Peavey Sanctuary Series S-14/S-14P Mixing Console Le manuel du propriétaire
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- Le manuel du propriétaire
S-14
™
/S-14P
™
Mixing Console Operating Guide
NOTICE!
THIS IS A TEMPORARY COPY
OF THE OWNER’S MANUAL
STANDARD MANUAL NOT AVAILABLE AT
TIME OF PRODUCT RELEASE
PLEASE CONTACT PEAVEY DEALER OR PEAVEY
INTERNATIONAL SERVICE CENTER (601) 483-5365
TO RECEIVE YOUR FREE, PRINTED
VERSION OF THIS MANUAL
2
Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
Intended to alert the user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the product.
CCAAUUTTIIOONN::
Risk of electrical shock — DO NOT OPEN!
CCAAUUTTIIOONN::
To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside.
Refer servicing to qualified service personnel.
WWAARRNNIINNGG::
To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture.
Before using this appliance, read the operating guide for further warnings.
Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” sin
aislamiento dentro de la caja del producto y que puede tener una magnitud suficiente como para
constituir riesgo de descarga eléctrica.
Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la
operación y mantenimiento en la información que viene con el producto.
PPRREECCAAUUCCIIOONN::
Riesgo de descarga eléctrica ¡NO ABRIR!
PPRREECCAAUUCCIIOONN::
Para disminuír el riesgo de descarga eléctrica, no abra la cubierta. No hay piezas útiles
dentro. Deje todo mantenimiento en manos del personal técnico cualificado.
AADDVVEERRTTEENNCCIIAA::
Para evitar descargas eléctricas o peligro de incendio, no deje expuesto a la lluvia o
humedad este aparato Antes de usar este aparato, Iea más advertencias en la guía de operación.
Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur la présence d’une tension dangereuse
pouvant être d’amplitude suffisante pour constituer un risque de choc électrique.
Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur qu’il ou qu’elle trouvera d’importantes
instructions concernant l’utilisation et l’entretien de l’appareil dans le paragraphe signalé.
AATTTTEENNTTIIOONN::
Risques de choc électrique — NE PAS OUVRIR!
AATTTTEENNTTIIOONN::
Afin de réduire le risque de choc électrique, ne pas enlever le couvercle. Il ne se trouve à
l’intérieur aucune pièce pouvant être reparée par l’utilisateur. Confiez I’entretien et la réparation de
l’appareil à un réparateur Peavey agréé.
AAVVEERRTTIISSSSEEMMEENNTT
: Afin de prévenir les risques de décharge électrique ou de feu, n’exposez pas cet
appareil à la pluie ou à l’humidité. Avant d’utiliser cet appareil, lisez attentivement les avertissements
supplémentaires de ce manuel.
Dieses Symbol soll den Anwender vor unisolierten gefährlichen Spannungen innerhalb des Gehäuses
warnen, die von Ausreichender Stärke sind, um einen elektrischen Schlag verursachen zu können.
Dieses Symbol soll den Benutzer auf wichtige Instruktionen in der Bedienungsanleitung aufmerksam
machen, die Handhabung und Wartung des Produkts betreffen.
VVOORRSSIICCHHTT::
Risiko — Elektrischer Schlag! Nicht öffnen!
VVOORRSSIICCHHTT::
Um das Risiko eines elektrischen Schlages zu vermeiden, nicht die Abdeckung enfernen. Es
befinden sich keine Teile darin, die vom Anwender repariert werden könnten. Reparaturen nur von
qualifiziertem Fachpersonal durchführen lassen.
AACCHHTTUUNNGG::
Um einen elektrischen Schlag oder Feuergefahr zu vermeiden, sollte dieses Gerät nicht dem
Regen oder Feuchtigkeit ausgesetzt werden. Vor Inbetriebnahme unbedingt die Bedienungsanleitung lesen.
3
IIMMPPOORRTTAANNTT SSAAFFEETTYY IINNSSTTRRUUCCTTIIOONNSS
WWAARRNNIINNGG::
When using electrical products, basic cautions should always be followed, including the following:
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including
amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one
wider than the other. A grounding type plug has two blades and a third grounding plug. The wide blade or third
prong is provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the
point they exit from the apparatus.
11. Note for UK only: If the colors of the wires in the mains lead of this unit do not correspond with the terminals in your
plug‚ proceed as follows:
a) The wire that is colored green and yellow must be connected to the terminal that is marked by the letter E‚ the
earth symbol‚ colored green or colored green and yellow.
b) The wire that is colored blue must be connected to the terminal that is marked with the letter N or the color black.
c) The wire that is colored brown must be connected to the terminal that is marked with the letter L or the color red.
12. Only use attachments/accessories provided by the manufacturer.
13. Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When
a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
14. Unplug this apparatus during lightning storms or when unused for long periods of time.
15. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in
any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the
apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
16. Never break off the ground pin. Write for our free booklet “Shock Hazard and Grounding.” Connect only to a power
supply of the type marked on the unit adjacent to the power supply cord.
17. If this product is to be mounted in an equipment rack, rear support should be provided.
18. Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in
susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently
intense noise for a sufficient time. The U.S. Government’s Occupational and Health Administration (OSHA) has
specified the following permissible noise level exposures:
Duration Per Day In Hours Sound Level dBA, Slow Response
890
692
495
397
2 100
1
1
⁄
2
102
1 105
1
⁄
2
110
1
⁄
4
or less 115
According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Ear plugs or protectors to the
ear canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss, if exposure
is in excess of the limits as set forth above. To ensure against potentially dangerous exposure to high sound pressure levels, it is
recommended that all persons exposed to equipment capable of producing high sound pressure levels such as this amplification system be
protected by hearing protectors while this unit is in operation.
SSAAVVEE TTHHEESSEE IINNSSTTRRUUCCTTIIOONNSS!!
4
S14/S14P Mixing Console
Description
The S-14 is a twelve channel, rack mountable, mixing console specifically designed to meet the needs of churches, schools, and small
public venues. The challenge of these applications is to provide high quality sound where the experience of the operator ranges from
novice to experienced. In many cases, these sound systems are used without an operator. The S-14 Sanctuary Series mixing system
meets these challenges by incorporating a unique set of features which not only make it easier to achieve outstanding sound quality,
but simplify normal operation. In many applications, the S-14 can simply be preset, leaving the mix to the system’s automatic circuitry.
One of the S-14’s innovations is an automatic mixing function provided on the first four channels. Once set-up is complete, the
automatic mixer watches the incoming levels and automatically turns down unused and low priority inputs to give dominance to the
main microphone. This gain-sharing, automix technology makes the S-14 a natural for churches, auditoriums and small conference
rooms because it simplifies operation, reduces feedback, and improves intelligibility. A compression circuit on these channels helps
keep things from getting too loud and 18 dB/octave low-cut filters remove rumble and handling noise.
Another feature found only in this mixer is a new type of mid equalization control called the Mid-Morph. This control is actually
two mid controls in one. When cut, it pulls out low mid frequencies that causes the sound to be thick and muddy; when boosted, it
shifts to an upper mid frequency that brightens the vocal range.
All channels have three band equalization, assignment selection, mute, and post-fader sends to Monitor1 and Monitor2. The first ten
channels also have sends to the internal effects. LEDs light to show the presence of signal and the status of the channel. The
microphone pre-amps use our highly acclaimed low noise discrete transistor circuitry.
Channel 10 can be used as a normal channel or as an ambient (congregational) pick-up channel for recording or radio feeds. When it
is assigned to the Record and Aux outputs, the main, monitor and effects sends on this channel are disabled.
The two stereo channels (11/12 and 13/14) have input selection switches rather than group assign switches. The user can use these
three position input selector switches to send the left and right inputs in stereo, the left input only or the right input only to the
main outputs. The two mono input modes make it easy to work with split sound tracks that have the music on one channel and
the vocals on the other. Complimenting this feature, the Monitor Blend control allows a mix of the vocal and instrument tracks to
be sent to the monitors. This allows the vocal track to be mixed with accompaniment in the monitors but still have only the
accompaniment track in the main sound system. (This works great for the children’s choir)
High-quality digital reverb is provided internally, with four presets and a mute. The S-14 system also includes the award-winning‚
Feedback Ferret circuitry that automatically eliminates acoustic feedback on the Main and Monitor1 outputs. To improve the quality
of the audio mix and to make the S-14 system easier to operate, the Choir and Vocal sub groups have adjustable noise reduction
and dynamic-range compression controls. The solo group also features a low-cut filter that reduces rumble and microphone
handling noise. The choir group is full range to accommodate other microphones and instruments.
To improve the definition of vocals and spoken word, a specially designed high frequency enhancement circuit is provided. This
Vocal Enhancement can have a subtle but pleasing impact on the overall sound quality. This affects all sub groups (pulpit, solo, and
choir) but not the two stereo line channels.
To enhance the flexibility of these products, the output configuration of the S-14 can be set for stereo or dual mono operation. In
stereo mode, the left and right master faders and outputs work the same as a conventional stereo mixer. Because many sound
systems are monaural, the dual-mono mode allows the left and right outputs to work independently providing an additional output
with master control.
In addition to the main and monitor outputs, the S-14 also has a stereo Record and monaural Auxiliary output. These outputs
each have their own level controls that can be used for applications such as recording, broadcast, lobby, nursery or cry-rooms.
These outputs are independent of the master L/R fader signals and feature an AUTO-LEVEL circuit that compresses the dynamic
range and reduces noise. Although the reduced dynamic range makes for easier listening at low to mid volumes the AUTO-LEVEL
circuit can be disabled if not needed.
ENGLISH
5
CHANNEL & MASTER FUNCTIONS
The headphone amplifier with headphone/meter selector switch is another important tool for setting and operating the S-14. The
user can listen to and observe the level of the main L/R output, hear the mix and monitor the level to Monitor outputs 1 and 2, or
listen to the stereo channels to cue tapes or CDs without sending the signal to the house or monitor amplifiers.
The S-14P has all of the above features and includes a dual 500 Watt power amplifier. The back panel power amplifier mode
switch allows its use as a stereo amplifier or one amplifier for the main system and second for monitors.
Note: As in all professional audio products, the performance is only as good as the installation allows. Please take the time to read
this manual to best understand how this product should be installed and adjusted for optimal performance.
6
1. COMPRESSOR THRESHOLD: The first four channels have auto-mixing and compressor capabilities when
assigned to the pulpit or wireless group. These soft-knee are compressors designed to keep levels from
getting out of hand. The threshold control sets the level at which compression begins. The CMP LED located
beside the channel’s fader lights to indicate that compression is taking place. To set it, start with the control
fully clockwise and turn it down to the point that the LED lights only on the occasional peaks. If compression
is not required, set this control to maximum. Compression is only available on channels 3 or 4 if they are
assigned to the pulpit group.
2. GAIN: This control establishes the nominal operating level for the channel. The input gain can be adjusted
over a wide range to compensate for soft voices or very loud drums. To maximize the signal to noise ratio,
the gain should be set for proper level with the channel fader set to 0. If the signal present LED rarely lights
or the clip LED comes on, it might be time to redo the system setup.
3. HI EQ: This is a shelving type of active tone control that adjusts treble frequency levels (+/-15dB at 10KHz).
It is designed to remove noise or to add brilliance to the signal, depending on the quality of the source.
4. MID-MORPH EQ: Where most mid-range controls work at just one frequency, the Mid-Morph works at
two. When turned counterclockwise, it cuts at 225 Hz to reduce frequencies that muddy the sound. When
turned clockwise, it boosts at 4KHz to add intelligibility to vocals. Either way, improved vocal or instrument
definition can be achieved.
5. LOW EQ: This is a shelving type of active tone control that adjusts bass frequency levels (+/-15dB at 70Hz).
It will add depth to thin signals, or clean up overly thick ones.
1
2
3
4
5
7
6
7
6. MONITOR SEND (1–2): The monitor sends adjust the level of the channel signal added to the monitor mix. They
are post-EQ, post-fader, and follow the channel’s level. The center detent is the unity gain (nominal) position.
7. EFFECTS SEND: This adjusts the level of the channel signal (post-EQ, post-fader) added to the effects mix.
The signal is sent to the internal effects processor and to a master effects send output jack on the rear panel.
If the internal effects are not needed, this send can be used as an additional output for monitors or external
processing. The center detent is the unity gain (nominal) position.
8
9
8. GROUP (PRIORITY) ASSIGNMENT: This switch determines which group receives the channel signal.
The first two channels are always assigned to the auto-mix group, so this switch sets the priority, with the
wireless position being the highest. The dominance of a channel is determined both by the level of the signal
through its channel compared to others and by the priority setting of the channel. Setting a microphone to
the wireless position, gives it precedence over a fixed microphone set to pulpit. Using this approach reduces
the comb-filtering effects that occur when both microphones pick up the same person speaking. Channels 3
and 4 are selectable between the auto-mix group and the solo group. The solo group has a high-pass filter to
remove rumble and low frequency noise. Channels 5 through 9 can be assigned to either the solo group or
the choir (normal) group. Channel 10 can be assigned to the choir group or sent directly to the record output
circuitry. This allows it to be used as an ambient pick-up channel for congregation singing or background
crowd noise for tape or radio feeds. When it is in this mode, channel 10 is disconnected from any group
sends, including main, monitor, and effect sends.
9. MUTE: Mutes all channel signals including left-right, monitor, and effects sends. This is an Off switch for the
entire channel. The two stereo channels are different in that when they are muted, they can still be monitored
(cued up) in the headphones and on the meters using the headphone selector.
10. MUTE/CLIP LED: This light normally indicates the channel signal level is nearing the overload point. It
monitors three points for overload: the input gain stage, equalization, and post-fader gain. It illuminates at
+19dBu and warns that gain or EQ boost should be reduced. There is roughly 2dB of headroom remaining
when it lights. If the mute switch is depressed, it lights continuously to indicate that the channel is off.
10
8
11. FADER: This is the channel output-level control. This control works somewhat differently on the automix
channels 1–4 and the remaining inputs. On channels 1–4, the fader scale is from off to 0dB. The gain on these
channels is best adjusted so that feedback will not occur with the fader set at 0. The fader will then be
operated in the black area (0 to ±20dB). On the remaining channels the fader scale is from off to +10dB of
gain. The optimum setting for these channels is the 0 (unity gain) position. Since the monitor and effect sends
receive their signal after this control, it also controls their level.
12. SIGNAL PRESENT: When the channel signal exceeds ±20dBu, this lights, giving a quick visual indication
that audio is present in the channel. This light should blink on during normal use.
13. CHANNEL STATUS: On a channel assigned to the auto-mix group, this light indicates that the channel is
active and is a dominant auto-mix channel. If it is not lit, it does not mean that the channel is dead, but that the
level is being attenuated. If channel 3 or 4 are assigned to the solo group, the state of their status LED is
meaningless. With no signal on any auto-mix channel, all four status LEDs may light since all share the same gain.
14. COMPRESSION ACTIVE: When the level set by the compressor threshold control is exceeded,
compression of the signal begins. When the gain reduction exceeds 3 dB this light will illuminate. The
compressor on these channels is intended to help control the dynamic range when persons speak loudly. The
light should only come on during loud speech. If the light is on much of the time, the dynamic range can be
unnaturally compressed and the channel will be more prone to feedback.
11
15
16
12
13
14
15. MONITOR BLEND: The Monitor Blend control adjusts the mix of the left and right inputs sent to both the
Monitor1 and Monitor2 outputs. Setting this control in the center equally blends the left and right input into
monitors. If a split accompaniment track is played with vocals on one track, the Monitor Blend controls the mix
of vocals added to the monitors to assist the singer(s). The headphone monitor can help make this adjustment.
16. INPUT SELECT: The inputs to channels 11/12 and 13/14 can be selected as left (mono), right (mono), or
normal stereo. These channels are always assigned to the mains and cannot be assigned to another sub
group. This input select switch is specifically included to help when using soundtracks that are split into vocal
and accompaniment tracks. The track with the music can be selected and sent to the house, while the
Monitor Blend controls the blend of left and right in the monitors.
9
Master Functions:
17. PHANTOM POWER: Applies +48VDC voltage to the input XLR connectors to power microphones
requiring it. If phantom power is used, do not connect unbalanced dynamic microphones or other devices to
the XLR inputs that cannot handle this voltage. An LED indicates when phantom power is on.
18. EFFECTS SELECT: There are four pre-programmed reverbs built into the console ranging from small to
large. Use this switch to select the reverb that best fits the style of music being performed.
19. EFFECTS LEVEL: The amount of the effects signal sent to the main outputs is determined by this control.
The channel effects send levels must also be turned up for reverb to be present
20. EFFECTS Mute/PK LED: This LED lights when the effects send level from the channels approaches 6 dB of clipping.
Reduce the channel send levels if this blinks often. This light also illuminates when the effects output is muted.
21. EFFECTS MUTE: This switch mutes the effects instantly. Although reverb can sound good on music, it can
be very distracting on spoken word. This switch allows the operator to quickly mute the reverb output when
vocal mics are used for speaking.
22. FEEDBACK FERRET SETUP: The Feedback Ferret has three modes of operation. Normal, when it is
scanning for feedback and placing and removing notch filters; Setup, when it is establishing fixed filters that
will be stored; or Bypass. When the blue LED is on, it is in the normal mode and is looking for problems to
solve. If the switch is pressed and held for three seconds, the LED will flash once and the Ferret will be in the
setup, or learn mode. If the switch is pressed and held for six seconds, the LED will flash twice and the
Feedback Ferret is in bypass mode. Please read the S14 setup instructions later in this manual for detail
instructions on setting the Ferret.
17
18
22
19
20
21
23. AUX AND REC OUTPUT LEVELS WITH AUTO-LEVEL: These are the master output controls for the
Aux and Record outputs. The record output is unbalanced stereo, the aux output is balanced mono. The
signal can either be unprocessed or automatically leveled with an automatic level control (AUTO-LEVEL)
circuit. The AUTO-LEVEL will keep the levels within a narrow dynamic range to maintain higher average
levels for tape or hearing assisted feeds. The AUTO-LEVEL circuit is enabled by depressing the concealed
switches using a small tool. The circuit is active when the switch is in the depressed position.
24. NOISE REDUCTION THRESHOLD: The solo and the choir groups have adjustable threshold downward
expanders that reduce noise by lowering the signal when the level drops beneath a set point. This not only
cleans up background noise, but also reduces feedback problems by attenuating mics assigned to this group
when there is no activity. An LED indicates that the group is being attenuated. To disable noise reduction, set
the control to minimum (full counter clockwise).
25. COMPRESSION THRESHOLD: In addition to noise reduction, soft knee compression is available for both
the solo and the choir groups. The threshold is adjustable to set the amount of compression desired. An LED
illuminates to indicate the group is being attenuated. The control should be set so that the light only illuminates
at peaks and is not consistently on. To disable compression, set the control to maximum (full clockwise).
10
23
26. VOCAL ENHANCE: The circuitry of the vocal enhance has been designed to improve clarity and definition.
The frequencies have been chosen to work well with speech and singing. The amount is determined by a
concealed preset switch (MIN up, MAX down).
27. MONITOR CLIP/MUTE: Mutes the monitor output. The indicator will light when it is muted. The light also
cautions that the monitor signal is within 2 dB of clipping, and channel send levels or the master monitor fader
level should be reduced.
24
25
26
28. MONITOR MASTER FADER: Sets the
overall level of the signal that is sent to the
monitor output jacks. The headphone/meter
select switch can be used to check the output
level with the meter array.
29. MAIN LEFT AND RIGHT FADERS: These
are the master left and right faders. If the main
outputs are set to dual mono, both have the
same signal (sum of left and right) and can be
used as zone outputs for house and annex
levels etc. These controls are best operated at
the 0 (full up) position. It is most important that
they be at 0 when channel gains are set,
however they can be used to lower the overall
sound level if needed.
30. CONFIGURATION: The main
outputs can be configured as full stereo
or as a mono sum of the left and right
signals. When in dual mono mode, the
left and right outputs become individual
outputs, with their levels set
independently by their master faders.
27 30
28
29
11
31
32
33
34
31. HEADPHONE OUTPUT: This stereo jack (TRS) provides drive for
the headphones. The level is set by the headphone level control.
Tip = Left, Ring = Right, Shield = Ground.
32. HEADPHONE LEVEL: This control sets the volume of the
headphones.
33. HEADPHONE/METER SOURCE: Selects the signal(s) sent to the
headphone amplifier and to the output meter array. Options include
the main L/R outputs, monitor1, monitor2, or a cue mix of channel
11/12 and 13/14 pre-fader signals. This last position is useful for setting
up tapes and CDs (on channels 11/12 and 13/14). Muting the stereo
channels during cueing does not affect the headphone signal but
prevents the audio from being sent to the speaker systems.
34. LED METER ARRAY: A 12 segment peak reading LED array monitors
the level of the signals selected by the Headphone Source switch.
When the switch is in the MAIN position, the meters monitor the left
and right outputs. The 0dB reference level corresponds to +4dBu. In
normal operation, the channel gains should be set so that the meters
light near 0dB at loud points in the service. The output trim attenuator
on the rear panel should then be adjusted for the desired house
volume. This will give the best signal to noise ratio. The same
procedure should be used on the monitor outputs, but the power
amplifier input controls will need to be set for desired volume. Setting
the output trim is part of the S-14 setup procedure.
12
Input and Output Jacks:
35. MIC INPUT: XLR balanced input optimized for a microphone or other low impedance source. Pin 2 is the
positive input. Because of the wide range of gain adjustment, signal levels up to +22dBu can be
accommodated.
36. LINE INPUT:
1
⁄4” balanced (TRS) 10K ohm impedance input. The tip is the positive input, which should be
used for unbalanced inputs. It has 20 dB less gain than the XLR input and does not have phantom power
available. The Mic and Line inputs should not be used simultaneously.
37. STEREO INPUTS: Channel 11/12 and 13/14 are stereo channels with both RCA and
1
⁄4” inputs. The RCA
and
1
⁄4”jacks in each channel are wired in parallel and can’t be used simultaneously.
INPUTS & OUTPUTS
38. EFFECTS SEND: An unbalanced output of the dry signal that is also sent to the internal effects processor.
It can be used to drive an external effects unit or as an additional monitor output (Monitor3). If used as an
additional output, be sure to mute the internal effects processor.
39. AUX OUTPUT: A TRS balanced output from the Aux level control. It has a mono version of the record
output signal with an independent level adjustment.
40. L/R TRIM: (S-14 Only) This control is an attenuator on the main L/R outputs. It is provided to match the
nominal operating levels of the mixer to the power amplifier inputs. It is a stereo control that adjusts both
the left and right together.
35
36
37
13
38
42
41
3940
41. MONITOR OUT (XLR and
1
⁄4"):
1
⁄4" unbalanced and XLR balanced outputs of the monitor mix designed to
feed an external monitor amplifier (Pin 2 is positive). The output level (nominal +4 dBu) is set by the
individual channel, monitor-send controls and by the master monitor fader.
42. MAIN OUTPUTS (XLR and
1
⁄4"):
1
⁄4" unbalanced and XLR balanced outputs of the Left and Right mixes.
The output level is set by the master Left and Right faders. The nominal levels are +4dBu.
43. AC MAINS INPUT: Connect the line cord to this connector to provide power to the unit. Damage to the
equipment may result if improper line voltage is used. Operate only with the specified AC input voltage applied.
S-14P Model Features Only
44. LEFT AND RIGHT POWER AMPLIFIER INPUTS:
1
⁄4" unbalanced left and right inputs. Connecting to
these inputs disconnects the mixer from the power amplifier.
45. POWER AMPLIFIER MODE SWITCH: This switch determines the function of the two internal power
amplifiers. In LEFT/RIGHT mode, the amplifiers receive their signal from the main left and right outputs.
Depending on the setting of the CONFIGURATION switch, the amplifiers will be stereo or dual mono zone
outputs. In MAIN/MONITOR mode, the Left amplifier receives a mono sum of the left and right mixer
outputs. The right amplifier receives the monitor 1 output.
46. AMPLIFIER INPUT LEVEL CONTROLS: These controls set the input level to the power amplifiers and
are used to match nominal operating levels of the mixer to the power amplifier inputs.
47. AMPLIFIER OUTPUT CONNECTORS: Speakon output connectors. Connections made to 1+ 1-. These
connectors are compatible with Neutrik NL2FC and NL4FC cable connectors.
44
45
46 47
14
The S-14 has an extensive and impressive list of features and functions designed to make achieving good sound for
worship as easy as possible. To reach this goal, please carefully read and follow the planning and setup procedure
described below even if you are experienced with sound system setup. It will take a bit of time to complete the full
procedure but you will be rewarded with better sound and easier operation. As you go through this procedure, you
will notice that you will be asked to make many of the adjustments more than once. Because many mixer controls
affect other settings, the procedure is designed to help you zero in on proper settings. Ultimately, it is virtually
impossible to arrive at settings that never change. The goal here to get things as close as possible and make little
adjustments along the way as needed. Periodically, you may need to step back and repeat the setup procedure.
Once you go through the procedure a couple of times, it will actually go quickly, but you will want to allow an hour or two
the first time. To help with the setup process, we also include notes explaining the goals and reasons for the procedures.
NOTE: Although the analogy is an old one, it still applies here. A chain is only as strong as its weakest link.
Good sound starts with the microphone and ends with the speakers and the room. Each element plays an
important role in achieving good sound, and even the best equipment may not achieve the desired result if
improperly installed or used.
Setup Goal
Our overall goal is to get high quality sound from the mixer while letting it do as much of the work as possible.
With a little training, almost anyone should be able to successfully operate the S-14 once it is setup. Good results
should be obtained by just un-muting mics when needed and making an occasional adjustment of levels. If
microphones are moved or added, some additional adjustments will be required.
This is done by:
➧ Setting the Normal position faders on the Choir and Solo mics to 0. These faders may need to be adjusted
during use, but it is always nice to know 0 is a good starting point.
➧ Adjusting the automix channels so that the faders can generally be pushed to 0 if needed without feedback.
These are often channels where it is sometimes difficult to get enough gain and it’s nice to know where to stop.
➧ Adjusting the Compressors on the automix channels so they compress during loud speech but not at
normal speaking levels. This reduces the amount of manual adjustment needed.
➧ Setting the master faders at 0 (full up) so the system cannot be easily pushed into feedback.
➧ Adjusting the compressors on the Choir and Solo groups (if desired) to help control dynamic range. This
can be most useful on solo singers or small groups where mics are hand held. The result can be a better
mix that is easier to obtain.
➧ Adjusting the Noise Reduction on the Choir and Solo groups so when these microphones are not in use,
the gain is automatically reduced to help keep noise from these mics out of the sound system. This will
result in better reinforced-sound and better recordings.
➧ Setting the Feedback Ferret so common feedback frequencies are filtered ahead of time for the mics
normally used.
➧ Having the feedback ferret automatically detect and eliminate feedback if it occurs.
➧ Marking important settings on the S-14 so the controls can be returned to known good positions.
➧ By using AUTO-LEVEL circuitry to reduce dynamic range and by adding ambient room sound to the
sound system signal, recordings, broadcast audio and sound to other areas can be improved.
INSTALLATION
15
Planning the installation:
The different inputs on the S-14 are designed for different functions. Before starting the installation, it is important
to plan what will be connected to each input and output.
NOTE: Many of the benefits that the S-14 offers require careful initial setup. This can all be quickly undone by
curious fingers on a panel full of neat looking knobs and switches. When you plan and install this product, make
sure that it is installed where the operator can hear the sound system but where it is protected from un-
authorized experts. And remember, your job is not complete until these settings have been marked and recorded
on paper with copies at the mix console and in a safe location. You may also wish to use adhesive arrows, such
as those available from Peavey, on the control surface to indicate preferred settings.
The Automatic Mix Channels (1–4) are designed primarily for spoken word. Of those 4 inputs, 2 have a priority
feature that can be used. The priority feature tells the S-14 to favor this mic in the mix if other automix mics also
are receiving sound. This feature is very useful when a speaker wearing a wireless mic walks close to a stationary
mic such as at a pulpit. By giving the wireless mic priority, the pulpit mic is automatically turned down minimizing the
interference caused by both mics picking up the same source (a swishing or hollow sound). Connect mics needing
priority to channels 1 and 2 and other primary speaking or fixed mics to 3 and 4.
PRIORITY
CHANNELS:
wireless mics
CHANNELS
3–4:
pulpit mics
Automatic Mixing Channels: 1–4
16
The S-14 has two additional buses that allow mics to be grouped for noise reduction and compression. Try to group
mics together on adjacent inputs that will be used together. Singing mics, particularly hand held mics, should be
assigned to the SOLO group since it has a filter to reduce rumble and handling noise. Instruments are best routed to
the CHOIR group. Input channel 10 can be assigned to the choir group or REC. When set to REC, it will go to the
Record and Auxiliary outputs only. This feature can add sound from the room (congregation singing and response) to
the REC (recording) and AUX (auxiliary) outputs. The addition of some ambient sound can enhance the recording,
broadcast, or sound to other parts of the building. The ambience mic must be connected to input 10 to use this
feature. There are many things to consider in placing this microphone. You will likely want to position the mic so it
picks up a minimal amount of the sound from the speaker system. You will also want to maximize the pickup of
congregation. It may also need to pick up instruments that do not go through the sound system (piano‚ organ)
IMPORTANT ➧
GROUP ASSIGN:
Group mics together that
will be used together
Inputs 11/12 and 13/14 are designed for line level signals only. Use these inputs to connect CD players, tape players,
audio from video sources, keyboards, or even an auxiliary mixer if necessary. These inputs are not affected by the
SOLO or CHOIR group controls.
Stereo or mono Master operation
The S-14 can be used with Stereo or Monaural sound systems. If you plan on stereo operation, be sure that the left
and right speaker systems can each cover the entire congregation area. If mono operation is selected, then the Left
and Right main outputs can be used as independent output sends.
Monitor systems: the good, the bad, and the ugly
The monitor system can be the best part of the sound system, but it can also be the worst. Great care and
discipline is required in the setup and adjustment of the monitor system so that it is an asset. What does a good
monitor system do? A good monitor system allows musicians and singers to perform together by enabling them to
clearly hear themselves and/or others. It may also enable the choir and other service participants to better hear and
participate in the worship service.
By contrast, a poorly designed or adjusted monitor system can make it difficult to hear what is needed by including
too much information or by emphasizing too much of the wrong thing. In addition, as the volume of the monitor
system increases, it can overwhelm the main sound system making the overall sound unintelligible. Because it is
another parallel sound system, a monitor system adds to the potential for acoustic feedback.
The S-14 has two monitor sends, enabling it to provide two different mixes for the platform or choir, providing only
the material that is needed. Monitor 1 also incorporates the Feedback Ferret to help eliminate feedback through
the monitor system. Because of this feature, Monitor Send 1 is best used for overhead choir foldback or general
platform fill speakers. (Please refer to the Glossary later in this guide for an explanation of unfamiliar terms.) Monitor 2
can then be used for floor or spot monitors.
The key things to remember about monitors:
➧ Get the sound to the people as directly as possible. (running everything through speakers 30 feet away is
difficult and adds more “noise” to the room but this can work for applications like voice foldback to the choir)
➧ Try to keep sound from the monitors out of the microphones. Speakers directed into the rear of
directional mics can help. (This can be difficult, but do the best you can.)
➧ Minimize the need for monitors by careful positioning of people and instruments.
➧ Start with a good mix on the main sound system and add only the mics that are needed to the monitors.
➧ Try to keep the levels low.
IMPORTANT ➧
17
Other outputs
Record (REC) output. This output is a stereo output intended for recording or broadcast. A switch is provided to
engage the AUTO-LEVEL circuit to reduce the dynamic range of the recording.
Auxiliary (AUX) output. This output can be used for sending audio to other places,
such as the narthex, cry room, nursery etc. or it can be used as a broadcast feed. A
switch is provided to engage the AUTO-LEVEL circuit to reduce dynamic range.
NOTE: AUTO-LEVEL reduces the variation in volume between loud and soft. Although
the variation in volume (dynamic range) is an important part of the service, it can make
listening in other rooms, the nursery, cry room, narthex, at home or in the car more
difficult. The AUTO-LEVEL automatically reduces the dynamic range to make listening
in these environments easier.
OTHER OUTPUTS:
Aux Out
REC Out
Gain to 0
EQ to 0
Mon 1
Mon 2
Efx
Set to 0
Faders down
S-14P ONLY
The S-14P is identical to the S-14 except for the addition of a dual 500 Watt
power amplifier. In planning the installation using the S-14AP you will need to
consider how those amplifiers will be used. The power amplifier mode switch
on the rear of the units sets the amplifiers as stereo Left/Right outputs or one
amplifier for the main system and the second for Monitor 1.
S-14 Setup Procedure:
Now that you have read the section on planning your installation and you have
connected the mixer to your system, it is time to start adjusting the mixer for
proper operation. Again, the written procedure appears to be long, but you will
be rewarded with better sound and easier operation. As you go through this
procedure, you will notice that many of the steps you will go through twice.
Many of the controls on the mixer affect other settings. For example, we need
to get the microphone gain set in the ballpark so that we can hear how the mics
sound. At that point, we can adjust the equalization and the Feedback Ferret.
Because equalization is nothing more than frequency-selective gain adjustment,
we must readjust the gain when the equalization is complete. Ultimately it is
virtually impossible to arrive at settings that never change. The goal here to get
things as close as possible and make little adjustments along the way as needed.
Periodically, you may need to step back and repeat this procedure.
At this point, it is assumed that the mixer is installed and the rest of the sound
system has been setup and adjusted. To aid in set up of the mixer, a CD player,
tape machine or other music source will be needed.
For first time setup, start by setting the S-14 controls as follows:
a. All channel mixer faders full down.
b. Monitor master faders full down. (Master Section)
c. All channel EQ controls set to 0 (Center)
d. Main output trim control set full counter-clockwise. (Back panel)
e. Monitor Power amplifier input controls down. (Full counter-clockwise.)
f. All channel gain and trim controls set full counter-clockwise.
g. All channel monitor (MON) and effects EFX send controls down (full
counter-clockwise)
h. Solo and Choir Noise reduction controls set full counter-clockwise.
(Master Section)
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i. Solo and Choir Compression controls set full clockwise.
(Master Section)
j. Vocal enhance inactive (LED off)
k. Turn off the Feedback Ferret by pressing and holding the
Feedback Ferret button until the Blue LED blinks twice.
When you release the button, the LED should be off.
l. If any of the microphones used with the system will require
+48V phantom power, turn it on at this time.
Setting the mixer to amplifier system gain
This adjustment is an important part of optimizing the performance
of the S-14. This adjustment will help minimize noise and distortion,
and ensure that the automatic mixer, compressors and noise
reduction expanders will have the proper signal levels to operate.
a. Set the power-amplifier mode switch on the rear of the unit.
This switch connects the power amplifiers to either the Left
and Right outputs or to the main output (Left + Right) and
Monitor 1. (S-14P Only.)
b. Connect a CD player, tape machine or other music source
to line input 13/14 (Left and Right)
c. Turn on the sound system by first powering up the mixer
and associated equipment such as equalizers and crossovers
then turn on the power amplifiers last.
d. Start playback of your music source.
e. Set the MAIN, MON 1 and MON 2 master Faders to 0
(full up).
f. Set the Channel 13/14 fader‚ Monitor 1 and Monitor 2 Send
controls to 0.
g. Slowly increase the channel 13/14 input gain control until the
0 LED on the S-14 meters blinks.
h. Set the headphone/meter Source Select switch to Mon 1
and confirm that the meter peaks to 0.
i. Repeat (g) for Mon 2.
Ferret Off
Vocal
Enhancement
Off
Off Level:
Off
Off Level:
Off
Faders Down
Compression
Off
j. Now adjust the S-14 main-output trim until the sound in the room is as loud as you normally expect the
system to be operated. (On The S-14AP, use the amplifier input level controls on the back). *
k. Repeat (I) for Monitor 1 and Monitor 2 outputs using the power amplifier input controls instead of the
main trim control.
* The maximum sound level for the system is actually higher because of the headroom of the mixer. The
contractor may choose to make this adjustment by setting the S-14 trim control to 0 attenuation (full
clockwise) and then adjusting amplifier gains, but the trim control makes this job easy.
19
Setting Automatic mix inputs 1–4
Initial Adjustment of the automix inputs 1–4. Each of these
inputs will be adjusted one at a time using the same
procedure. Start with all automix channels muted.
Priority/Group
Main Master
Faders set to -10
a. Begin by setting the channel Priority or Group Assign switch. (Pulpit: normal
automix; Wireless: Priority automix).
b. Set the channel Compressor threshold (CMP THRESH) fully clockwise (Off).
c. Set the Main Master faders(s) to -10.
d. Gain control Full counter-clockwise.
e. Channel fader 0 (Full up).
f. Un-mute the channel and increase the channel gain for a nice level in the
room without feedback.
g. Adjust the EQ controls for a natural sound quality.
h. MUTE the channel and repeat steps a–g for the remaining automix channels 2–4.
Initial Adjustment of other “Permanent” microphones.
Each of these inputs will be adjusted individually using the same procedure.
a. Set the Solo and Choir Group Off Level control to the full Counter-clockwise position (OFF).
b. Set the Solo and Choir Group Compression control to the full clock-wise position (OFF).
c. Set the channel group assign switch. (Solo or Choir).
d. Set the channel gain control full counter-clockwise.
e. Set the channel fader to 0.
f. Unmute the channel and increase the channel gain control for a nice level in the room without feedback.
g. Adjust the EQ controls for a natural sound quality.
h. MUTE the channel and repeat steps c–g for the remaining microphone channels.
At this point you should have created a rough mix of all of the mics normally used during a service. The channel
faders for these mics should all be set at 0.
20
Initial Adjustment of the Monitor 1 system
a. Set MON 1 and MON 2 master faders to 10.
b. Set the MAIN master fader off.
c. Un-mute the microphones in the main system that will
be sent to monitor system 1.
d. Increase the “MAIN” master fader until the microphones
are at a desirable level in the room but do not ring.
Adjust individual mics if necessary using their channel
Gain control.
e. Now, set the Monitor Send controls for each of these
mics to the required level.
Monitor 1 & 2
Faders set to 10
Feedback Ferrett
At this point we now have a rough mix of mics in the main and monitor systems.
Now it is time to set up the Feedback Ferret!
The feedback Ferret has very narrow filters that are automatically set only as deep as necessary to prevent feedback.
The filters are set in two different ways. To prevent problems before they happen, the Feedback Ferret setup
procedure is used to find basic feedback problems with normally used microphones and then configure filters that are
stored in permanent memory. Every time the mixer is turned on, these filters will be recalled. In the normal Feedback
Ferret operation mode, additional filters will be set if needed when feedback occurs, but these are not permanent.
These dynamic filters are slowly eliminated over time or when the unit is turned off. Because feedback can occur in
both the main and monitor systems, we will include both of these systems in the Ferret setup procedure.
Feedback Ferret setup procedure.
a. Un-mute the remaining mics. All channel faders with active
mics should be still set at 0
b. Press the Feedback Ferret button once to return it to
normal mode from bypass. The blue LED should now be on.
c. Enter Feedback Ferret setup mode by pressing the button
and holding until it blinks once and release.
d. Slowly increase the Main and Monitor 1 Master faders equally until feedback just starts. Pause until it goes
away, then increase again. You have about 1 minute to perform this procedure. The goal here is to filter
the main offending frequencies but not to too get carried away. Knowing how far to go will come with
experience. If you start hearing many different frequencies feedback or several at the same time, it is
probably time to stop.
e. If setup has not ended automatically at this time, (LED on solid) press and release the Ferret button to
return to normal mode.
f. Use the mics to hear both how they sound and to confirm that you have sufficient gain before feedback. If
everything sounds good, proceed to the next section. If there are one or two mics that are still causing
troubles, you may need to reposition the mics or monitor speakers. You may also want to increase their
gain and then repeat the above procedure. The Ferret will then give priority to solving feedback problems
for these mics. The Feedback Ferret can do a good job of reducing feedback, but it does not replace good
placement of the mics and speakers.
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Peavey Sanctuary Series S-14/S-14P Mixing Console Le manuel du propriétaire
- Catégorie
- Contrôleurs DJ
- Taper
- Le manuel du propriétaire
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