Swing Cover.p65

Transcript

The lighting flash with arrowshad symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltages” within the product’s enclosure, that may be of sufficient magnitude to constitute a risk of electric schok to persons. The excalamation point within an equilater triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanyng the appliance. IMPORTANT SAFETY INSTRUCTIONS INSTRUCTIONS PERTAINING A A RISK OF FIRE, ELECTRIC SHOCK OR INJURY A PERSONS WARNING - When using electric products, basic precautions should always be folowed, including the following. 1. Read all the SAFETY INSTRUCTIONS before using the product. 2. A reduce the risk of injury, close supervision is necessary when the product is used near children. 3. Do not use this product near water - for example, near a bathtub, washbowl. kitchen sink, in a wet basement or near a swimming pool or the like. 4. This product in combination whit headphones or an amplifier, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at high volume level or at level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. 5. This product should be located so that its location or position does not interfere with its proper ventilation. 6. This product should be located away from heat sources such as radiators, hest register or other product that produce heat. 7. The product may be connected a a power supply only of the type described on the operating instructions or as marked on the product. 8. The product may be equipped with a polarized line plug (one blade wider then the other). This is a safety feature. If you are unable a insert the plug into the outlet, contact an electrician a replace your obsolete outlet. Do not defeat the safety purpose of the plug. 9. The power-supply cord of the product should be unplugged from the outlet when left unused for a long period of time. When unplugging the power-supply cord, do not pull on the cord, but grasp it by the plug. 10. Care should be taken so that object do not fall and liquid are not spilled into the enclosure through openings. 11. The product should be servived by qualified service personnel when: A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has been spilled into the product; or C. The product has been exposed to rain; or D. The product does not appear to operate normally or exhibits a marked change in performace; or E. The product has been dropped or the enclosure damaged. 12. Do not attempt to service the product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel. 13. WARNING - Do not place objects on the product’s power cord or place it in a position where anyone could trip over, walk on or roll anything over it. Do not allow the product to rest on or to be installed over power cords of any type. Improper installations os this type create the possibility of fire hazard and/or personal injury. SAVE THESE INSTRUCTIONS Contents / Instructions and installation Contents Instructions and installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 MONO input channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 STEREO input channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 MASTER section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Connector cables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Connection examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Block diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Instructions and installation ✔ Connecting the mixer to the mains supply. Before connecting the amplifier to the mains socket, always make certain that: - the electric system and mains socket have an adequate grounding, compatible with the safety norms (if you’re uncertain, consult specialized personnel); - the mains voltage corresponds to that shown on the rear of the unit (an allowance of up to ±10% is accepted); - the power cord is not damaged and has no bare wires; - the on/off switch is in the OFF position. Make sure the mixer is also off before disconnecting the power cord from the mains socket. It is best to lower (or better still close) the output levels and switch off any amplifiers connected to the line output of the mixer before switching the mixer on or off: this avoids annoying and sometimes dangerous (particularly for the speaker cabinets) signal peaks. When the mixer is switched on, it’s normal for the LEDs to light up for a few moments. ✔ Connection and prevention or identification of possible disturbances. First of all, check that the mixer is installed in a place free from industrial or RF (radio frequency) interference. Avoid installing your equipment very near radio or TV sets, mobile phones, etc., as these can cause noisy interference. When connecting the other components of your sound system, watch out for the so-called “ground loops”, which could cause hum and jeopardize the mixer’s excellent Signal-to-Noise and low distortion characteristics. The best way (even if not always feasible) to avoid ground loops is to connect the electric ground of all the equipment to a single central point (the so-called “star” system). In this case, the central point in sound systems is the mixer. ✔ Protection and maintenance. Do not force knobs, switches or faders: they have been designed to respond to a light touch and could be damaged if treated with excessive force. Take care of the connector cables. Always hold them by the connectors, avoiding pulling the wire and avoid knots and twists when coiling them: this gives the advantage of increasing their life and reliability. Avoid exposing the mixer to direct sun, strong heat, intense vibrations, very dusty or damp surroundings, or even worse, rain: this will avoid eventual malfunction, deterioration or even electric shocks and fires. Any dust on the mixer should be removed using a soft dry cloth or a brush; never use alcohol, acetone or solvents. ✔ In the event of breakdown All user-adjustable parts are external and easily accessible. Never open the amplifier: you could run the risk of serious electric shocks. In the event of breakdown, contact the nearest GENERALMUSIC/LEM Assistance Centre 1 Introduction Introduction Congratulations for having chosen a SWING mixer! SWING 12 and SWING 16 are extremely versatile audio mixers able to offer a great number of functions and a high audio quality in a really compact and easy-to-use format. Equipped with 12 and 16 inputs, the SWING mixer offer a complete and professional set of functions including INSERT on the MIC inputs, 4-band EQ, SOLO with AFL and PFL options and balanced MASTER outputs with the choice of XLR or JACK connectors. The superior audio quality is provided by low-noise, high-grade mic preamps, lowtolerance electronic components and accurate circuitry designed to guarantee the maximum dynamics without distortion. The SWING mixer have been designed in order to provide a very easy transport, installation and use and they are the best solution for a great variety of applications: from LIVE P.A. to HOME RECORDING, from SUB-MIXING systems to FIXED INSTALLATIONS. 2 10 R 0 L 20 30 40 20 30 40 L 0 0 2 10 10 1 5 5 10 0 SOLO MUTE MIX B PAN POST-FADER AUX 2 0 -15 5 MIC LINE 10 0 PRE-POST AUX 1 PRE-FADER MONITOR LOW MIC LINE R 10 10 10 SOLO MUTE MIX B PAN AUX 2 POST-FADER AUX 1 PRE-POST PRE-FADER MONITOR LOW 75 Hz +15 80 Hz +12 LO-CUT 75 Hz -12 800 Hz 3 kHz HI-MID LO-CUT 0 5 10 10 +15 80 Hz -15 0 +12 -12 +12 12 kHz LO-MID -12 +15 LO-MID 800 Hz 3 kHz HI-MID +12 -12 -15 HIGH +15 -15 12 kHz HIGH GAIN GAIN -10dB MIC -60dB +10dB LINE -40dB LINE LINE 0dB (LINE) MIC 2 MIC -10dB MIC -60dB +10dB LINE -40dB 0dB (LINE) 1 GAIN LINE MIC 3 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 SOLO MUTE MIX B PAN AUX 2 POST-FADER AUX 1 PRE-POST PRE-FADER MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID HI-MID 3 kHz 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB 0dB (LINE) 3 GAIN LINE MIC 4 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 SOLO MUTE MIX B PAN AUX 2 POST-FADER AUX 1 PRE-POST PRE-FADER MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID HI-MID 3 kHz 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB 0dB (LINE) 4 5/6 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -15 5/6 MIC LINE R 10 10 10 +15 +12 +15 SOLO MUTE MIX B BAL AUX 2 POST-FADER AUX 1 PRE-POST PRE-FADER MONITOR 80 Hz LOW SOLO MUTE MIX B BAL AUX 2 POST-FADER AUX 1 PRE-POST PRE-FADER MONITOR 80 Hz LOW MID 2.5 kHz 12 kHz HIGH STEREO LINE R 10 10 10 +15 +12 +15 AUX SENDS 7/8 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -15 RIGHT LEFT RIGHT 2.5 kHz MID 12 kHz HIGH MIC (MONO) LEFT (MONO) AUX RETURNS LEFT (MONO) -15 +15 LEFT (MONO) HEADPHONES 10 AUX 1 0 0 10 MONITOR LEVEL 0dB (LINE) LINE MIC 0dB (LINE) 2 LINE MIC 0dB (LINE) 3 LINE MIC 0dB (LINE) 4 LINE MIC 0dB (LINE) 5 LINE MIC 0dB (LINE) 6 LINE MIC 0dB (LINE) 7 LINE MIC 0dB (LINE) 8 LINE MIC SOLO MUTE MIX B BAL AUX 2 POST-FADER AUX 1 PRE-POST PRE-FADER MONITOR 80 Hz LOW MID 2.5 kHz 12 kHz 20 30 40 20 30 40 POWER SOLO MODE 40 30 20 10 5 0 5 10 AFL NORMAL PFL LEVEL SET ROUTE to MIX TAPE IN MIX B MIX L&R 40 30 20 10 5 0 5 10 SOLO ACTIVE 30 20 10 7 4 2 0 2 4 7 10 CLIP OUTPUT/SOLO LEVEL L MIX R L 0 10 AUX 2 TO MON AUX 2 AUX RETURNS MIX B 10 10 11/12 5 5 10 0 STEREO LINE SOLO 10 CR / PHONES SOURCE AUX 1 TO MON MUTE PHANTOM MIX B BAL AUX 2 POST-FADER AUX 1 PRE-POST PRE-FADER MONITOR 80 Hz LOW MID 2.5 kHz 0 CR/PHONES 5 5 R 10 10 10 +15 +12 12 kHz HIGH RIGHT 11/12 0 L 0 0 0 -15 -12 10 RIGHT 9/10 HIGH STEREO LINE R 10 10 10 +15 +12 +15 9/10 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -15 RIGHT 7/8 LEVEL SET R 1 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 SOLO MUTE MIX B PAN AUX 2 POST-FADER AUX 1 PRE-POST PRE-FADER MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID 3 kHz HI-MID 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB GAIN 2 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 SOLO MUTE MIX B PAN AUX 2 POST-FADER AUX 1 PRE-POST PRE-FADER MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID HI-MID 3 kHz 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB GAIN 3 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 SOLO MUTE MIX B PAN POST-FADER AUX 2 PRE-POST AUX 1 PRE-FADER MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID 3 kHz HI-MID 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB GAIN 4 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 PRE-FADER SOLO MUTE MIX B PAN POST-FADER AUX 2 PRE-POST AUX 1 MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID HI-MID 3 kHz 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB GAIN 5 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 PRE-FADER SOLO MUTE MIX B PAN AUX 2 POST-FADER AUX 1 PRE-POST MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID 3 kHz HI-MID 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB GAIN 6 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 PRE-FADER SOLO MUTE MIX B PAN AUX 2 POST-FADER AUX 1 PRE-POST MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID HI-MID 3 kHz 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB GAIN 7 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 PRE-FADER SOLO MUTE MIX B PAN AUX 2 POST-FADER AUX 1 PRE-POST MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID HI-MID 3 kHz 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB GAIN 8 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -12 -15 MIC LINE R 10 10 10 PRE-FADER SOLO MUTE MIX B PAN AUX 2 POST-FADER AUX 1 PRE-POST MONITOR LOW 75 Hz LO-CUT 800 Hz LO-MID HI-MID 3 kHz 12 kHz HIGH +15 80 Hz +12 +12 +15 -10dB MIC -60dB +10dB LINE -40dB GAIN PRE-FADER SOLO MUTE MIX B BAL AUX 2 POST-FADER AUX 1 PRE-POST MONITOR LOW 80 Hz 2.5 kHz MID 12 kHz HIGH RIGHT 9/10 LEFT RIGHT (MONO) STEREO LINE R 10 10 10 +15 +12 +15 9/10 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -15 LEFT (MONO) AUX RETURNS -15 +15 LEFT (MONO) AUX SENDS R 10 10 10 PRE-FADER SOLO MUTE MIX B BAL AUX 2 POST-FADER AUX 1 PRE-POST MONITOR 80 Hz LOW 2.5 kHz MID STEREO LINE +15 +12 11/12 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 12 kHz HIGH RIGHT 11/12 2 RIGHT 1 2 LEFT MONITOR OUT 1 LEFT TAPE OUT 1 (MONO) TAPE IN LEFT R 10 10 10 PRE-FADER SOLO MUTE MIX B BAL AUX 2 POST-FADER AUX 1 PRE-POST MONITOR 80 Hz LOW 2.5 kHz MID 12 kHz HIGH STEREO LINE +15 +12 +15 RIGHT 13/14 LEFT TAPE OUT (MONO) RIGHT 13/14 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -15 TAPE IN R 10 10 10 PRE-FADER SOLO 10 POWER SOLO MODE 40 30 20 10 5 0 5 10 AFL NORMAL PFL LEVEL SET ROUTE to MIX TAPE IN MIX B MIX L&R MIX B 40 30 20 10 5 0 5 10 10 AUX 1 0 40 30 20 10 5 0 5 10 SOLO ACTIVE 30 20 10 7 4 2 0 2 4 7 10 CLIP OUTPUT/SOLO LEVEL 0 0 L MIX R L 0 10 AUX 2 TO MON AUX 2 AUX RETURNS CR / PHONES SOURCE AUX 1 TO MON CR/PHONES 0 HEADPHONES MUTE PHANTOM MIX B BAL AUX 2 POST-FADER AUX 1 PRE-POST MONITOR 80 Hz LOW 2.5 kHz MID 12 kHz HIGH STEREO LINE +15 +12 +15 15/16 40 30 20 10 5 0 5 10 L 0 0 0 -15 -12 -15 RIGHT 15/16 LEFT (MONO) MONO OUT MONITOR OUT MONO LEVEL MONITOR LEVEL LEVEL SET R 10 10 MONO input channel MONO input channel 1 MIC INPUT MIC Balanced XLR connector: receives the microphone input signal on the channel. This input is for use with microphones, but can also accept a wide range of balanced or unbalanced low impedance signals. LINE INPUT LINE Balanced JACK connector: receives the line input signal on the channel. This input can receive balanced or unbalanced high-impedance signals from equipment with a high-level output (all instruments excluding microphones). GAIN 0dB (LINE) -10dB MIC -60dB +10dB LINE -40dB CHANNEL INSERT STEREO JACK connectors: allow to use an external device (equalizer, compressor, etc.) to process the signal of the channels 1-2 of the SWING 12 and the channels 1-4 of the SWING 16. The INSERT connectors are placed on the rear panel of the mixer and they have the signal SEND on the JACK TIP and the signal RETURN on the JACK RING (see CONNECTOR CABLES). HIGH 12 kHz -15 +15 -12 +12 HI-MID 3 kHz LO-MID 800 Hz GAIN LO-CUT Gain control: regulates the amplification of external signals (microphones, instruments, etc.) fed into the channel. The range for the MIC input is -10/-60 dB, while the range for the LINE input is +10/-40 dB. -12 +12 -15 +15 80 Hz 75 Hz LOW MONITOR PRE-FADER 0 HIGH 10 AUX 1 PRE-POST HIGH frequency control: gives a 15dB boost or cut at 12 kHz with a “SHELVING” curve. 0 10 0 10 L R AUX 2 POST-FADER HI-MID PAN HI-MID frequency control: gives 12dB boost or cut at 3 kHz with a “PEAKING” curve. MUTE MIX B 10 LO-MID SOLO 5 LO-MID frequency control: gives 12dB boost or cut at 800 Hz with a “PEAKING” curve. 0 5 10 20 CHANNEL INSERT CHANNEL INSERT (TIP=SEND / RING=RETURN) (TIP=SEND / RING=RETURN) 30 40 4 4 3 2 1 2 1 1 MIC LINE MONO input channel LO CUT HI-PASS filter: allows to reduce the frequencies below 75 Hz with a 18 dB / Oct. slope. Thanks to this filter it’s possible to eliminate unwanted subsonic frequencies, like, for examples the microphones rumble due to the stage resonance. LOW LOW frequency control: gives 15dB boost or cut at 80Hz with a “SHELVING” curve. MON Control for the MONITOR send level. The MON send is PRE-FADER: this means than the signal sent to the MON output is taken before the control of the channel FADER, allowing a completely independent mix for the monitoring respect to the main mix. AUX 1&2 Control for the AUX sends level. The AUX 1&2 sends are POST-FADER: this means than the signal sent to the AUX output is taken after the control of the channel FADER and therefore its level is effected by the fader’s setting. For this reason, the AUX send is suitable for the use with an external effect. By means of an internal setting the AUX 1 can be switched PRE-FADER, allowing a second monitor send to be used. PAN Centre-dented pot for controlling the signal’s pan: regulates stereo “position” of the signal with respect to the main MIX L&R outputs. If PAN is turned completely to the LEFT, the signal will only be sent to MIX LEFT, if it’s turned completely to the RIGHT, the signal will only be sent to MIX RIGHT. At intermediate settings, the signal is sent to both MIX LEFT and RIGHT, but in different proportions. MUTE / MIX B Button for MUTE function. When pressed, this switch mutes the channel signal to the L&R MIX outputs and, simultaneously, it assigns the channel to the MIX B outputs. SOLO Button for SOLO function. Allows the channel signal to be selected for the listening thru the CR and HEADPHONES outputs and the visualization on the LED BARGRAPHS. According to the position of the SOLO MODE switch, the listening and the visualization can be PRE- or POST-FADER. LEVEL Pot for controlling channel level: regulates the level of each channel sent to the MIX L&R (or MIX B) outputs. 5 STEREO input channel STEREO input channel LEFT (MONO) STEREO INPUT JACK connector: receives the STEREO LINE input signal on the channel (0dB). Inserting a single JACK connector on the LEFT socket this channel can be used as a MONO channel. 9/10 RIGHT MIC / STEREO LINE INPUT (SWING 12) HIGH XLR-F + RCA connectors: the channel 5/6 on the SWING 12 can accept both a STEREO LINE signal thru two RCA connectors (0 dB sensitivity) and a MONO MIC signal thru a XLR-F connector (-50 dB sensitivity). The two signal can also se used at the same time. MIC (MONO) 12 kHz -15 +15 MID 2.5 kHz -12 +12 LEFT LOW 80 Hz -15 +15 MONITOR PRE-FADER 0 10 AUX 1 5/6 PRE-POST RIGHT 0 10 AUX 2 POST-FADER MID MID frequency control: gives 12dB boost or cut at 2.5 kHz with a “PEAKING” curve. Differently from the MONO channels, the STEREO channels have a 3-band EQ. 0 10 L R BAL MUTE MIX B 10 BAL Centre-dented control of the balance of the signal on the main outputs. The BAL control has a balancing effect on the levels of the two LEFT & RIGHT parts of the STEREO signal and works as follows: • turning to the LEFT lowers the RIGHT signal level on MIX RIGHT; • turning to the RIGHT lowers the LEFT signal on MIX LEFT. 5 SOLO 0 5 10 20 30 40 NOTE: the remaining features of the STEREO channel are the same as in the MONO channel. 6 9/10 STEREO LINE MASTER section MASTER section AUX SENDS 1&2 Unbalanced JACK connectors: these connectors feed out the sum of the signals arriving from the relative AUX sends of the input channels. The AUX sends are POST-FADER and are therefore mainly intended for use with OUTBOARD EFFECTS. AUX RETURNS LEFT (MONO) TAPE IN AUX SENDS MONITOR OUT TAPE OUT RIGHT MONO OUT LEFT 1 2 RIGHT HEADPHONES AUX RETURNS 1&2 Unbalanced JACK connectors: these are the connectors of the auxiliary stereo inputs. These inputs, whose signal is sent directly to MIX L&R, can be used for the return signal from outboard effects or for connecting any instrument or equipment with a line output (e.g. keyboards, cassette recorder or CD turntable). AUX RETURNS 1&2 MONITOR LEVEL 0 10 0 CR/PHONES 10 0 AUX 1 10 MONO LEVEL AUX 1 TO MON 0 10 AUX 2 TO MON AUX 2 AUX RETURNS CR / PHONES SOURCE Pot for controlling the level of the auxiliary stereo inputs. 0 10 OUTPUT/SOLO LEVEL L MIX L&R CLIP R 10 7 MIX B 4 TAPE IN 0 2 AUX TO MON Button to assign the AUX RETURNS to the MONITOR send. Allows to direct the signal connected to the AUX RETURNS 1&2 to the MONITOR output. Note: when the AUX RETURNS signal is directed to the MONITOR send, it is removed from the main MIX L&R outputs. MONITOR OUT Unbalanced JACK connectors: these connectors feed out the sum of the signals arriving from the relative MONITOR sends of the input channels. The MONITOR send is PRE-FADER and is therefore mainly intended for the on-stage monitoring. 2 4 ROUTE to MIX 7 10 AFL NORMAL PFL LEVEL SET 30 SOLO MODE PHANTOM SOLO ACTIVE POWER 10 LEVEL SET 20 10 10 5 5 5 0 0 0 5 5 5 10 10 10 20 20 20 30 30 30 40 40 40 MONITOR LEVEL Pot for controlling the level of the MONITOR output. MIX B L MIX R 7 MASTER section TAPE IN L&R Two RCA connectors: receive external signals from STEREO tape recorders, CD player, DAT, etc. These inputs can be connected to the outputs of your equipment. TAPE OUT L&R Two RCA connectors: send out the signal taken from MIX and normally intended for STEREO recording. These outputs can be connected to the inputs of a recorder. MONO OUT (SWING 16 only) Unbalanced JACK connector: sends out the sum of the MIX LEFT & RIGHT signals. The MONO output is POST-FADER respect to the MIX L&R level control. MONO LEVEL (SWING 16 only) Pot for controlling the level of the MONO output. CR/PHONES LEVEL Pot for controlling the level of the CONTROL ROOM and HEADPHONES outputs. When the ROUTE TO MIX switch is pressed, this pot also controls the level of the TAPE IN and the MIX B assigned to the MIX L&R outputs. HEADPHONES OUT STEREO JACK headphone output connector: only stereo headphones with a minimum impedance of 200 Ohms should be connected to this output. CR/PHONES SOURCE Button for the selection of the signal sent to the HEADPHONES and CONTROL ROOM outputs. These buttons allow to select the signal sent to the HEADPHONES and CONTROL ROOM outputs when there are no SOLO switches pressed on the input channels. a) MIX L&R: select the MIX L&R signal. b) MIX B: select the MIX B signal. c) TAPE IN: select the signal coming from the TAPE IN. d) ROUTE TO MIX: allows to send to the MIX L&R the signal of the TAPE IN and the MIX B. When this switch is pressed, the CR/PHONES pot controls the level of these signals. ATTENTION: when ROUTE TO MIX is pressed, also the channels selected with the SOLO buttons are sent to the MIX L&R outputs. SOLO ACTIVE Indicates when at least one SOLO button is pressed on the input channels. SOLO MODE Allows to select if the listening and the visualization of the channels selected with the SOLO buttons are PRE-FADER (PFL) or POST FADER (AFL). 8 MASTER section LEVEL SET This LED lights when one or more SOLO button are pressed and the PFL mode is selected. This is the typical SOLO mode used to set the input level of the channels. OUTPUT/SOLO LEVEL 12-LED BARGRAPHS. Allows the visualization of the signal assigned to the HEADPHONES and CONTROL ROOM outputs by the SOLO buttons or the CR/PHONES SOURCE buttons (see point 13). The LEDs are of three different colors: • green = show the normal operative level of the signal (from -30 to +4 dB); • yellow = show a high operative level of the signal (from +7 to +10 dB); • red (CLIP) = show a too high signal level, near to the overload of the mixer output stage. To ensure clean, distortion-free signals and to avoid damaging the components of your sound system, try to avoid making the red LEDs lighting up repeatedly. MIX L&R 60mm sliders for control of the general volume: controls the level of the signal arriving from the input channel sent to the main MIX L&R outputs and to the TAPE OUT output. MIX B 60mm sliders for control of the MIX B volume: controls the level of the signal arriving from the input channel selected with the MUTE/MIX B button. +48V LED indicating when the +48V phantom power is switched on: this LED lights up when the button on the connector panel on the rear of the mixer is pressed. ON LED indicating when the mixer is switched on: this LED lights up when the button on the connector panel on the rear of the mixer is pressed. 9 Rear panel Rear panel POWER ON PHANTOM MAIN OUTPUT LEFT INSERT LEFT MAIN OUTPUT RIGHT MAIN OUT LEVEL RIGHT ON OFF CONTROL ROOM OUTPUT MIX B OUTPUT CHANNEL INSERT (TIP=SEND / RING=RETURN) +4dBm MIC LEFT BALANCED UNBALANCED POWER RIGHT LEFT 4 RIGHT 3 2 1 BALANCED “WARNING“ TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. ON PHANTOM LEFT MAIN OUTPUTS LEFT RIGHT MAIN OUT LEVEL RIGHT ON OFF CONTROL ROOM OUTPUT MIX B OUTPUT CHANNEL INSERT (TIP=SEND / RING=RETURN) +4dBm MIC BALANCED UNBALANCED BALANCED LEFT RIGHT LEFT RIGHT 2 1 MIX L&R OUTPUTS Two balanced XLR-M connectors (+4 / -26 dB) + two unbalanced JACK connectors (+4 dB): available in two formats, these are the connectors of the mixer main outputs and send out the main program from the MIX L&R. MAIN INSERT LEFT & RIGHT Two STEREO JACK connectors: allow external devices (equalizer, dynamics processors, etc.) to be used to process the main program. The INSERT connectors require a special ‘Y’ cable to be used to send the original signal to the external device and, once processed, to take it back to the mixer outputs (see CONNECTOR CABLES). MAIN OUT LEVEL Allows to switch the MIX L&R output level (only XLR-M balanced connectors) between +4 dB (line level) and -26 dB (mic level). CONTROL ROOM OUTPUT Two unbalanced JACK connectors (+4dB): send out the signal of the channel selected with the SOLO or (when no SOLO button is pressed) the signal selected with the CR/PHONES SOURCE buttons. This output can be used for monitoring or as an auxiliary bus. 10 Rear panel MIX B OUTPUT Two unbalanced RCA (SWING 12) or JACK (SWING 16) connectors: this is an additional master output which sends out the signal of the channels selected with the MUTE/MIX B buttons. CHANNEL INSERT Two (SWING 12) or four (SWING 16) STEREO JACK connectors: allow external devices (equalizer, compressor, etc.) to be used to process the signal of the channels 1-2 of the SWING 12 and the channels 1-4 of the SWING 16 (see MONO INPUT CHANNEL). +48V +48V Phantom power supply button: activates a +48V power supply on all the MIC inputs (XLR-F connector) of the MONO input channels, allowing condenser microphones and D.I. boxes to be powered from the mixer. NOTE When the PHANTOM power supply is switched on make certain that cables with BALANCED XLR connectors are ALWAYS used to connect the microphones: this precaution is extremely important for avoiding damage in the event of both condenser and normal (dynamic) microphones being used simultaneously. Switch on the phantom power supply only after having connected the condenser microphone to the input and only with the channel fader closed to avoid output signal peaks. Mixer on/off switch. Power supply socket / Main fuse holder In the event of breaking, always replace the fuse with same type and rating. 11 Connector cables Connector cables The following are wiring diagrams for the connectors used with teh SWING mixers. Take care of the connector cables, always holding them by the connectors and avoiding pulling the wire and avoid knots and twists when coiling them: this gives the advantage of increasing their life and reliability, which is always to your advantage. Periodically check that your cables are in good condition and are correctly wired and that all their contacts are perfect: a great number of problems (faulty contacts, ground hum, discharges, etc.) are caused entirely by using unsuitable or faulty cables. BALANCED JACK connector UNBALANCED JACK connector BALANCED XLR-M connector BALANCED XLR-F connector 12 Connector cables RCA connector ‘Y’ cable for INSERT 13 Connection examples Connection examples SWING 16 LIVE P.A. SETUP AMPLIFIED MAIN SPEAKERS from MIX L&R OUT to AUX RETURN from AUX SEND 2 1 MIC 3 MIC 4 MIC 5 MIC 6 MIC 7 MIC 8 MIC AUX RETURNS TAPE IN AUX SENDS MONITOR OUT TAPE OUT MONO OUT MIC LEFT (MONO) RIGHT DIGITAL EFFECT LEFT HEADPHONES 1 2 LINE LINE LINE LINE LINE LINE LINE LINE RIGHT LEFT GAIN 0dB (LINE) GAIN 0dB (LINE) GAIN 0dB (LINE) GAIN 0dB (LINE) GAIN 0dB (LINE) GAIN 0dB (LINE) GAIN 0dB (LINE) LEFT LEFT LEFT (MONO) (MONO) (MONO) 9/10 11/12 13/14 (MONO) 15/16 RIGHT RIGHT RIGHT RIGHT GAIN 0dB (LINE) HEADPHONES -10dB MIC -60dB +10dB LINE -40dB -10dB MIC -60dB +10dB LINE -40dB HIGH HIGH 12 kHz -15 -10dB MIC -60dB +10dB LINE -40dB HIGH 12 kHz +15 -15 -10dB MIC -60dB +10dB LINE -40dB HIGH 12 kHz +15 -15 -10dB MIC -60dB +10dB LINE -40dB HIGH 12 kHz +15 -15 -10dB MIC -60dB +10dB LINE -40dB HIGH 12 kHz +15 -15 -10dB MIC -60dB +10dB LINE -40dB HIGH 12 kHz +15 -15 -10dB MIC -60dB +10dB LINE -40dB HIGH 12 kHz +15 -15 HIGH 12 kHz +15 -15 HIGH 12 kHz +15 -15 HIGH 12 kHz +15 -15 -15 MONITOR LEVEL HIGH 12 kHz +15 12 kHz +15 -15 +15 0 10 0 10 0 10 0 10 AUX 2 TO MON AUX 2 AUX RETURNS 0 10 CR/PHONES HI-MID HI-MID 3 kHz -12 +12 -12 +12 +15 80 Hz -12 +12 -15 +15 80 Hz 75 Hz -12 -12 +12 -15 +15 80 Hz -12 +12 -15 +15 80 Hz 75 Hz -12 -12 +12 -15 +15 80 Hz -12 +12 -15 +15 80 Hz 75 Hz -12 +12 -15 +15 80 Hz +12 -15 +15 -12 +12 LOW MONITOR MONITOR PRE-FADER 0 10 0 10 LOW MONITOR PRE-FADER 0 10 0 10 AUX 1 0 10 0 10 -12 +12 -15 +15 80 Hz 75 Hz 0 10 0 10 75 Hz 0 10 0 10 -15 +15 0 10 0 10 LOW MONITOR PRE-FADER 0 10 0 10 AUX 1 PRE-POST +15 LOW +12 -15 +15 LOW 80 Hz MONITOR PRE-FADER 0 10 0 10 AUX 1 PRE-POST -15 -12 MONO LEVEL AUX 1 TO MON LOW 80 Hz CR / PHONES SOURCE PRE-FADER 0 10 0 10 AUX 1 PRE-POST MONITOR 0 10 0 10 AUX 1 PRE-POST MONITOR PRE-FADER 0 10 0 10 0 10 0 10 AUX 1 PRE-POST PRE-POST L MIX L&R CLIP 7 PRE-FADER MIX B AUX 1 TAPE IN 4 2 0 PRE-POST 2 4 ROUTE to MIX AUX 2 AUX 2 POST-FADER DRUMS MICS CH 1-5 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 L R PAN L MUTE MIX B R PAN SOLO 5 0 L MUTE MIX B R SOLO 5 0 L MUTE MIX B R SOLO 5 0 PAN L MUTE MIX B R SOLO 5 0 PAN L MUTE MIX B R SOLO 5 0 PAN L MUTE MIX B R SOLO 5 0 PAN L MUTE MIX B R SOLO 5 0 BAL L MUTE MIX B R 0 POST-FADER 10 SOLO 5 0 5 BAL L MUTE MIX B 10 10 10 10 10 10 10 10 10 PAN R 0 10 AFL NORMAL PFL LEVEL SET 10 SOLO L R 20 30 SOLO 5 5 BAL L MUTE MIX B 10 0 0 BAL MUTE MIX B 10 R MUTE PHANTOM MIX B 10 SOLO 0 7 AUX 2 POST-FADER 10 SOLO MODE PAN 5 SOLO 0 POWER 10 10 5 5 0 0 10 5 0 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 10 10 10 10 10 10 10 10 10 10 10 10 10 10 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 MIC LINE 2 MIC LINE 3 MIC LINE 4 MIC LINE 5 MIC LINE 6 MIC LINE 7 MIC LINE 8 MIC LINE 9/10 STEREO LINE 11/12 STEREO LINE 13/14 STEREO LINE 15/16 STEREO LINE MIX B VOCAL MICS CH 6&7 LEVEL SET AMPLIFIED MONITORS from MON OUT SOLO ACTIVE 10 1 R 10 MONITOR PRE-FADER AUX 1 PRE-POST OUTPUT/SOLO LEVEL 80 Hz LOW MONITOR PRE-FADER AUX 1 PRE-POST LOW MONITOR PRE-FADER AUX 1 PRE-POST LOW MONITOR PRE-FADER AUX 1 PRE-POST LOW MONITOR PRE-FADER AUX 1 PRE-POST LOW +12 2.5 kHz LO-CUT 80 Hz LOW -12 AUX 1 MID 2.5 kHz 800 Hz LO-CUT -12 -12 MID 2.5 kHz LO-MID 800 Hz 75 Hz MID 2.5 kHz +12 LO-MID LO-CUT MID 3 kHz +12 800 Hz LO-CUT 75 Hz -12 LO-MID 800 Hz HI-MID 3 kHz +12 LO-MID LO-CUT HI-MID 3 kHz +12 800 Hz LO-CUT 75 Hz -12 LO-MID 800 Hz HI-MID 3 kHz +12 LO-MID LO-CUT HI-MID 3 kHz +12 800 Hz LO-CUT -15 -12 LO-MID 800 Hz HI-MID 3 kHz +12 LO-MID -12 HI-MID 3 kHz L MIX R MINIDISC RECORDER to TAPE IN from TAPE OUT BRASS CH 8 STEREO KEYBOARDS CH 13/14 & 15/16 BASS CH 9/10 14 STEREO GUITAR CH 11/12 Connection examples SWING 12 HOME RECORDING SETUP AMPLIFIED MONITOR SYSTEM from CR OUTPUTS to AUX RETURN from MIX L&ROUT from AUX SEND 1 2 MIC 3 MIC 4 MIC AUX RETURNS TAPE IN AUX SENDS TAPE OUT DIGITAL EFFECT MONITOR OUT MIC LEFT (MONO) RIGHT LEFT 1 2 LINE LINE LINE LINE RIGHT LEFT MIC (MONO) GAIN 0dB (LINE) GAIN 0dB (LINE) GAIN 0dB (LINE) LEFT LEFT (MONO) LEFT (MONO) (MONO) GAIN 0dB (LINE) 7/8 11/12 9/10 HEADPHONES -10dB MIC -60dB +10dB LINE -40dB VOCAL MICS CH 1&2 -10dB MIC -60dB +10dB LINE -40dB HIGH HIGH 12 kHz -15 -10dB MIC -60dB +10dB LINE -40dB HIGH 12 kHz +15 -15 -10dB MIC -60dB +10dB LINE -40dB -15 RIGHT HIGH 12 kHz +15 5/6 HIGH 12 kHz +15 -15 RIGHT HIGH 12 kHz +15 -15 RIGHT HIGH 12 kHz +15 -15 RIGHT -15 MONITOR LEVEL HIGH 12 kHz +15 12 kHz +15 -15 +15 0 10 0 CR/PHONES HI-MID HI-MID 3 kHz -12 +12 -12 +12 HI-MID 3 kHz -12 +12 -12 +12 LO-MID -12 +12 -12 +12 LO-MID 800 Hz 75 Hz -12 +12 -12 +12 -12 +12 -12 +12 75 Hz -15 LOW +15 80 Hz -15 75 Hz -15 LOW 0 0 0 -12 +12 LOW 80 Hz 0 AUX 1 TO MON LOW 80 Hz HEADPHONES 0 +15 0 0 PRE-POST 10 0 CLIP 7 MIX B AUX 1 TAPE IN 4 2 0 PRE-POST 10 0 AUX 2 AUX 2 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 10 0 AUX 2 POST-FADER 2 4 10 10 0 AUX 2 POST-FADER 10 0 10 0 POST-FADER 10 0 10 AFL NORMAL PFL LEVEL SET 10 20 30 SOLO MODE PAN L R L MUTE MIX B R SOLO 5 0 PAN L MUTE MIX B R SOLO 5 0 PAN L MUTE MIX B R SOLO 5 0 BAL L MUTE MIX B R SOLO 5 0 BAL L MUTE MIX B R SOLO 5 0 BAL L MUTE MIX B R SOLO 5 0 5 BAL L MUTE MIX B 10 10 10 10 10 10 10 BRASS CH 3 PAN R MUTE PHANTOM MIX B 10 SOLO 5 SOLO SOLO ACTIVE POWER 10 0 0 7 AUX 2 POST-FADER 5 0 10 5 0 10 5 5 5 5 5 5 5 5 5 5 5 10 10 10 10 10 10 10 10 10 10 20 20 20 20 20 20 20 20 20 20 20 30 30 30 30 30 30 30 30 30 30 30 40 40 40 40 40 40 40 40 40 40 40 MIC LINE 2 3 MIC LINE MIC LINE GUITAR CH 4 4 MIC LINE 5/6 MIC LINE 7/8 STEREO LINE 9/10 STEREO LINE 11/12 STEREO LINE MIX B LEVEL SET DAT RECORDER to TAPE IN from TAPE OUT 0 5 10 1 R 10 PRE-FADER 10 AUX 1 PRE-POST MIX L&R +15 MONITOR 10 AUX 1 10 -15 MONITOR 0 OUTPUT/SOLO LEVEL L ROUTE to MIX POST-FADER 10 0 10 AUX 2 TO MON AUX 2 AUX RETURNS CR / PHONES SOURCE 80 Hz PRE-FADER 10 PRE-POST 10 -15 PRE-FADER 0 AUX 1 PRE-POST 0 +15 MONITOR 10 AUX 1 10 -15 MONITOR PRE-FADER 10 PRE-POST 10 +12 LOW +15 PRE-FADER 0 AUX 1 PRE-POST -15 MONITOR 10 AUX 1 10 +15 80 Hz PRE-FADER 10 AUX 1 -15 MONITOR PRE-FADER 0 0 2.5 kHz LOW +15 80 Hz MONITOR 10 PRE-POST 0 LOW +15 80 Hz MONITOR PRE-FADER 0 -12 10 AUX 1 MID 2.5 kHz LO-CUT 80 Hz LOW MID 2.5 kHz 800 Hz LO-CUT 75 Hz MID 2.5 kHz LO-MID 800 Hz LO-CUT MID 3 kHz LO-MID 800 Hz LO-CUT HI-MID 3 kHz L MIX R STEREO SAMPLER CH 11/12 STEREO KEYBOARD CH 9/10 STEREO KEYBOARD CH 7/8 MULTIMEDIA PC CH 5/6 15 Technical specifications SWING 12 • TECHNICAL SPECIFICATIONS SECTION MONO INPUT CHANNEL MIC input LINE input EQ LEVELS & DATA sensitivity from -10 to -60dB impedance 1.3 kOhms sensitivity from +10 to -40dB impedance 10 kOhms HPF 75Hz, 18dB/oct. CONNECTORS Balanced XLR-F Balanced JACK HIGH ±15dB @ 12kHz, SHELVING HI-MID ±12dB @ 3kHz, PEAKING LO-MID ±12dB @ 800Hz, PEAKING LOW ±15dB @ 80Hz, SHELVING STEREO INPUT CHANNEL STEREO LINE input sensitivity +4dB impedance 10 kOhms Balanced JACK MIC input (ch 5/6) sensitivity -50dB impedance 1.3 kOhms Balanced XLR-F EQ HIGH ±15dB @ 12kHz, SHELVING MID ±12dB @ 2.5kHz, PEAKING LOW ±15dB @ 80Hz, SHELVING MASTER SECTION MIX output (balanced) MIX output (unbalanced) MIX B output CONTROL ROOM output MONITOR output AUX sends AUX return TAPE HEADPHONES output output level +4dB /-26dB output level +4dB output level +4dB output level +4dB output level +4dB output level +4dB sensitivity -10dB IN -10dB OUT +4dB inimum impedance 200 Ohms output level 2x160mW GENERAL SPECIFICATIONS Frequency response Hum & Noise THD IMD FADER Crosstalk MUTE PAN MIC IN TAPE IN Maximum levels other outputs MIX OUT (XLR) other outputs Power supply Weight Dimensions 16 kg mm (WxHxD) 20Hz - 60kHz, ±1dB -90dB <0.005% @ 1kHz <0.005% @ 1kHz -85dB -84dB -85dB +14dBu +16dBu +22dBu +28dBu +22dBu see label on the apparatus 4.5 305x72x354 Balanced XLR-M Unbalanced JACK RCA phono Unbalanced JACK Unbalanced JACK Unbalanced JACK Unbalanced JACK RCA phono Stereo JACK Technical specifications SWING 16 • TECHNICAL SPECIFICATIONS SECTION MONO INPUT CHANNEL MIC input LINE input LEVELS & DATA sensitivity from -10 to -60dB impedance 1.3 kOhms sensitivity from +10 to -40dB impedance 10 kOhms HPF 75Hz, 18dB/oct CONNECTORS Balanced XLR-F Balanced JACK HIGH ±15dB @ 12kHz, SHELVING EQ HI-MID ±12dB @ 3kHz, PEAKING LO-MID ±12dB @ 800Hz, PEAKING LOW ±15dB @ 80Hz, SHELVING STEREO INPUT CHANNEL STEREO LINE input EQ sensitivity +4dB impedance 10 kOhms Balanced JACK HIGH ±15dB @ 12kHz, SHELVING MID ±12dB @ 2.5kHz, PEAKING LOW ±15dB @ 80Hz, SHELVING MASTER SECTION MIX output (balanced) MIX output (unbalanced) MIX B output MONO output CONTROL ROOM output MONITOR output AUX sends AUX return TAPE HEADPHONES output output level +4dB /-26dB output level +4dB output level +4dB output level +4dB output level +4dB output level +4dB output level +4dB sensitivity -10dB IN -10dB OUT +4dB minimum impedance 200 Ohms output level 2x160mW GENERAL SPECIFICATIONS Frequency response Hum & Noise THD IMD FADER Crosstalk MUTE PAN MIC IN TAPE IN Maximum levels other outputs MIX OUT (XLR) other outputs Power supply Weight Dimensions kg mm (WxHxD) Balanced XLR-M Unbalanced JACK RCA phono Bnbalanced JACK Unbalanced JACK Unbalanced JACK Unbalanced JACK Unbalanced JACK RCA phono Stereo JACK 20Hz - 60kHz, ±1dB -90dB <0.005% @ 1kHz <0.005% @ 1kHz -85dB -84dB -85dB +14dBu +16dBu +22dBu +28dBu +22dBu see label on the apparatus 5.5 411x72x354 17 Block diagram Block diagram 18 FEDERAL COMMUNICATIONS COMMISSION NOTE: This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference in which case the user will be required to correct the interference at his own expense. CAUTION: Changes or modifications to this product not expressly approved by the manufacturer could void the user’s authority to operate this product. Le informazioni contenute in questo documento sono state attentamente redatte e controllate. Tuttavia non è assunta alcuna responsabilità per eventuali inesatezze. Tutti i diritti sono riservati e in questo documento non può essere copiato, fotocopiato, riprodotto per intero o in parte senza previo consenso scritto della GENERALMUSIC S.p.A. 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