User manual FENDER SR-8520PD

[. . . ] Owner's Manual for SR-6520PD SR-8520PD P/N 049152 TABLE OF CONTENTS 1. SPECIFICATIONS 1-1 Block Diagram L R PHANTOM MONITOR EFFECTS/REVERB MAIN MAIN MASTER MAIN OUTPUT GEQ INPUT GRAPHIC EQ TAPE OUTPUTS POWER GEQ OUTPUT AMP INPUT POWER AMP SPEAKER OUTPUT 2 OHM MINIMUM EFF. /REV. SEND LEVEL PEAK PILOT LAMP DELTACOMPTM SWITCH EFFECTS OUTPUT REVERB FT. SW. DIGITAL SIGNAL PROCESSER MONITOR MASTER REVERB RETURN TO MONITOR REVERB RETURN TO MAIN MONITOR OUTPUT Signal path exclusive of individual channel PHANTOM POWER SWITCH +15 VDC AUX INPUT TAPE INPUTS L R AUX. [. . . ] This REAR PANEL SERIAL NUMBER MODEL TYPE: PR 1 79 SR6520PD DSP POWERED MIXER A PRODUCT OF: FENDER MUSICAL INSTRUMENTS CORP. , CORONA, CA 91720 3-1 b c 520 WATTS 2 OHM MINIMUM TOTAL MADE IN U. S. A. 3-1 c SPEAKER OUTPUTS TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE CAUTION: CHASSIS SURFACE HOT WARNING: AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR ATTENTION: SUPERFICIE DE CHASSIS CHAUDE POWER ON 3-2 b e CAUTION: RISK OF ELECTRIC SHOCK DO NOT OPEN OFF d INPUT POWER INFO 1200W 3-3 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). Do not connect loads with impedances lower than 2 ohms to the SPEAKER OUTPUT, as this may result in amplifier overheating which will cause the SR mixer to eventually self protect, "turning off" for a period of time. (To calculate the speaker impedance, see Section 4-3-2. ) In addition, be sure that the speaker cable you use is of adequate gauge; otherwise, power will be lost in the wire instead of being delivered to the speaker. AC Power to the SR powered mixer is turned on and off by a rocker switch located on the back panel. If you have any external signal processing devices patched to the system, turn them on first to avoid pops in the loudspeakers. Also, when you turn on the mixer, make sure that the main fader is down - this eliminates the risk of the system immediately feeding back when it is turned on, and also minimizes turn-on-pops. To do so risks exposure to potentially lethal voltages and voids the warranty. When you first set up the sound system, initial settings are critical for arriving at a satisfactory mix quickly. Often, to the distress of many sound engineers, the show must begin without a preliminary sound check. The following recommendations should help to alleviate some of the engineer's headaches. Set the channel HIGH, MID, and LOW frequency controls to their mid positions, and also set the GRAPHIC EQUALIZER to its mid or flat position. Set the MAIN MASTER and MONITOR MASTER controls to around the 1o'clock position. Adjust the MAIN controls to the approximate level you desire, with a mix that you feel will be acceptable. 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). Assuming that the various vocalists use similar miking techniques and sing at similar volumes, the levels appearing in the monitor mix should be fairly matched. 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. 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. Acoustic feedback in a sound system is the result of coupling between the speakers and microphones. [. . . ] LEVEL BRIGHT 0 0 MAX. REVERB RETURN TO MAIN REVERB RETURN TO MONITOR SPECIAL EFFECTS REVERSE REVERB DELAYS GATED REVERB DARK SMALL HALL REV. DARK BRIGHT MON. LARGE HALL REV. DARK 2-2-1 0 0 2-3-1 MAX. 0 0 SMALL ROOM REV. MAX. 0 0 BRIGHT MAX. LARGE PLATE REV. BRIGHT DARK 2-3-8 BRIGHT MAIN MAIN MASTER MONITOR MASTER EFF. /REV. SEND LEVEL LARGE ROOM REV. DARK DARK 1 2-1-1 2-3-2 MAIN SMALL PLATE REV. BRIGHT 2-1-2 2-4-1 OUTPUT MONITOR EFF. AMP AUX. TAPE TAPE 2-3-5 2-4-8 OUTPUT REVERB FOOTSWITCH OUTPUT INPUT INPUT SYSTEM PATCH BAY INPUT INPUTS OUTPUTS LINE MICROPHONE 2-4-3 2-4-2 2-4-4 2-4-5 2-4-9 2-4-6 2-4-7 FIGURE 1 FENDER MAIN P SPEAKERS . A. SPEAKER OUT 0 0 SR6520PD MAX. 0 0 DSP POWERED MIXER 500 1K 2K 4K 8K 16K +dB 12 9 6 3 0 3 6 9 12 -dB MAX. 0 0 MAX. 0 0 MAX. 0 0 MAX. 0 0 MAX. 63 +dB 12 9 125 250 DELTACOMP TM POWER EFF. /REV. EFF. /REV. EFF. /REV. EFF. /REV. EFF. /REV. EFF. /REV. ELECTRONICS OFF ON -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 PHANTOM POWER 6 3 0 3 6 HIGH HIGH HIGH HIGH HIGH HIGH DIGITAL REVERB and EFFECTS DEFEAT MULTI-TAP DELAY TRIPLE HIT DELAY DOUBLE HIT DELAY TAPE ECHO DELAY + REVERB DEFEAT REVERB REGENERATION 1-SHORT 2 3 4 REVERB / 5 DELAY TIME 6 7 8-LONG -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MID MID MID MID MID MID OFF ON 9 12 -dB GRAPHIC EQUALIZER -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 LOW LOW LOW LOW LOW LOW 0 0 MAX. 0 0 MAX. 0 0 MAX. 0 0 MAX. 0 0 MAX. 0 0 MAX. 0 0 MAX. 0 0 MAX. 0 0 MAX. REVERB RETURN TO MAIN REVERB RETURN TO MONITOR AUX. [. . . ]