Transcript
L A U M
A
N
Platinum Series DISPLAY EFFECT TYPE DELAY
8.8.8.
DISPLAY EFFECT TYPE
1-8
9-16
HALL
AUDITORIUM
0.5s - 3.0s 1.2s - 15.0s 57-64 REVERSE
DELAY
100 msec. - 500 msec.
DISPLAY EFFECT TYPE DELAY
121-127 REVERB REGEN
17-24 REVERB
33-40
41-48
PLATE 1
PLATE 2
300 msec. - 2.0 sec.
0.2s - 1.8s 1.0s - 7.5s
97-98 & 105-106
25-32
ECO + REVERB
ROOM
53-56
49-52
GATE 2
GATE 1
0.2s - 0.6s 0.15s - 0.45s
1.5 sec. - 8.5 sec. 129-178 & 209-218
230-240 & 219-220 DELAY 2
DELAY 1 20 msec. - 700 msec.
90 bpm - 150 bpm
N
For more details please refer given EFX list in user manual.
REVERB ON
MASTER/ LISTEN ASSIGN 2
PLATINUM BASIC MK-1
O
28 input mixer L-R(Master) (Master/Group)
8.8.8
DISPLAY
1-8
9-16
17-24
33-40
41-48
49-52
EFFECT TYPE
HALL
AUDITORIUM
REVERB
PLATE 1
PLATE 2
GATE 1
DELAY
0.5s - 3.0s 1.2s - 15.0s
300 msec. - 2.0 sec.
0.2s - 1.8s 1.0s - 7.5s
DISPLAY
57-64
97-98 & 105-106
25-32
53-56
EFFECT TYPE
REVERSE
ECO + REVERB
ROOM
GATE 2
1.5 sec. - 8.5 sec.
0.15s - 0.45s
0.2s - 0.6s
DELAY
100 msec. - 500 msec.
DISPLAY
121-127
129-178 & 209-218
EFFECT TYPE
REVERB REGEN
DELAY 1
DELAY 2
20 msec. - 700 msec.
90 bpm 150bpm
DELAY
For more details please refer given EFX list in user manual.
230-240 & 219-220
I
(Override Assign 1)
T
REVERB ON
C
MASTER/ LISTEN
X
T
R
U
PLATINUM 12F 20 input mixer
I
N
S
Index: 1.......................................................................................................................Introduction 2.......................................................................................................................Features at a Glance 3.......................................................................................................................Front & Rear Panel 4.......................................................................................................................Front & Rear Panel Description 5.......................................................................................................................Product Care Instructions 6.......................................................................................................................Technical Specifications 7.......................................................................................................................Set-Up Diagram
1. Introduction Thank you for buying the Studiomaster Professional Platinum Series Mixer. To ensure maximum performance & safety, please follow this instruction manual carefully. Please retain this manual for future reference. For any complaint, feedback or testimonials please contact our distributor / dealer. Retain the cartons for future use should the product require servicing / maintenance.
2. Features at a Glance • • • • • • • • • • • • •
3 Band EQ with mid-sweep on mono channel. Mon-Ster Input for full Flexibility. 2 Aux Sends / 1Stereo Aux Returns. 2 Aux, 1EFX, 1 Mon rotary control on each channel (Total 4 Aux sends). Listen (PFL) & Group / Master routable switch per channel. Stereo 7 Band Graphic EQ switchable to Master / Monitor. Globally switched +48V phantom power. L/R pan control on each channel. 12 Segment L/R LED meter for Master, PFL & Monitor Level. Separate master fader control for Group, Monitor & L/R output. 1/4’’ jack for Line out & monitor output. Balanced XLR & 1/4” Jack Master output. Stereo Tape In/Tape Out, Headphone out with rotary volume control.
Platinum MK III Additional Features: • 16 bit (32 bit internal) digital stereo EFX with user editable parameters. • High quality 147 preset effects with 4-memory switch and on board help. Models Available : Platinum Basic MKI : 16 Mic/12 Line + 4 Mono/Stereo. Platinum MKIII : 16 Mic/12 Line + 4 Mono/Stereo. Platinum 12Fx: 12 Mic/10 Line + 2 Mono/Stereo. Platinum Series Summary : Platinum Basic MKI Inputs Effects processor
Platinum MKIII
Platinum 12Fx
16 Mic + 12 Line +
16 Mic + 12 Line +
12 Mic + 10 Line +
4 Mono/Stereo
4 Mono/Stereo
2 Mono/Stereo
Provision to connect
Internally available
Internally available
External Effect processor Graphic Equalizer
Available
Available
Unavailable
Effect Section: Digital Processor
Unavailable
Available
Storing & Recalling memory
Unavailable
Available
Stand by function
Unavailable
Available
Available Available Available
Aux Muting
Unavailable
Available
Available
7 segment Display
Unavailable
Available
Available
Effect Send Return
Available
Unavailable
Unavailable
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3. Front & Rear Panel - Platinum Basic MK-I
1 13
2
PLATINUM BASIC MK-1
28 input mixer
3
24 4 18
5 21 6 14 22
7
14 8
19
9 20
10
14 11 23 12
15 16
17 WARNING: SHOCK HAZARD - DO NOT OPEN CAUTION: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
SERIAL NO.
MIC INPUT R
PLATINUM basic MK I
DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
CAUTION:
POWER
REPLACE FUSE ONLY WITH SAME TYPE AND RATING
FUSE: T3.15AL 250V
+VE
CAUTION
2
1
OUTPUTS +VE
2
3
RISK OF ELECTRIC SHOCK DO NOT OPEN
-VE
EFFECT SEND / RETURN
0
R-OUT
L-OUT
R-IN
SCREEN -VE
50Hz
T3.15AL 250V
I
AUX 1
AUX 2
MON
32 31
30
29
SCREEN
OUTPUTLEFT
LINE OUT L
2
SCREEN
L-MONO IN
RIGHT
240V
LINE INPUTS / OUTPUTS BALANCED -VE +VE
1
28 27 26
UNBALANCED SIG
3
R
25
SCREEN
Front & Rear Panel - Platinum MKIII 46
8.8.8.
DISPLAY
1-8
9-16
17-24
EFFECT TYPE
HALL
AUDITORIUM
REVERB
41-48
49-52
PLATE 2
GATE 1
0.5s - 3.0s 1.2s - 15.0s
300 msec. - 2.0 sec.
0.2s - 1.8s 1.0s - 7.5s
DISPLAY
57-64
97-98 & 105-106
25-32
ECO + REVERB
ROOM
EFFECT TYPE
REVERSE
53-56
33-40 PLATE 1
DELAY
GATE 2
0.2s - 0.6s 0.15s - 0.45s
DELAY
100 msec. - 500 msec.
DISPLAY EFFECT TYPE DELAY
121-127
129-178 & 209-218
230-240 & 219-220
REVERB REGEN
DELAY 1
DELAY 2
1.5 sec. - 8.5 sec.
90 bpm - 150 bpm
20 msec. - 700 msec.
For more details please refer given EFX list in user manual.
34
35
36
45
37
38
43
39
REVERB ON
42 40
44 MASTER/ LISTEN
41
ASSIGN 2
L-R(Master) (Master/Group)
(Override Assign 1)
33 WARNING: CAUTION: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK SHOCK HAZARD - DO NOT OPEN
SERIAL NUMBER HERE
MIC INPUT
R
DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
POWER 0
CAUTION:
REPLACE FUSE ONLY WITH SAME TYPE AND RATING
FUSE: T3.15AL 250V
+VE
2
1
OUTPUTS +VE
2
3
CAUTION
-VE
RISK OF ELECTRIC SHOCK DO NOT OPEN
PLATINUM MKIIi
LINE INPUTS / OUTPUTS BALANCED -VE +VE
1
UNBALANCED SIG
3
SCREEN -VE
RIGHT
SCREEN
SCREEN
SCREEN
OUTPUTLEFT
LINE OUT
240V
50Hz
T3.15AL 250V
I
AUX 1
AUX 2
MON
LEFT
RIGHT
3
Front & Rear Panel - Platinum 12Fx DISPLAY
8.8.8
1-8
9-16
EFFECT TYPE
HALL
AUDITORIUM
DELAY
17-24
33-40
41-48
49-52
REVERB
PLATE 1
PLATE 2
GATE 1
0.5s - 3.0s 1.2s - 15.0s
300 msec. - 2.0 sec.
0.2s - 1.8s 1.0s - 7.5s
0.2s - 0.6s
DISPLAY
57-64
97-98 & 105-106
25-32
53-56
EFFECT TYPE
REVERSE
ECO + REVERB
ROOM
GATE 2
DELAY
100 msec. - 500 msec.
DISPLAY
121-127
129-178 & 209-218
EFFECT TYPE
REVERB REGEN
DELAY 1
DELAY 2
20 msec. - 700 msec.
90 bpm 150bpm
DELAY
0.15s - 0.45s
1.5 sec. - 8.5 sec.
230-240 & 219-220
For more details please refer given EFX list in user manual.
REVERB ON
MASTER/ LISTEN
PLATINUM 12F 20 input mixer
POWER
MIC INPUT
WARNING: SHOCK HAZARD - DO NOT OPEN CAUTION: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
0
X
R
+VE
DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
2
1
OUTPUTS +VE
3
CAUTION:
REPLACE FUSE ONLY WITH SAME TYPE AND RATING
-VE
CAUTION
I
PLATINUM 12F LINE OUT SERIAL NUMBER HERE
4
T3.15AL 250V
LINE INPUTS / OUTPUTS BALANCED -VE +VE
1
SCREEN
SCREEN
AUX 1
AUX 2
MON
LEFT
RIGHT
X
UNBALANCED SIG
SCREEN
RISK OF ELECTRIC SHOCK DO NOT OPEN
FUSE: T3.15AL 250V
240V 50Hz, 30W Max
2 3
SCREEN -VE
RIGHT
OUTPUT
LEFT
4. Front & Rear Panel Description MIC/LINE CHANNEL: Control panel diagrams are reproduced at the rear of this manual and it is recommended that these be consulted when familiarizing yourself with the location and function of the controls. Each MIC/LINE channel is fitted with balanced XLR Mic and balanced ¼” jack Mic inputs. Do not use the Mic and Line socket at the same time. 48V phantom power may be applied globally to all Mic/Line channels by pressing the recessed 48V switch in the master section of the console. Dynamic microphones wired for balanced operation may be used when phantom power is active.
WARNING: While using the condenser MIC, please insert the microphone rst & then only switch on the phantom supply. Unbalanced microphones must not be used in any channel when phantom power is active.
1) MIC INPUTS: This electrically balanced XLR input is designed to accept low impedance balanced signals from
microphones. 2) LINE INPUTS: The line input will accept line level balanced or unbalanced signal using ¼” stereo (TRS) Jack. The line
input is designed for instruments like Keyboards, Guitars, Drum Machines & other electronic instruments. Balanced XLR
Balanced TRS
Pin 1
Ground
Tip
+ve Phase
Pin 2
Hot (+ve Phase)
Ring
-ve Phase
Pin 3
Cold (-ve Phase)
Sleeve
Ground
Un-Balanced TRS Tip
Signal
Sleeve
Ground
3) GAIN CONTROL: This knob is used to gain both MIC & Line inputs signals. Please do not operate at high gain levels
as this distorts the signal & leads to audio clipping. 4) EQ SECTION: The Platinum series has 3 Band Equalizer with mid-sweep Mono inputs and 3 Band Equalizer on Stereo
channels. The EQ is designed to be easy yet effective to use. It can be used to cut or boost certain frequencies to achieve a particular tone, or to eliminate any unpleasant characteristics. • HF Control: The HF control can be used to cut or boost up to +/- 15dB at 12 kHz. Tip: This frequency band can be used to brighten up high frequencies. • MF Control: The MF control can be used to cut or boost up to +/- 15dB at 2.5 kHz. Tip: This frequency band can be used to enhance presence in vocals. Mid frequency variation is from 350Hz to 6KHz. • LF Control: The LF control can be used to cut or boost up to +/- 15dB at 60Hz (Mono) & 45Hz (Stereo) Input. Tip: This frequency band can be used to get a punchy bass response. 5) EFX CONTROL:
• Adjust the level of the channel signal being fed to the External effects processor. (Only for Platinum Basic MKI) • Adjust the level of the channel signal being fed to the internal effects processor. (Only for Platinum MKIII & 12Fx) 6) AUX SECTION: The AUX is provided to be used with external effect processors like reverb and delay units, compressors,
gates etc. It can also be used for on stage monitoring or as an input in to a recorder. • AUX 1: Post-fade send control which adjusts the level of the channel signal being sent to the AUX output socket. This would normally be used to drive an external effects unit. • AUX 2: Pre-fade send control which adjusts the level of the channel signal being sent to the AUX 2 output socket. This would normally be used to setup a send stage monitor mix. 7) MON: (MON) Monitor control to provide a pre-fade send for use in setting up stage monitor mix. 8) PAN/BAL Control: This knob can be used to pan/balance the incoming signal between the left and right output channel.
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9) PEAK LED: Indicates that the channel signal is too highand is in danger of clipping. If the peak LED flashes more then
very briefly on the loudest signal peaks, reduce the channel GAIN control setting until it flashes only on the loudest signal. 10) LISTEN SWITCH: When a LISTEN button is down the signal overrides the source selected by the METER/PHONES
SELECT switch, allowing signals to the meters and heard via the PHONES output. When this button is down the PEAK LED lights, and remains on, to show listen is selected. 11) L/R OR GROUP SWTICH: Routing button to direct the channel signal either directly to the Left/Right Mix or via the
Group fader. This enables Group sounds (such as drum Mics) to be controlled in level by the Group fader rather than living to adjust several channel faders simultaneously. If the Group facility is not required, this button might be used as a channel mute. For Mute operation, the Group fader must be fully down. 12) CHANNEL FADER: Controls the level of the channel signal fed either to the Group or Left/Right bus, depending on the
setting on the L-R/ GROUP button. These faders feature a special taper which gives far better control than a conventional log taper around the most important center or “0dB” position. 13) MON: STEREO (MONO: STEREO) CHANNELS: The MON:STER (Mono Mic/stereo line) channel is similar to the
Mic/Line channel except that its accommodates stereo signal when working at line level. Additionally, it is equipped with single Mic input which has it’s own gain control; the Mic signal is mixed with the stereo Line Inputs allowing both sets of Inputs to be used. The overall level being controlled by the channel fader is in the usual way. Both the Mic & stereo line inputs share the same channel EQ & AUX send settings. The Equalizer features three-fixed band (MF @ 2.5kHz) & the Pan Control is replaced by a balance control. If a line level signal is fed into the Left input only, the channel will function as mono channel with the balance control. 14) GRAPHIC EQUALIZERS : (Only for Platinum Basic MKI & MKIII) - The graphic equalizers provide seven bands of
precision tone control across the whole audio Spectrum. In normal operation, the upper Graphic Equalizer affects the left output channel and the lower graphic the right, Though graphic may be used to produce Eq effects, in the context of PA, They normally help to compensate for poor venue acoustics or to cut troublesome frequencies where feedback is a problem. If the Graphic Equalizer is not required to correct venue problems, it may be assigned to the group bus allowing equalization to be applied only to those signals that need it, For example, you might want to feed all your drum mics to the Group, assign the Graphic Equalizer to group and use the equalizer to improve the sound of the drum kit. In SPLIT mode, where the PA runs in mono (and with the Graphic Equalizer assigned to amp L-R, the upper equalizer looks after the main PA mix and the lower one is assigned to the Foldback output. This is exceptionally useful as the close proximity of the stage monitors to the performers can often aggravate feedback problems. Again, the Graphic Equalizers can be used to pull back troublesome frequencies. As a role, Graphic Equalizers are used to cut rather than boost. Applying a significant amount of boost to any part of the audio spectrum increases the risk of feedback at that frequency. Graphic Fader: (50Hz, 150Hz, 330Hz, 1kHz, 2.5kHz, 5kHz & 10kHz) Each fader has a centre detent or click stop to indicate the neutral (flat) setting. Each fader prints the frequency at which it operates. This is the centre point of a narrow band of frequencies covered by the fader. Each band overlaps slightly with the next to provide total cover of the whole audio spectrum. Up to 12dB of cut or boost can be applied although, under normal circumstances, only a fraction of this range will be used. (See Graphics Assign) Graphic Assign 1 Switch: When switch is released the Equaliaser gets assign to L-R (Master) output. When switch is pressed the equaliser gets assign to Group Signal. Graphic Assign 2 Switch: When switch is released the Equaliaser gets assign to L-R (Master) output. When switch is pressed the equaliser gets assign to Mono Output. 15) GROUP FADER: Controls the overall level of any channels routed to the stereo Group. This is a valuable feature for
controlling sets of instruments or sounds such as drum mics or backing vocals. 16) MONITOR FADER: Controls the overall level of the Monitor mix originating from the channel MONITOR controls. The
monitor signal is available on the rear panel of the console to feed an external power amplifier. In Split mode, both the main PA mix & the monitor mix are mono. This mode of operation is perfect for small club or pub gigs where you need a simple system.
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17) LEFT & RIGHT FADER: To control Master (L/R) output levels. 18) STEREO AUX INPUT: Provides a useful extra stereo line input. Any stereo line signal can be connected, stereo drum or
keyboard sounds, CD or the return from an external stereo processor.
Un-Balanced TRS Tip
Signal
Sleeve
Ground
19) LEVEL CONTROL- Adjusts the level of the signal from the stereo Aux Input jacks. 20) TO MON CONTROL - Adjusts the amount of stereo Aux Input signal going to the Foldback Mic. This allows any External
effect to be heard in the Foldback Mic. 21) PLAYBACK/RECORD: The Platinum series mixers have 2 stereo RCA connectors for recording or playback.
• Record: This RCA output is provided to record master mix on to a recording media like tape machine, hard disk recorders and computer based audio interfaces etc. The output level of this determined by the master L/R fader; alternately the input level on the recording medium can be used for the same. • Playback IN: This RCA input is provided to connect external devices like CD player, iPod’s, MP3 players etc. • Playback Switch: To toggle between the two record mode & Playback mode. Please Note: Do not press the Playback button while recording, especially when using the same device for recording & play back, this will send the output signal back to the input & cause oscillations. 22) +48V PHANTOM POWER SWITCH & LED: Connects 48V phantom power to all mono channels mic inputs. For use
with +48V Phantom powered mics or DI boxes. See Options page for alternative arrangements. The Switch is released to prevent accidental operation and should be operated using a ballpoint pen or a similiar instruments. A red warnings LED indicates that the phantom power is turned on . When phantom power is active all microphones should be plugged in before the console is switched on. Before using +48V Phantom power always check the microphones is suitable for +48V Operation. Unbalanced microphones must not be used in any channel where phantom power is active. 23) HEADPHONES
Meter/Phones Select Switch: Switches the meters and phones to monitor either the Main PA(L-R) or the MON (MONITOR) Mix. When any LISTEN buttons are down, their signals will be monitored. Phones Control: Adjusts the headphone level as per requirements when soloing a certain channel from the Main Mix or while monitoring your mix. 24) METERS : The two bargraph meters normally monitor the Left and Right output levels.
• In Split mode, the left meter follows the main PA mix and the right follows the monitor Level. (Only for MKI & MKIII) 25) MASTER (L/R) OUTPUT : This output is used to connect the master output of the mixer to the amplifier or powered
speakers. The output level is determined by the master fader (L/R). Wiring configuration is as follows : Pin 1 = Ground
Pin 2 = Hot (+ve Phase)
Pin 3 = Cold (-ve Phase)
Note:- For connector wiring information please refer page no. 14. 26) LINE (L/R) OUTPUT : This ¼” 3 pole jack socket is used to connect the master output of the mixer to the amplifier or
powered speakers. The output level is determined by the master fader (L/R). Wiring configuration is as follows : Sleeve = Ground
Tip = Send (To Effects)
Ring = Return (To Console)
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27) MON (MONITOR) OUTPUT: This ¼” 3 pole jack socket is used to monitor the output of the mixer to the amplifier or
powered speakers. In Split mode, both the main PA mix & the monitor mix are mono. This mode of operation is perfect for small club or pub gigs where you need a simple system.The output level is determined by the mono fader. 28) AUX OUTPUT: The Aux Sends are the main outputs from Aux Sends 1 & 2 to effects units or monitor systems, they
contain the sum of all signals sent from the Aux controls on the input channels. The Aux Master Sends are ¼” 3 pole jacks. Sleeve = Ground
Tip = Send (To Effects)
Ring = Return (To Console)
29) EFFECT SEND RETURN : (Only Platinum MKI) EFFECT SEND / RETURN R-OUT
L-OUT
R-IN
L-MONO IN
Return Input: 1/4” stereo jack socket. Stereo balance with Left in / Mono input for both left & right output. Stereo balance with right input for right output. Send Input: 1/4” stereo jack socket. Stereo servo balance left & right output. 30) POWER ON SWITCH: Switches the unit on and off. 31) AC HOLDER: The Fuse can be accessed by the fuse holder. To change the fuse, unplug the AC cord first, pull out the
fuse clip and replace the fuse only with a fuse of same voltage and rating. If the fuse blows again after replacement, hand over the unit to qualified service personnel. 32) AC INLET: Use the supplied AC cord to connect the unit to AC mains. Make sure voltage and frequency stated on the
unit matches with your local AC supply. 33) EFX FADER: (Only for Platinum MKIII & Platinum 12Fx) - Controls the overall output level of the internal effects
processor fed into the stereo mix Individual effects input levels are controlled by means of the channel Fx controls. Digital Effects and Control: (Only for Platinum MKIII & Platinum 12Fx) - The PLATINUM MKIII has a high quality stereo processor that can provide many different Fx & delay effects. In addition, the user may also choose from pre-set EQ curves with the EQ button. The REGEN fader enables the user to control how long echoes take to die away on Delay settings. 34) EFX TYPE / DATA ENTRY CONTROL: Normally this is used to select a different effect pre-set. Turning the control
scrolls through the available effects, the effect number is shown on the display. The effect selected when the console is switched off is recalled when the console is turned back on. 35) AUX MUTE SWIT CH AND LED: (Only for Platinum MKIII) - Mutes the AUX send output. A yellow LED indicates
that the AUX send is muted. This is used to disable any external equipment connected via AUX send. 36) DELAY SWITCH AND LED: When the delay button is pressed the green LED lights & the display shows delay effects.
REGEN can be activated in this mode. 37) STANDBY SWITCH AND LED: (Only for Platinum MKIII) - Mutes the Left-Right & MON (monitor) outputs. This is
particularly useful for turning off the sound system without disturbing any other control settings. When standby is selected red STANDBY LED is illuminated. 38) PEAK LED:Indicates the input to the effects section is overloading. If this occurs, the channel FX controls Should be
backed off until the light no longer flashes. The effects processor has a “soft overload” input stage to provide a safety margin before distortion becomes audible.
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39) REVERB ON SWIT CH: Switches the effects processor on or off. A green status LED indicates the effects are active.
This fader controls the amount of effect added to the MON (monitor) mix. A center detent is provided as a typical starting position.
40) EFX TO MON (Monitor) Control:
41) EFX TO EQ SWITCH: Steps through four EQ option of Flat (off), bright, warm or warm + bright. 42) WARM / BRIGHT LED: The Warm and Bright status LED’s indicate which FX Eq setting has been selected. 43) REGEN SWIT CH AND ON LED: Enables the regeneration control. This function is only available on delay setting.
When the green Status LED is illuminated, Regeneration is active. 44) REGEN: This fader controls the amount of regeneration on a delay setting. A center detent is provided as typical
Starting position for ‘echo’ effects. GETTING STARTED WITH THE EFFECTS • Connect a Microphone to an input channel. • Press the FX button - check green LED Illuminates. • Set FX fader to 0 dB. • Turn FX knob on the input channel clockwise until you get desired effect level. • Select the desired effect using FX TYPE button and DELAY button if required. • If REGEN is required when using DELAY press REGEN button - check green LED illuminates. • Adjust REGEN fader until required REGEN is achieved. • If more adjustment is needed press FX EQ button. NOTE : The effects processor has an overload indicator marked PEAK. If the PEAK LED flashes more than occasionally the effect will distort. If this occurs turn down FX control knob on inputs channels. The FX fader controls the output of the effects unit so will not prevent an overload. Effect Type Aux send On/Off Delay On/Off Effects processor On/Off Effects EQ setting Regen On/Off Stand by On/Off
SEE DISPLAY AUX MUTE + LED DELAY + LED FX + LED WARM + BRIGHT LED’S REGEN + LED STANDBY + LED
45) STORING & RECALLING MEMORIES: (Only for Platinum MKIII) - There are memory buttons numbered MEM
1-4, these provide a quick way to store & recall up to four different set-ups. For example, you might have one set-up with a long, warm reverb for ballads, one with echo for your Elvis impressions, another with a shorter reverb for regular pop songs and one with no effects for making announcements between songs. To store the console settings as a memory • Press one of the MEM (Memory) buttons, the LED will light • For delay effects press the DELAY button, the DELAY LED will light. • Select the effect using the EFX TYPE/DATA ENTRY control • The effect number or delay time will display. • Select Aux Mute, Regen, EFX, EFX EQ or Standby, the selected LED. Press one of the MEM buttons, the LED will light. • For delay effects press the DELAY button, the DELAY LED will light • Select the effect using the EFX TYPE/DATA ENTRY control. • The effect number and effect bank indicator will be dispalyed. • Select Aux Mute, Regen, EFX, EFX EQ or standby, the selected LED’S will light. • Press the MEM button again to store the settings and return to normal operation. To recall the memory settings • Press one of the MEM buttons, the LED will light • This will now recall your stored set-up regardless of current console settings. To overwrite a set-up, simply repeat the above procedure.
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46) DISPLAY SECTION: (Only for Platinum MKIII & Platinum 12Fx)
Display section consist of 7 segments LED display and different effects bank with corresponding LED’s near the banks. Turning the effect select control, 7 segments display will show the selected EFX number & its corresponding effect LED will be illuminated. Turn the effect select knob until you get your desired effect. The display no. and the corresponding effect bank is given below. Effects Sequence
Effects Nos
Effects Bank
1
1-8
Hall (0.5s - 3.0s)
2
9-16
Auditorium (1.2s - 15.0s)
3
33-40
Plate 1 (0.2s - 1.8s)
4
41-48
Plate 2 (1.0s - 7.5s)
5
49-52
Gate 1 (0.2s - 0.6s)
6
53-56
Gate 2 (0.15s - 0.45s)
The Delay Effect can be selected by pressing DELAY button. The display no. & the corresponding effect bank is given below. Effects Sequence
Effects Nos
Effects Bank
7
57-64
Reverse (100 msec. - 500 msec.)
8
121-127
Reverb Regen
9
97-98 & 105-106
Eco + Reverb
10
17-24
Reverb (300 msec. - 2.0 sec.)
11
25-32
Room (1.5 sec. - 8.5 sec.)
12
129-178 & 209-218
Delay 1 (20 msec. - 700 msec.)
13
230-240 & 219-220
Delay 2 (90 bpm - 150 bpm)
To select the effect • Turn the DATA ENTRY control to the right. • For delay effects press the DELAY button, the DELAY LED will light. • Select the effect using the DATA ENTRY control. • The effect no. & effect bank indicator will be displayed. • Select AUX MUTE, REGEN, EFX, EFX EQ or STANDBY, the selected LED’s will light. SETTING UP A PA: In most small and medium sized venues, the PA works as a sound reinforcement system, helping to boost the sound of on-stage instruments amplifiers (and possibly drum kits) as well as handling all the vocals and acoustic instruments, Because of the wide range of sounds, the PA speakers need to be able to reproduce the full audio spectrum, but their main job will be to lift the vocals and acoustic instruments over the level of the back-line. For smaller venues, it’s sometimes easier to use low powered back line amplification and mic it up. This reduces spill from the back-line amplifiers into the vocal mics making the mix easier to control. If the room is very reverberant, getting a clear vocal sound can be difficult. Because of the way in which sound is reflected, the FX may sound the same wherever you are in the room, whereas the vocal sound from the speakers will get quieter the further away you are. Once you get so far back in the room that the reverberant sound overwhelms the direct sound, vocal clarity is compromised. The choice and positioning of loudspeakers is critical in projecting a clear sound. . The main PA speaker cabinets should be positioned in front of the vocal mics so as to reduce the risk of feedback & should be set up on stand so that the sound is being absorbed by the front row audience. The ideal position is to have the speakers slightly over the audience’s head height, angled slightly downwards so as to concentrate all the sound on the audience and not the back wall or ceiling. Also angle the speakers away from the sidewall if possible. As well as making the most use of the unavailable power, this will also reduce the effect of room reflections making the sound clearer, even in troublesome rooms.
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MONITORING: Stage monitors may be thought of as a separate sound system, comprising power amplifiers & speakers, running from the monitor output of the mixing console. The most important job of a small monitor system is to ensure that the vocalists can hear themselves properly. For smaller venues it’s rarely necessary to feed much in the way of instruments back through the monitor system. Stage monitors often take the form of floor-standing, wedge-shaped speaker enclosure, and they must be fitted with high quality, full-range speaker systems, otherwise feedback will almost certainly become a major problem. . Power amps, whether for main PA or monitor use, need enough power to deliver a clean signal, at the full rated power of loudspeakers, This is because once an amplifier is driven into clipping, it produces a lot of high frequency harmonics, MICROPHONES: Dynamic cardioid microphones are usually chosen for live work because they are robust, they produce a full, confident sound, & their cardioid response helps prevent feedback by keeping unwanted sounds out of the mic. Platinum consoles are designed to work with low impedance microphones so that long cable lengths won’t compromise the sound quality. Both balanced & unbalanced microphones may be used although balanced mics provide a better immunity to interference. A common problem is that the vocal mic doesn’t just pick up the singer, it picks up sound from all along its axis, so anything going on directly behind the singer will also be picked up, to some degree. If you put the drums or a loud guitar amp behind the singer, whenever you turn up the vocal level you will increase the level of that as well. A microphone also ‘hears’ some of the ground generated by the PA system itself, either directly from the speaker cabinets or reflected from the walls. If too much sound from the PA gets back into the mic it will build up in level resulting in the familiar squeal known as feedback. Feedback has to start at a particular frequency and, as you might expect, this is influenced by the room acoustics. Speakers or mics with peaky frequency responses also provoke feedback at the frequencies where they have most gain. The Platinum has two on-board graphic equalizer which can be used to ‘pull down’ troublesome frequencies. The best way to set up the system is to slowly increase the sound level until feedback just starts to occur, then use the graphic EQ to pull that frequency down in level slightly. Graphic equalization can’t provide a complete cure for feedback, but used carefully, it can enable you to squeeze those extra few vital dB’s out of the system. Switching off mics when they are not in use also reduces the risk of feedback. Monitor systems are also prone to feedback, especially as they are so close to performers. Careful positioning of the monitor speakers, so as little sound as possible gets back into the stage mics, will help considerably, When using split mode, one of the on-board graphic equalizers may be used to fine tune the monitor mix in the same way as for the main PA. If the graphic equalizers are not used to compensate for room acoustics, or if a separate equalizer has been patched into the insert point to handle this task, the on-board graphic equalizers may be assigned to the group mix allowing specific groups or instruments or vocals to be treated independently of the rest of the mix. As a rule, avoid extreme EQ settings, and if you can use cut rather than boost to achieve the desired result, feedback if less likely to be a problem. When doing the pre-gig sound check, set the maximum safe vocal operating level first & then balance the instruments to the vocals rather than attempting to work the other way around. Once the maximum safe level before feedback has been found, back off the master faders slightly so as to leave al little power in hand. Finally, select a vocal Fx or echo setting though be aware that in a typical venue, there may already be quite a lot of Fx so you may not need to add as much as you think.
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5. Product Care Instruction DO NOT SWITCH ON YET! READ THIS SECTION FIRST. SAFETY INSTRUCTIONS
• Make sure this product is suitable for use on your local supply Voltage. The voltage is printed on the rear panel. Only use the AC power cord /Mains lead supplied with the product. • Do not attempt to remove screws or panel. There are no user serviceable part inside • Do not operate the unit next to heat source such as radiators. If the unit gets damaged or appears to have developed a fault refer to the sevice information section for details • Do not use your mixer in environments having a high humidity or where liquids or objects may accidentally enter the console. • Always ensure the Ventilation slot is clear and never remove the main earth to cure a buzz or hum caused by faulty wiring. If external signal processors or effect processor is being used, these should also be connected & switched on before the mixer is powered up. • In the event that the rear panel fuse blows, replace it only with the same type and rating of fuse (see technical specifications). If a fault occurs that replacing the external fuse does not cure, return the unit to your dealer or to an authorized service agency. Do not attempt to replace the internal fuse yourself, as this could be dangerous and will void the warranty.
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6. Technical Specifications Nominal Gain (Mic/Line/Stereo Line) Max Gain (Mic/Line/Stereo Line) Input Levels Sensitivity Mic (Gain Min/Gain Max) Line (Gain Min/Gain Max) Stereo Line (Gain Min/Gain Max) Input Impedance Mic Input Line Input Main Output level (Nominal/Max) Main Output Impedance Frequency Response Total Harmonic Distortion Signal to Noise Ratio Clip indication Equalisation Mono Mic [Treble/Mid (with sweep)/Bass] Stereo Mic/Line (Treble/Mid/Bass) Graphic Equalizer (±12dB)
Platinum Basic MKI 60dB/40dB/20dB
Platinum MKIII
Platinum 12Fx
75dB/55dB/35dB -10dBu / -60dBu +8dBu / -40dBu +6dBu / -24dBu Typically 2KΩ Balanced 20KΩ (Balanced)/10KΩ (Unbalanced) +0dBu (0.775V RMS) / +22dBu (10V RMS) <30Ω 20Hz to 20KHz (+0/-1 dB) <0.006% -78dB 5dB prior to true clip ±15dB @ 12KHz/350Hz-6KHz/60Hz ±15dB @ 12KHz/1.6KHz/45 Hz 50Hz, 150Hz, 330Hz, 1KHz, 2.5KHz,
---
5KHz, 10KHz EFX Phantom supply Power supply Power Consumption Dimensions (W x D x H)mm Net Weight (Kgs.) Fuse
---
32 bit Multi EFX processor
+48V 150V~250V AC/50Hz 30W Max 725 x 440 x 126
564 x 442 x 124
12.7
10.4
T3.15AL 250V
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EFX Description:
14
7. Set-Up Diagram
Drum Kit
Guitar Bass Guitar
Microphones
Di Box / Pre Amp
Band Set-up
Stereo Keyboards
Stereo Pre Amp
DISPLAY EFFECT TYPE DELAY
8.8.8.
DISPLAY EFFECT TYPE
17-24
1-8
9-16
HALL
AUDITORIUM
0.5s - 3.0s 1.2s - 15.0s
57-64 REVERSE
REVERB
33-40
41-48
PLATE 1
PLATE 2
300 msec. - 2.0 sec.
0.2s - 1.8s 1.0s - 7.5s
97-98 & 105-106
25-32
ECO + REVERB
ROOM
53-56
49-52
GATE 2
GATE 1
0.2s - 0.6s 0.15s - 0.45s
DELAY
100 msec. - 500 msec.
DISPLAY EFFECT TYPE DELAY
121-127
129-178 & 209-218
230-240 & 219-220
REVERB REGEN
DELAY 1
1.5 sec. - 8.5 sec.
DELAY 2
20 msec. - 700 msec.
90 bpm - 150 bpm
For more details please refer given EFX list in user manual.
REVERB ON
Stereo Effect
MASTER/ LISTEN
TAPE
ASSIGN 2
Two Track
L-R(Master) (Master/Group)
(Override Assign 1)
Vocals
Horns / Percussion
Backing Vocals
Big Band Set-up
Stereo Keyboards
Stereo Keyboards
DISPLAY
1-8
9-16
17-24
EFFECT TYPE
HALL
AUDITORIUM
REVERB
DELAY
8.8.8.
DISPLAY EFFECT TYPE
0.5s - 3.0s 1.2s - 15.0s
57-64 REVERSE
DELAY
100 msec. - 500 msec.
DISPLAY EFFECT TYPE DELAY
121-127 REVERB REGEN
33-40
41-48
PLATE 1
PLATE 2
300 msec. - 2.0 sec.
0.2s - 1.8s 1.0s - 7.5s
97-98 & 105-106
25-32
ECO + REVERB
ROOM
53-56
49-52
GATE 2
GATE 1
0.2s - 0.6s 0.15s - 0.45s
1.5 sec. - 8.5 sec. 129-178 & 209-218
230-240 & 219-220
DELAY 1
DELAY 2
20 msec. - 700 msec.
90 bpm - 150 bpm
For more details please refer given EFX list in user manual.
REVERB ON
Stereo Effect
MASTER/ LISTEN
TAPE
ASSIGN 2
Two Track
L-R(Master) (Master/Group)
(Override Assign 1)
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Connector Wiring Information Pin 3 - Negative / Cold /-Ve phase
Ring - Negative / Cold / - Ve phase Tip - positive / Hot / + Ve phase
Pin 2 - positive /Hot/ +Ve phase
Tip Ring
Pin 1 - Screen / Ground / Earth To connect a balanced microphone to a mic input, wire the 3 pin XLR as above
Sleeve
Sleeve - Screen / Ground / Earth
To connect balanced equipment to an input or output, wire the ¼” TRS jack as above
Pin 3 - Link to Pin 1 Pin 2 - positive /Hot/ +Ve phase
Tip - Signal Tip
Sleeve Pin 1 - Screen / Ground / Earth To connect an unbalanced microphone to a mic input, wire the 3 pin XLR as above, +48V must not be used when unbalanced mics are connected to the console
Tip - Signal
Sleeve - Screen / Ground / Earth
To connect unbalanced equipment to an input or output, and to connect a footswitch use a ¼” TS jack wired as above
Tip & Ring linked together
Sleeve - Screen / Ground / Earth Sleeve - Not connected To connect to the record or playback sockets, wire the phono (RCA jack) as above.
To bypass a channel Send/Return or Amplifier insert, wire a ¼” TRS jack as above
NOTE:If Studiomaster Professional PLATINUM Series console develop a serious fault, do not attempt to rectify it yourself. Please take to your nearest dealer for service. Service work should only be carried out by qualified and experienced service engineers. Studiomaster Professional reserves the right to make modications to its products without notice.
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Range of Studiomaster Professional Products.
SM 100XLR TRIO 100 SM 200XLR SM 300I SM 400XLR SM 500XLR SM 600XLR SM 650XLR SM 800C SM 900C SBM 10 SBM 20 Flex 2 Flex 4
Wireless Microphones BR 12 Series BR 28 Series BR 48 Series ER 11 Series ER 31 Series ER 58 Series KR 12 Series GR 12 Series MR 12 Series TR 47 Series
Crossovers SX-2 SX-321 SX-421 SX-521 SDX-4
Processors DD 1000 SEQ 152 SEQ 312 Multi 3 SFX 8 SPS 8 Phantom 11
Sound Box SPA 25FX SPA 80FX
Stabilizers SVC - S1000 SVC - S2000 SVC - S3000 SVC - S5000 SVC - S8000 SVC - S10000
Speaker Stands SS 10B SS 20S WS 10
Passive Speakers
Mixers ~ Basic Series Basic CUB Basic CUBU Basic CUBS ~ DJ Mixers DJX 300 (Black & White) Playmix 300 DJX 325 DJX 626 DJX 825 DJX 925 DJX 975 DMX 5 ~ Diamond Club Series Diamond Club 6.2 Diamond Club 8.2 Diamond Club 8.2EFX Diamond Club 12.2 Diamond Club 12.2EFX Diamond Club 12.2USB Diamond Club 16.2 Diamond Club 16.2EFX
AiR Pro 24 AiR Pro 36 Aura 14 ~ CD/USB Media Player MP 4000 MP 2000
Amplifiers ~ DJA Series DJA 100 DJA 550 DJA 1000 DJA 2500 DJA 3200 DJA 4000 ~ PA Series PA 1.5 PA 2.0 PA 3.0 PA 4.5 PA 6.0 PA 7.5
~ Diamond Supreme Series Diamond Supreme 7 Diamond Supreme 12 Diamond Supreme 12U Diamond Supreme 16U
~ DPA Series DPA 2000 DPA 3200 DPA 4500 DPA 5000 Road 7
~ Club 2000 Series C 142 C 182 C 142EFX
~Arena Series Arena 20 Arena 30
~ Platinum Series Platinum Basic MKI Platinum MKIII Platinum 12Fx ~ Diamond Pro-3 Series Diamond Pro-3 12.3 Diamond Pro-3 16.3 ~ ProVI Series Pro 16.6 Pro 24.6 EP 7 ~Air Series AiR 2 AiR 4 AiR 6 AiR 8 AiR 12 AiR 16 AiR 24 AiR X 10 AiR X 14 AiR X 18
~ IndustrialAmplifier ARC 120A
Component Speakers ~ S-Series SWF 18120 SWF 18100 SWF 1880 SWF 1560 SMB 1545 SMB 1530 SMB 1230 SHF 0104 SHF 0210 ~ E-Series EMB 1225 EMB 1530 ~Titan Series THF 0208 TMB 1535 TMB 1555 TWF 1580
~ S-Series S5215 S5225 S8018 S8118 S8028 S8128 ~ Fire Series Fire 51 FIRE 51A Fire 55 Fire 84 ~ DYS Series DYS-208 DYS-12M ~ XVP Series XVP1540 XVP1540M XVP 1560 XVP 2585 XVP 25A2 XVP 1808 ~Aria Series Aria 8 Aria 12 Aria 15 ~Line Array System SLA-40 S9022
Powered Speakers ~ B Series B 200 B 400 (Black & White) B 400U B 400UB ~ OP Series O 215 O 415 O 415U O 515 ~ SUB Series O 12SUB O 15SUB O 18SUB
Active Monitors Sat 5 Sat 10S
* Design and specification are subject to change without notice. is a registered trademark of Audioplus in India. © Copyright Audioplus, 2008. All rights reserved. Any unauthorised reproduction or use of logos, images or design elements is strictly prohibited by law. No part of the compilation may be reproduced in any manner or translated without written permission. A1/A2, Giriraj Industrial Estate, Mahakali Caves Road, Andheri (East), Mumbai - 400 093. India Tel.: 022-42869043 / 4286 9076 / Fax: 022 - 26871453 E
[email protected] W www.audioplus-india.com/www.studiomasterprofessional.com
LITMA2F8 REV. 3
Wired Microphones
