 0 PD  
Part Number:  
100V Version: 071-6521-270 / 071-8521-270  
120V Version: 071-6521-200 / 071-8521-200  
230V Version: 071-6521-260 / 071-8521-260  
230V Version: 071-6521-240 / 071-8521-240 U.K.  
240V Version: 071-6521-230 / 071-8521-230 AUST.  
Type Specification:  
Power Specification:  
SR-6520PD: PR189  
SR-8520PD: PR189  
100V Version: 100VAC, 50/ 60Hz, 1200W  
120V Version: 120VAC, 60Hz, 1200W  
230V Version: 230VAC, 50Hz, 1200W  
240V Version: 240VAC, 50Hz, 1200W  
POWER AMPLIFICATION SECTION:  
Power Output:  
520W RMS @ 2  
350W RMS @ 4Ω  
Min. Load Impedance:  
Distortion at 520W:  
Input Sensitivity:  
2Ω  
Less than .2% @ 1kHz into 2Ω  
1.28V RMS  
22kΩ  
Input Impedance:  
DELTACOMPTM Range:  
PRE-AMPLIFIER SECTION:  
20dB  
LOW-Z Input Impedance:  
HI-Z Input Impedance:  
1.82kΩ  
18.2kΩ  
HI-Z Input Sensitivity for 520W:  
(MAIN MASTER and Channel  
MAIN at maximum, all tone  
controls and GEQ at "0"  
detent, power amp at  
55mV RMS  
520W, 4 ).  
Channel Tone Controls:  
LOW +/ – 15 dB at 100 Hz  
MID  
+/ – 15 dB at 750 Hz  
HIGH +/ – 15 dB at 10 kHz  
Graphic Equalizer:  
+/ – 12dB at 63, 125, 250, 500, 1k, 2k, 4k, 8k and  
16 kHz.  
PHYSICAL SPECIFICATIONS:  
SR6520PD  
10-7/ 16 Inches ( 26.5 cm )  
23-5/ 8 Inches ( 60.0 cm )  
12 Inches  
40.0 lbs.  
SR8520PD  
10-7/ 16 Inches ( 26.5 cm )  
27-5/ 8 Inches ( 70.2 cm )  
12 Inches  
42.0 lbs.  
Height:  
Width:  
Depth:  
Height:  
Width:  
Depth:  
( 30.5 cm )  
( 18.2 kg )  
( 30.5 cm )  
( 19.1 kg )  
Weight:  
Weight:  
WARNING: NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL ONLY.  
THIS EQUIPMENT MUST BE EARTH GROUNDED.  
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AECNTROLS  
FRONTP  
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FIGURE 1  
FENDER MAIN  
P.A. SPEAKERS  
SPEAKER  
OUT  
DSP POWERED M IXER  
SR6520PD  
63  
125  
250  
500  
1K  
2K  
4K  
8K  
16K  
DELTACOMPTM POWER  
0EFF./REV.  
0
MAX.  
0EFF./REV.  
0
MAX.  
0EFF./REV.  
0
MAX.  
0EFF./REV.  
0
MAX.  
0EFF./REV.  
0
MAX.  
0
0
M
A
X
.
+dB  
12  
9
+dB  
12  
9
E
F
F
.
/
R
E
V
.
ELECTRONICS  
OFF  
ON  
6
6
PHANTOM  
POWER  
-1  
5
+1  
5
-1  
5
+1  
5
-1  
5
+1  
5
-1  
5
+1  
5
-1  
5
+1  
5
-1  
5
+15  
3
3
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
0
0
DIGITALREVERBandEFFECTS  
-SHORT  
2
3
3
1
DEFEAT  
6
6
MULTI-TAP  
3
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
DELAY  
9
9
OFF  
ON  
TRIPLE HIT  
DELAY  
4
5
REVERB  
DELAY TIME  
/
12  
12  
DOUBLE HIT  
DELAY  
-dB  
-dB  
6
7
TAPE ECHO  
GRAPHIC EQUALIZER  
DELAY  
+
REVERB  
DEFEAT  
REVERB  
8
-LONG  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
REGENERATION  
00  
MAX.  
00  
MAX.  
00  
MAX.  
SMBARILGLHHALL REV.  
SPECIAL  
EFFECTS  
T
REVERB RETURN  
TO MAIN  
REVERB RETURN  
TO MONITOR  
AUX. LEVEL  
0
0
M
A
X
.
0
0
M
A
X
.
0
0
M
A
X
.
0
0
M
A
X
.
0
0
M
A
X
.
0
0
M
A
X
.
DARK  
M
O
N
.
M
O
N
.
M
O
N
.
M
O
N
.
M
O
N
.
M
O
N
.
LABRRGIGEHHALL REV.  
REVERSE REVERB  
T
DELAYS  
DARK  
SMBRAILGLHTROOM REV.  
GATED REVERB  
DARK  
DARK  
LARGE PLATE REV.  
00  
MAX.  
00  
MAX.  
00  
MAX.  
BRIGH  
T
T
LABRRGIGEHROOM REV.  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MASTER  
MONITOR  
MASTER  
EFF./REV.  
SEND LEVEL  
DARK  
DARK  
SMALL PLATE REV.  
1
2
3
4
5
6
BRIGH  
T
TAPE  
TAPE  
MAIN  
MONITOR  
OUTPUT  
EFF. OUTPUT  
GEQ  
GEQ  
PWR. AMP  
AUX.  
OUTPUT  
REVERB  
FOOTSWITCH  
OUTPUT  
INPUT  
INPUT  
INPUT  
INPUTS OUTPUTS  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
SYSTEM PATCH BAY  
MONITOR  
OUT  
GRAPHIC EQUALIZER  
FENDER MODEL M-300  
STAGE MONITOR AMPLIFIER  
MICROPHONES  
FENDER MONITORS  
(MODEL 1272A,  
1275A, 1282 Mk. II,  
OR 1285 Mk. II).  
KEYBOARD  
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Speaker Wire Gage  
10 12 14  
50'-100' 10 12 14 16  
FIGURE 2  
100'-UP  
8
*Example- The length of speaker wire  
required is between 25 and 50 feet  
and the speaker impedance is 8  
ohms. The minimum recommended  
gauge speaker wire is 16 gauge.  
*25'-50'  
10'-25'  
0'-10'  
12 14 *16 18  
14 16 18 18  
16 18 18 18  
24*816Ω  
Speaker Impedance  
1
FIGURE 3  
Z
Z
1
1
1
1
= Z  
Z
Z
...  
+
=
p
s
1
2
n
+
...  
Z
Z
Z
2
n
CHART A  
Parallel  
Impedance  
CHART B  
Series  
Impedance  
161.8 3.2 5.3  
81.6 2.7  
4* 1.3 2 2.7* 3.2  
21.3 1.6 1.8  
248*16Ω  
8
16* 18 20* 24 32  
810 12 16 24  
4
5.3  
+
A
+
-
+
-
4Ω  
2Ω  
6
4
8
6
12 20  
10 18  
-
A
B
1
+
B
-
+
-
24* 816Ω  
Cabinet A Impedance  
+
-
Cabinet A Impedance  
*Example- Cabinet A is 8 ohms.  
Cabinet B is 4 ohms. The total  
impedance when connected in  
*Example- Cabinet A is 4  
ohms. Cabinet B is 16 ohms.  
The total impedance when  
connected in series is 4 + 16  
= 20 ohms.  
parallel is =  
1
= 2.7 ohms  
1
8
1
4
+
FIGURE 4  
SWITCHCRAFT  
S3FM  
PIN 1  
PIN 2  
PIN 3  
PIN 1  
PIN 2  
PIN 3  
22K  
22K  
680  
OHM  
150  
OHM  
FEMALE  
(to microphone)  
MALE  
(to mixer)  
ALL RESITORS ARE 5%  
1/ 4 WATT  
30dB PAD  
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FIGURE 5  
AN ILUSTRATION USING AN AUXILIARY POWER AMP AND ADDITIONAL SPEAKERS ON THE MAINS FOR  
MORE POWER, AND THE BUILT IN SR POWER AMP TO POWER UP TO 4 STAGE MONITOR LOUDSPEAKERS.  
BUILT IN GEQ NOW WORKS ON MONITORS.  
SPEAKER  
DSP POWERED M IXER  
SR6520PD  
OUT  
63  
125  
250  
500  
1K  
2K  
4K  
8K  
16K  
DELTACOMPTM POWER  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00 MAX.  
EFF./REV.  
+dB  
12  
9
+dB  
12  
9
ELECTRONICS  
OFF  
ON  
6
6
PHANTOM  
POWER  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
-1  
5
+15  
3
3
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
0
0
DIGITALREVERBandEFFECTS  
1-SHORT  
3
3
DEFEAT  
2
6
6
MULTI-TAP  
3
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
DELAY  
9
9
OFF  
ON  
TRIPLE HIT  
DELAY  
4
5
REVERB  
DELAY TIME  
/
12  
12  
DOUBLE HIT  
DELAY  
4  
total  
-dB  
-dB  
6
7
TAPE ECHO  
GRAPHIC EQUALIZER  
DELAY  
+
REVERB  
DEFEAT  
REVERB  
8-LONG  
-1  
5
+1  
5
-1  
5
+1  
5
-1  
5
+1  
5
-1  
5
+1  
5
-1  
5
+1  
5
-1  
5
+1  
5
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
REGENERATION  
00  
MAX.  
00  
MAX.  
00  
MAX.  
SMBARILGLHHT ALL REV.  
SPECIAL  
EFFECTS  
REVERB RETURN  
TO MAIN  
REVERB RETURN  
TO MONITOR  
AUX. LEVEL  
0
0
M
A
X
.
0
0
M
A
X
.
0
0
M
A
X
.
0
0
M
A
X
.
0
0
M
A
X
.
0
0
M
A
X
.
DARK  
M
O
N
.
M
O
N
.
M
O
N
.
M
O
N
.
M
O
N
.
M
O
N
.
LABRRGIGEHHT ALL REV.  
REVERSE REVERB  
DELAYS  
DARK  
GATED REVERB  
DARK  
LARGE PLATE REV.  
BRIGHT  
BRIGHT  
SMALL ROOM REV.  
DARK  
00  
MAX.  
00  
MAX.  
00  
EFF./REV.  
SEND LEVEL  
MAX.  
LABRRGIGEHRTOOM REV.  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MASTER  
MONITOR  
MASTER  
DARK  
SMALL PLATE REV.  
BRIGHT  
DARK  
1
2
3
4
5
6
TAPE  
TAPE  
MAIN  
MONITOR  
OUTPUT  
EFF. OUTPUT  
GEQ  
GEQ  
PWR. AMP  
AUX.  
OUTPUT  
REVERB  
FOOTSWITCH  
OUTPUT  
INPUT  
SYSTEM PATCH BAY  
INPUT  
INPUT  
INPUTS OUTPUTS  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
MAIN OUT  
GRAPHIC EQUALIZER  
FENDER SPL 6000 OR  
Power amp input (dual mono mode)  
SPEAKER  
OUTPUTS  
Fender Monitors  
(1272A 16, 1275A 16Ω  
SPL6000  
ELEC  
T
R
O
N
IC  
S
1282 Mk.II 8or 1285 Mk.II 8)  
SPL 9000 POWER AMPLIFIER  
8  
8Ω  
4Ω  
total  
4Ω  
total  
8Ω  
8Ω  
Fender  
Main P.A.  
Speakers  
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FIGURE 6  
PATCHING AN EFFECT BETWEEN THE EFFECTS OUT AND THE AUX. IN.  
DSP POWERED M IXER  
SR6520PD  
DELTACOMPTM  
POWER  
63  
125  
250  
500  
1K  
2K  
4K  
8K  
16K  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00 MAX.  
EFF./REV.  
+dB  
12  
9
+dB  
12  
9
ELECTRONICS  
OFF  
ON  
6
6
PHANTOM  
POWER  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
3
3
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
0
0
DIGITALREVERBandEFFECTS  
1-SHORT  
3
3
DEFEAT  
2
6
6
MULTI-TAP  
3
+15  
+15  
+15  
+15  
+15  
+15  
DELAY  
9
9
OFF  
ON  
TRIPLE HIT  
DELAY  
4
5
REVERB  
DELAY TIME  
/
12  
12  
DOUBLE HIT  
DELAY  
-dB  
-dB  
6
7
TAPE ECHO  
GRAPHIC EQUALIZER  
DELAY  
+
REVERB  
DEFEAT  
REVERB  
8-LONG  
+15  
+15  
+15  
+15  
+15  
+15  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
REGENERATION  
00  
MAX.  
00  
MAX.  
00  
MAX.  
SMBARILGLHHT ALL REV.  
SPECIAL  
EFFECTS  
REVERB RETURN  
TO MAIN  
REVERB RETURN  
TO MONITOR  
AUX. LEVEL  
00 MON. MAX.  
00 MON. MAX.  
00 MON. MAX.  
00 MON. MAX.  
00 MON. MAX.  
00 MON. MAX.  
DARK  
LABRRGIGEHHT ALL REV.  
REVERSE REVERB  
DELAYS  
DARK  
GATED REVERB  
DARK  
LARGE PLATE REV.  
BRIGHT  
BRIGHT  
SMALL ROOM REV.  
DARK  
00  
MAX.  
00  
MAX.  
00  
EFF./REV.  
SEND LEVEL  
MAX.  
LABRRGIGEHRTOOM REV.  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MASTER  
MONITOR  
MASTER  
DARK  
SMALL PLATE REV.  
BRIGHT  
DARK  
1
2
3
4
5
6
TAPE  
TAPE  
MAIN  
MONITOR  
OUTPUT  
EFF. OUTPUT  
GEQ  
GEQ  
PWR. AMP  
AUX.  
OUTPUT  
REVERB  
FOOTSWITCH  
OUTPUT  
INPUT  
SYSTEM PATCH BAY  
INPUT  
INPUT  
INPUTS OUTPUTS  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
EFFECTS OUT  
AUX. IN  
INPUT  
OUTPUT  
EFFECTS  
FIGURE 7  
PATCHING AN EFFECT BETWEEN THE EFFECTS OUT AND CHANNEL INPUT.  
IMPORTANT: EFFECTS/ REVERB  
TURNED ALL THE WAY DOWN (OFF).  
DSP POWERED M IXER  
SR6520PD  
DELTACOMPTM  
POWER  
63  
125  
250  
500  
1K  
2K  
4K  
8K  
16K  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00  
EFF./REV.  
MAX.  
00 MAX.  
EFF./REV.  
+dB  
12  
9
+dB  
12  
9
ELECTRONICS  
OFF  
ON  
6
6
PHANTOM  
POWER  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
-15  
-15  
-15  
+15  
3
3
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
HIGH  
MID  
0
0
DIGITALREVERBandEFFECTS  
1-SHORT  
3
3
DEFEAT  
2
6
6
MULTI-TAP  
3
+15  
+15  
+15  
+15  
+15  
+15  
DELAY  
9
9
OFF  
ON  
TRIPLE HIT  
DELAY  
4
5
REVERB  
DELAY TIME  
/
12  
12  
DOUBLE HIT  
DELAY  
-dB  
-dB  
6
7
TAPE ECHO  
GRAPHIC EQUALIZER  
DELAY  
+
REVERB  
DEFEAT  
REVERB  
8-LONG  
+15  
+15  
+15  
+15  
+15  
+15  
LOW  
LOW  
LOW  
LOW  
LOW  
LOW  
REGENERATION  
00  
MAX.  
00  
MAX.  
00  
MAX.  
SMBARILGLHHT ALL REV.  
SPECIAL  
EFFECTS  
REVERB RETURN  
TO MAIN  
REVERB RETURN  
TO MONITOR  
AUX. LEVEL  
00 MON. MAX.  
00 MON. MAX.  
00 MON. MAX.  
00 MON. MAX.  
00 MON. MAX.  
00 MON. MAX.  
DARK  
LABRRGIGEHHT ALL REV.  
REVERSE REVERB  
DELAYS  
DARK  
GATED REVERB  
DARK  
LARGE PLATE REV.  
BRIGHT  
BRIGHT  
SMALL ROOM REV.  
DARK  
00  
MAX.  
00  
MAX.  
00  
EFF./REV.  
SEND LEVEL  
MAX.  
LABRRGIGEHRTOOM REV.  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MAIN  
MASTER  
MONITOR  
MASTER  
DARK  
SMALL PLATE REV.  
BRIGHT  
DARK  
1
2
3
4
5
6
TAPE  
TAPE  
MAIN  
MONITOR  
OUTPUT  
EFF. OUTPUT  
GEQ  
GEQ  
PWR. AMP  
INPUT  
AUX.  
OUTPUT  
REVERB  
FOOTSWITCH  
OUTPUT  
INPUT  
SYSTEM PATCH BAY  
INPUT  
INPUTS OUTPUTS  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
LINE  
MICROPHONE  
CHANNEL INPUT  
EFFECTS OUT  
OUTPUT  
INPUT  
EFFECTS  
A Product of:  
Fender Musical Instruments Corp.,  
Corona, CA 91720  
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