Fender SR-6520PD DJ Equipment User Manual
Contents
1. t9 1 ECC SIOuLNOO TINNVHO FEN DER MAIN PA SPEAKERS dic CHEER MICRO PHO NES SPEAKER OUT FIGURE 1 0000 0000 KEYBO ARD E a 04 gt FEN DER MO DEL M 300 output STAGE MONITO R AMPLIFIER FENDER MONITO RS MO DEL 1272A 7 1275A 1282 Mk Il OR 1285 Mk II Speaker Wire Gage 30dB PAD 100 UP 8 10 12 14 AGURE 2 50 100 10 12 14 16 JELENI Example The length of speaker wire 25 50 12 14 516 18 is chanced 52 us D and the speaker impedance is 10 25 14 16 18118 ohms The DE recommended auge speaker wire is 16 gauge 0 10 1618 18 18 I etu 20 40 80 160 Spe2. 30 5 cm W eight 42 0 Ibs 19 1 kg WARNING NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSON NELONLY THIS EQUIPMENT MUST BE EARTH GROUN DED 2 9 SLAdLNO SLNANI 8 uva WOO A1H5ni8 8 9 8 3NOHdOWDIIN STOHLNOO TANVd LNOW 6 7 2 Z v Z 9 t c S v b Z AVS8 HO1Vd IN3 LSAS HOLIMSLOO 1 1 0 Andino Andino TI v c 4 i 1 045 045 ANdLNO 343 YOLINOW NIV lt YALSVIN YALSVIN NIV T NP Se E Lez rec T YOLINOW OL OL Nanay SudA3u SudAJu v c 2 SY X E E e E Z 2 AN RANN TAVA waznvnoa DIHdYY9 i E Lj ILLI No o 6 WOLNVHd apt diNOovria3a 062
3. 4 5 using the MAIN OUTPUT asa send and the GEQ INPUT as a return 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 4 3 EFF OUTPUT REVERB TSWITCH 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 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 IN PUT 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 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 use
4. S SR 6520PD SR 8520PD Part N umber Type Specification Power Specification POWER AMPLIFICATION SECTION Power O utput Min Load Impedance Distortion at520W Input Sensitivity Input Impedance DELTA CO M P Range PRE AMPLIFIER SECTIO N LO W Z Input Impedance HI Z Input Impedance HI Z Input Sensitivity for 520W MAIN MASTER and Channel MAIN at maximum all tone controls and at 0 detent power amp at 520W 4 Channel Tone Controls Graphic Equalizer PHYSICAL SPECIFICATIO N S SR6520PD Height 10 7 16 Inches 26 5 cm Width 23 5 8 Inches 60 0 cm Depth 12 Inches 30 5 cm Weight 40 0 165 18 2 kg 100 Version 120 Version 230V Version 230V Version 240V Version SR 6520PD SR 8520PD 100V Version 120V Version 230V Version 240V Version 071 6521 270 071 8521 270 071 6521 200 071 8521 200 071 6521 260 071 8521 260 071 6521 240 071 8521 240 U K 071 6521 230 071 8521 230 AUST PR189 PR189 100VAC 50 60Hz 1200W 120VAC 60Hz 1200W 230VAC 50Hz 1200W 240VAC 50Hz 1200W 520W RMS Q 20 350W RMS Q 40 20 Less than 2 1 28V RMS 22kQ 20dB 1 82kQ 18 2kQ 55mV RMS LOW M ID 9 1kHz into 20 5 dB at100 Hz 15 dBat750 Hz HIGH 15 dBat10 kHz 12dB at 63 125 250 500 1k 2k 4k 8k and 16 kHz SR8520PD Height 10 7 16 Inches 26 5 cm W idth 27 5 8 Inches 70 2 cm Depth 12 Inches
5. 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 IN PUTS signal level is controlled by the AUX LEVEL control 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 9 PWR AMP INPUT Under normal circum stances the power amplifier receives its input from the GRAPHIC EQUALIZER However by insertinga 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 amplifier s input This REAR PANEL SERIAL NUMBER MODEL TYPE PR 179 DSP POWERED MIXER WD 0 0 A PRODUCT OF FENDER MUSICAL INSTRUMENTS ORONA CA 91720 MADE IN U S A CAUTION 5515 SURFACE HOT WARNING 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 CAUTION RIS
6. similar volumes 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 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 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 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 en
7. DS 4 3 2 SPEAKER CABLES 4 4 INPUT PADS 4 5 PATCHING 5 UPKEEP AND SERVICE 6 TROUBLESHOOTER S CHECKLIST 7 SPECIFICATIONS 1 1 Block Diagram MAIN GEQ OUTPUT INPUT GRAPHIC EQ MONITOR PHANTOM EFFECTS REVERB H MONITOR MASTER REVERB RETURN Ev i 2 MONITOR REVERB RETURN Lf gt TEE PONES INPUT SWITCH TAPE e INPUTS R MAIN MICROPHONE 6 CHANNEL EQ LINE HIGH MID LOW Signal path typical for each channel y MON GEQ POWER OUTPUT PEAK PILOT LAMP SWITCH SPEAKER OUTPUT 2 OHM MINIMUM DELTACO MPTM EFFECTS OUTPUT REVERB FT SW MONITOR OUTPUT 4061 oH H Signal path exclusive of individual channel AUX LEVEL TO PHANTOM BUSS TO MAIN BUSS E lt 7 TO EFFECTS gt REVERB BU SS FF REV TO MONITOR BUSS 1 OVERVIEW 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 Each input preamp channel provides a balanced XLR MICRO PHONE input with switchable phantom power for condenser microphones a 1 4 phone jack LINE input MAIN level control
8. K OF ELECTRIC SHOCK DO NOT OPEN INPUT POWER 1200W WARNING DO NOT ALTER THE AC MAINS PLUG 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 3 REAR PANEL 3 1 SPEAKER OUTPUT JACKS In Parallel These the speaker outputs for the built in power amplifier Do not connect loads with impedances lower than 2 ohms to the SPEAKER O UTPUT 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 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 dow
9. LOW MID and HIGH fre quency tone controls MO N send control and an EFF REV send control 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 The SR series mixers include DELTACOMP an adap tive compression system DELTACO MP 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 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 1 1 BLOCK DIAGRAM The block diagram illustrates the typical signal path for the SR series 2 FRONT PANEL CONTROLS JACKS AND LEDs 2 1 1 LINE INPUTS The 1 4 phone jacks are intended for high impedance balanced o
10. Powered Mixers w From Fender Pro Audio Owner s Manual for SR 6520PD SR 8520PD P N 049152 ELECTRONICS TABLE OF CONTENTS 1 OVERVIEW 1 1 BLOCK DIAGRAM 1 2 INTRODUCTION 2 FRONT PANEL CONTROLS JACKS AND LEDS 2 1 INPUTJACKS 2 1 1 LINE INPUTS 2 1 2 MICROPHONE INPUTS 2 2 CHANNEL CONTROLS 2 2 1 CHANNEL MAIN CONTROL 2 2 2 CHANNEL TONE CONTROLS 2 2 3 EFF REV CONTROL 2 2 4 MONITOR CONTROL 2 3 MASTER SECTION CONTROLS 2 3 1 MAIN MASTER LEVEL CONTROL 2 3 2 MONITOR MASTER LEVEL CONTROL 2 3 3 REVERB RETURN TO MAIN CONTROL 2 3 4 REVERB RETURN TO MONITOR CONTROL 2 3 5 EFF REV SEND LEVEL CONTROL 2 3 6 AUX LEVEL CONTROL 2 3 7 GRAPHIC EQUALIZER 2 3 8 DIGITAL REVERB and EFFECTS CONTROLS 2 3 9 PHANTOM POWER 2 3 10 DELTACO MP 2 3 11 PO WER LED 2 4 PATCH BAY 2 4 1 MAIN OUTPUT 2 4 2 MONITOR OUTPUT 2 4 3 EFF OUTPUT REVERB FOO TSWITCH 2 4 4 OUTPUT 2 4 5 2 4 6 AUX INPUT 2 4 7 TAPE IN PUTS 2 4 8 TAPE OUTPUTS 2 4 9 PWR AMP INPUT 3 REAR PANEL 3 1 SPEAKER OUTPUTJACKS 3 2 POWER SWITCH 3 3 3 POWER CORD 4 SETUP AND OPERATION 4 1 INITIAL CONTROL SETTINGS 1 1 TYPICAL PRESETS 1 2 MAIN CONTROL 1 3 MON CONTROLS 1 4 CHANNEL TONE CONTROLS 1 5 GRAPHIC EQUALIZER SING THE THE GRAPHIC EQUALIZER TO ELIMINATE ACOUSTIC FEEDBACK 2 1 THE CAUSE OF ACOUSTIC FEEDBACK 2 2 TYPICAL PRO CEDURE FOR ROOM EQUALIZATION ORDS AND CABLES 3 1 MICROPHONE COR
11. aker Impedance 1 __ FIGURE 20 1 1 1 GURE 3 Zo 71 272 2 p rZ ul 7 5 1 42521 CHARTA CHARTB 160 1 8 3 2 5 3 8 Parallel Series 21605 18 20 24 32 5 Impedance Impedance 9 80 1 6 2 7 4 5 3 9 80 10 12 16 24 E N E m 4Q 1 3 2 2 7 32 40 6 8 12120 20 1 1 311 6 1 8 nt 20 4 6 10 18 S 20 40 80 160 a 20 4 80 160 Cabinet A Impedance dios Cabinet A Impedance Example Cabinet A is 8 ohms Example Cabinet A is 4 Cabinet B is 4 ohms The total ohms Cabinet B is 16 ohms impedance when connected in The total impedance when parallelis 1 2 7 ohms connected in series 4 16 d gd 20 ohms 8 4 FIGURE 4 SWITCHCRAFT S3FM PIN 1 PIN 1 PIN 2 PIN 2 PIN 3 3 FEMALE MALE to microphone to mixer ALL RESITO RS ARE 596 1 4 WATT 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 NOW WORKS ON MONITORS SPEAKER OUT SR6520PD DSP POWERED MIXE R 40 total LIN zs t
12. d if needed REVERB OTSWITCH The Digital Reverb and Effects processer can be defeated by inserting an optional footswitch into the REVERB FO OTSWITCH jack This allows the Reverb and Effects to be turned off and on remotely 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 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 6 AUX INPUT This input is generally used asa 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 itis possible to use the AUX IN PUT as a line level preamp channel although it lacks the preamp channel s equalization monitor and effects sends 2 4 7
13. d lines as well 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 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 wantto 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 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 FO OTSWITCH 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 Do not use a mic level or instrume
14. kHz Continue until the ringing has stopped 5 Again slowly increase the output level control until the system is on the verge of feeding back Adjustthe 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 6 Fine tune the equalizer settings as the perfor mance progresses to achieve the best overall sound from the system 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 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 wantthe quietest system possi ble you should follow these rules with balance
15. n this eliminates the risk of the system imme diately feeding back when it is turned on and also minimizes turn on pops 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 ata 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 engineer s headaches 4 1 1 TYPICAL PRESETS Set 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 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
16. nt level effect such as an effect intended for guitar with a line level signal such as the Main or Graphic EQ output 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 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 f 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 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 6 TROUBLESHOOTER S CHECKLIST If the mixer is set up but does not function check the following items 15 the mixer power cord properly plugged into an electrical outlet 15 there power at the outlet Are the speakers properly hooked up to the mixer Are the proper controls turned up s the instrument turned up Check all cables and wires If after checking all of the above the mixer is still not performing correctly consult your Fender Service Dealer 7 SPECIFICATION
17. o 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 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 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 2 3 MASTER SECTION CONTROLS 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 3 2 MONITOR MASTER LEVEL CONTROL This is the master level control for the monit
18. or mix It con trols the signal level present at the MONITOR OUTPUT jack 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 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 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 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 IN PUT sig nal appears in the main mix 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 o
19. ough 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 4 2 2 TYPICAL PRO CEDURE FO R ROOM EQUALIZA TION 1 Setup 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 2 Setthe controls on the GRAPHIC EQUALIZER to the flat position indicated as 0 dB on the panel 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 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
20. put SINS de Power amp input dual mono mode 2286 OUTPUTS Fender Monitors 1272 160 1275A 160 SPL6000 1282 Mk II 8Q or 1285 Mk II 80 E a d FEN DER SPL 6000 OR SPL 9000 POWER AMPLIFIER ISI o c L total total C Ia I 22 a Fender Main Speakers FIGURE 6 PATCHING AN EFFECT BETWEEN THE EFFECTS OUT AND THE AUX IN f Ur EH an 7 EFFECTS OUT OUTPUT EFFECTS FIGURE 7 PATCHING AN EFFECT BETWEEN THE EFFECTS OUT AND CHANNEL IN PUT IMPO RTAN T EFFECTS REVERB TURNED ALL THE WAY DOWN OFF fe 1 PN SRO520PD DSP POWERED MIXER DIGITAL REVERB and EFFECTS CHANNEL IN PUT EFFECTS OUT OUTPUT INPUT EFFECTS A Product of Fender Musical Instruments Corp Corona CA 91720
21. r 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 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 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 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 When the LED is illuminated the phantom power is on The 15
22. r 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 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 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 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 2 2 CHANNEL CONTROLS 2 2 1 CHANNEL MAIN CONTROL The channel s MAIN control determines how much of the channel s 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 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 audi
23. volts used for phantom power will run nearly all condenser microphones PHANTOM POWER LED The green LED is the phan tom power on indicator 2 3 10 DELTACOMP The yellow DELTACO MP LED comes on when excessive signal levels are being sent to the power amp It illuminates on signal peaks that cause clipping distortion with DELTACOMP not activated or for signal peaks that cause DELTACO MP to reduce power amp input level DELTACO MP 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 DELTACOMP SWITCH DELTACO is activated by engaging the DELTACOMP SWITCH 2 3 11 POWERLED The red POWER LED is the front panel power on indicator 2 4 PATCH BAY 2 4 1 MAIN OUTPUT Signals from each of the channels are combined with AUX and TAPE IN PUTS 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
Download Pdf Manuals
Related Search