JBL EVOi.sys, EVOi.324, EVOi.net User Manual

A Loudspeaker System With Intelligence

EVOi.sys

User’s Guide

Introducing The Next Generation of Installed Sound

CONTENTS

EVOi.sys

Safety Information . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Design Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Hook-Up/Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Mixer Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Input Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Master Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Microphone Operation . . . . . . . . . . . . . . . . . . . . . . 18

EVO Handheld Dynamic Microphone . . . . . . . . . . . 18

EVO Wireless Handheld Dynamic Microphone . . . . 21

EVO Lavaliere Microphone/Bodypack Transmitter . 22

EVO Wireless Receiver System Controller. . . . . . . . 24

Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Technical Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

©2001 JBL Professional Products

2

SAFETY

IMPORTANT SAFETY INFORMATION

This equipment has been tested and found to comply with the following European and international standards for
Electromagnetic Compatibility and Electrical Safety:

Radiated Emmissions (EU): EN55022B (1992)
RF Immunity (EU): IEC801-3 (1994)
Electrostatic Discharge(EU): IEC801-2 (1984)
Fast Transients(EU): IEC801-4 (1988)
Electrical Safety (EU): EN60065 (1994)
Electrical Safety(USA): UL6500/ETL (1996)
Electrical Safety(CAN): CAN/CSA-E65/ETLc (1996)

Before using the apparatus read these instructions, follow all instructions, heed them and keep in a safe place.

Clean only with a damp cloth. Do not block any of the ventilation openings. Install in accordance with the
manufacturer’s instructions.

Do not defeat the safety purpose of the grounding type plug. A grounding plug has two blades and a third grounding prong. The
third prong is provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement
of the obsolete outlet.

Protect the power cord from being walked on or pinched particularly at plugs, convenience recepticals and the point where they
exit from the apparatus.

Only use attachments/accessories specified by the manufacturer.
Unplug this apparatus during lightning storms or when not in use for a long time.
WARNING - TO REDUCE THE RISK OF FIRE OR SHOCK, DO NOT EXPOSE THIS APPARATUS

TO RAIN OR MOISTURE.
DO NOT REMOVE COVERS, NO USER SERVICABLE PARTS INSIDE, REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.
THIS EQUIPMENT MUST BE GROUNDED.

IT SHOULD NOT BE NECESSARY TO REMOVE ANY PROTECTIVE GROUND OR SIGNAL CABLE
SHIELD CONNECTIONS TO PREVENT GROUND LOOPS. ANY SUCH DISCONNECTIONS ARE OUTSIDE
THE RECOMMENDED PRACTICE OF JBL PROFESSIONAL AND WILL RENDER ANY EMC OR SAFETY
CERTIFICATION VOID.

For continued compliance with international EMC legislation ensure that all input and output cables are wired with the cable
screen connected to Pin 1 of the XLR connectors. The input XLR Pin 1 is connected to the chassis via a low value capacitor,
providing high immunity from ground loops while ensuring good EMC performance.

3

INTRODUCTION

WELCOME

Welcome to EVO Intelligent Sound Reinforcement Systems.

Thank you for trusting JBL with your sound. It’s an honor we
don’t regard lightly. As a world leader in sound reinforcement,
JBL sound systems are permanently installed in many famous
arenas, concert halls, theaters, theme parks and clubs. In fact,
JBL speakers provide the body, substance and clarity for
today’s hottest music acts, showcase stores and premiere
restaurants you just can’t make a more professional choice.

JBL Professional products are the result of over 50 years of
design and manufacture of sound reinforcement solutions.
From cathedrals to discos, to arenas and small boutiques, JBL
has successfully provided the tools and system resources to
meet and exceed every need. It’s with this experience and suc-
cess that JBL offers EVO, the first fully designed sound rein­forcement system with built-in intelligence. Congratulations
on your purchase.

USING THIS GUIDE

The majority of content in this Guide is instruction on the
day to day operation of EVOi.sys. EVOi.324 and EVOi.net
are both components of EVOi.sys. It is necessary to retain the
Guides found in the EVOi.324 packaging. Operation of the
EVOi.net is contained in the EVOi.net Users Guide.
A thorough understanding of these Guides is necessary for
correct installation and set-up of EVOi.sys.

As you follow the EVOi.sys Users Guide each reference to
either EVOi.324 or EVOi.net Guide is identified with the
color associated with the product:
EVOi.sys - Blue
EVOi.324 - Yellow
EVOi.net - Green

PACKAGING CONTENTS

2 x EVOi.324 Contents:

EVOi.324 Speaker System
Accessory bag which includes:

1 AC Power Cord, 1 Eyebolt Kit, Two
Small Rubber Feet, 1 Large Rubber Foot,
1 Large Washer

EVOi.324 Users Guide

Tech Note #14 Vol.1

EVOi.sys Mixer Station Contents:

EVO Mixer Station
AC Power Cord
UHF Handheld Transmitter with Dynamic
Microphone Head with Clip
UHF Body Pack Transmitter with Condenser
Lavalier Microphone with Tie Clip
Six Handheld Dynamic Microphones with Clips

EVOi.sys Accessories Contents:

JBL Measurement Microphone with Clip
Four Boom Microphone Stands
Six 50 ft XLR Cables
Four 2 ft XLR Cables
Three 100 ft XLR Cables
Mixer Station Dust Cover
EVOi.sys, EVOi.net Users Guides

4

EVOI.SYS

THANK YOU

Thank you for purchasing an EVOi.sys the first Fully
Designed Sound Reinforcement System. You have just taken
delivery of the World’s most comprehensive designed sound
reinforcement system. Everything is supplied to get a profes­sional sound reinforcement system up and running in the
shortest possible time with the minimum of stress and the
most reliability. For maximum satisfaction and optimum
results please read this guide thoroughly. You will be required
to understand the placement of EVOi.324 loudspeakers and
the operation of EVOi.net and will be directed to the relevant
sections in this guide. However, through the intricate digital
design and integration of sound system technology a large
portion of tedious system installation and configuration has
been eliminated.

DESIGN OVERVIEW

EVOi.sys has been specifically designed to provide all the
elements of a sound reinforcement system in one simple to
order, quick to install, easy to set-up and straight forward to
operate package. The professional nature, performance and
quantity of equipment supplied has been finely tailored to
suit sound reinforcement applications in performing arts,
worship space, educational and civic venues of up to five
hundred seat capacity. For larger venues, provision has been
made such that additional EVO loudspeakers can be added to
the system. For complex productions additional wired and
wireless microphone can be easily added.

FCC STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Parts 74, 15, and
90 of the FCC Rules. These limits are designated to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance
with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception,
which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one
or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and the receiver.

• Connect the equipment to an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

Shielded cables and I/O cards must be used for this equipment to comply with the relevant FCC regulations. Changes or
modifications not expressly approved in writing by AKG may void the user's authority to operate this equipment.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may
not cause harmful interference and (2) this device must accept any interference received, including interference that may cause
undesired operation.

CONNECTING THE POWER

5

HOOK-UP/SETUP

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

EVOi.sys Rear

(NOTE: For clarity, the Power Supply is shown outside the frame.)

Power Supply

(shown outside of frame)

NOTE: Power Cables Are
Attached Behind The
Power Supply.

IMPORTANT: Make sure POWER is off
before making connections.

To AC Outlet

Power Cord (supplied)

CONNECTING THE NETWORK

6

HOOK-UP/SETUP

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

EVOi.sys Rear

(NOTE: For clarity, power connections are not shown – see previous page.)

EVOi.324

Input

EVO Measurement

Microphone Output

EVOi.324

Input

EVOi.324

R Rear

EVOi.324

L Rear

RL

RL

2' XLR Signal Cables

(supplied)

100' XLR Signal Cables (supplied)

100' XLR Signal Cable

(supplied)

R L

IMPORTANT: Make sure POWER is off
before making connections.

CONNECTING THE MICROPHONES

7

HOOK-UP/SETUP

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

EVOi.sys Rear

(NOTE: For clarity, power and network connections are not shown – see previous pages.)

1

Mic

2' XLR Signal Cables (supplied)

50' XLR Signal Cables

(supplied)

Mic

2

IMPORTANT:
Make sure POWER is off
before making connections.

EVO Dynamic Microphones (supplied)

SETTING UP THE WIRELESS MICROPHONES

8

HOOK-UP/SETUP

GAIN CHANNEL

RF OFF

1.5 V
IEC LR6

CHANNEL

G
A
I
N

P
W
R

1
0

M

I

C

1
0

0

1

2

3

4

5

6

7

8

9

A

B

C

D

E

F

EVOi.sys Partial Front

EVO Lavaliere Microphone

(supplied)

EVO Bodypack

Transmitter

(supplied)

EVO Handheld

Microphone

(supplied)

Set To

CH 3

IMPORTANT: Make sure POWER
(on the Power Supply rear) is off
before setting up microphones.

Set To

CH 1

AA

AA

AA AA

SETTING UP THE SYSTEM

Initial Settings

Before powering on the system, set the following controls to
their initial settings:

• On the EVOi.sys Power Supply:

POWER = OFF

• On the EVOi.sys Mixer:
All Faders =

∞

“all the way down”

All

Pan, Send, and Return controls = 0

All MUTE buttons = On
All microphone SENS controls = – 30

MIC 48V

(POWER) = OFF

• On the EVOi.sys Receivers, One and Two:

POWER = Off

Power On

1. Verify that the voltage setting and fuse value on the
EVOi.sys (rear) is set for your ac power service (e.g., 115 V).

2. Connect AC MAINS on all EVOi.324s (see page 6
EVOi.sys Users Guide) to active ac outlets. Each power
indicator will turn on.

3. On the EVOi.sys (rear), press POWER to the ON position.
The POWER indicator (on the EVOi.net) will turn on.

Testing The System

Perform the instructions listed in the EVOi.net section,
Installation/Setup – Starting Up star ting on page 7 EVOi.net
Users Guide.

Setting Up The Initial Mix

l. Connect other sources (e.g, phantom-powered micro-

phone, keyboard, etc.) to available inputs and release the

MUTE switches on all channels being used. If required,

press MIC 48V to On to supply phantom power. The

POWER LED will turn on.

2. Set the

L MIX R and L SUB R faders to 0. On all input

channels with signal, press MIX to route the signal to the
mix buss.

3. On the Master section, select MIX as the monitor source
and select PFL as the listening mode.

4. Press SOLO on Channel 1 while a per former provides a
typical performance-level signal. Observe the level on the
bargraph meters and adjust SENS until the meter display
is in the amber section, with occasional peaks to the first
red LED for a typical maximum source level. This setting
will allow sufficient headroom to accommodate peaks and
establishes the maximum level for normal operation.

NOTE: The SENS setting is only the starting point for your mix.
Remember that many factors affect the sound during a live perfor­mance, including EQ settings or even audience size.

5. Release SOLO on Channel 1. Repeat steps 4 and 5 for all
other channels as required.

You are now ready to start building the mix and this should
be done progressively, listening carefully for each component
in the mix and watching the meters for any hint of overload.
If this occurs, back off the appropriate Channel fader slightly
until the level being monitored is out of the red segments, or
adjust the faders. This procedure will ensure that the mixer is
set up correctly, with adequate headroom.

Operating The Equipment

To learn more about EVOi.sys, we encourage you to study the
remaining pages in this section to learn how to operate the
controls on the mixer and microphone equipment. If you
encounter any problems, please refer to Troubleshooting at the
end of this manual.

Power Off

Important

Before turning off, make sure L Mix R faders are set to

∞

“all

the way down”.

9

HOOK-UP/SETUP

INPUT CHANNEL

MIC Input

The MIC input accepts a male XLR connector and is designed
to suit a wide range of balanced or unbalanced signals. Use pro­fessional dynamic, condenser, or ribbon microphones, because
their low impedance helps to reduce background noise com­pared to low-cost high-impedance microphones. If you press
down the MIC 48 V switch (see master section detail) the XLR
receptacle provides a suitable power voltage for professional
condenser microphones (a.k.a., Phantom Power). When using a

MIC input, unplug any signal from the LINE input and adjust

the input level using the SENS control.

IMPORTANT: To prevent damage to the mixer or external
devices, only connect condenser microphones when

MIC

48 V

is off (i.e., switch up), and only turn it off or on with
all output faders down. When using unbalanced micro­phones, make sure

MIC 48 V is off, since phantom power
supplied on pins 2 and 3 of the XLR connector may damage
the equipment.

LINE Input

Each LINE input accepts a 3-pole A-gauge (TRS) plug. Use this
high impedance input for sources other than microphones,
such as keyboards, drum machines, synthesizers, tape
machines, or guitars. The LINE input is balanced for low noise
and top-quality signal transfer from professional equipment.
To use unbalanced sources, wire the plugs as shown and keep
cable lengths as short as possible. When using a LINE input,
unplug any microphone from the MIC input and adjust the
input level using the SENS control.

SENS (Sensitivity)

This control sets how much of the source signal is sent to the
rest of the mixer. Too high, and the signal will distort as it
overloads the channel. Too low, and the level of any back­ground hiss will be more noticeable, and you may not be able
to get enough signal level to the output of the mixer.

3

2

1

10

MIXER OPERATION

Phantom Power
(Master Section)

Wiring XLRs

Unbalanced Input

Balanced Input

Wiring Plugs

Unbalanced Input

Balanced Input

Insert

3

15

14

2
1

7

8

10
11
12

13

5

6

4

9

INPUT

CHANNEL

INPUTS

(Rear Panel)

Setting the SENS control to 10 gives approximate unity gain
for the LINE input. Some sound equipment, including home
consumer products, may operate at a lower level (i.e., -10 dBv)
than professional equipment and, therefore, will require setting

SENS to a higher gain to reach the same output level.

See Setting Up the System on page 9 to learn how to set SENS
correctly.

100 Hz Hi-Pass Filter

Pressing this switch activates a steep 18 dB per octave filter
which reduces the level of bass frequencies only. Use this filter
in live PA (public address) situations to clean up the mix,
reducing stage rumble or “popping” from microphones.

Equalizer (EQ)

The 3-band swept equalizer (EQ) allows fine manipulation of
the frequency bands, and is particularly useful for improving
the sound in live PA applications where the original signal is
often far from ideal and where slight boosting or cutting of
particular voice frequencies can dramatically improve clarity.

HF EQ

Turn HF to the right to boost high (treble) frequencies (at
12 kHz and above) up to 15 dB, adding crispness to cymbals,
vocals, and electronic instruments. Turn HF to the left to cut
the same frequencies up to 15 dB, reducing hiss or excessive
sibilance which can occur with certain types of microphone.
When HF is not being used, set it to the center-detent position.

MID EQ

This pair of controls work together to form a mid-frequency EQ
section. The (lower) MID gain control provides 15 dB of boost
or cut, just like the HF control, but the frequency at which this
occurs can be set by the (upper) MID frequency control over a
range of 240 Hz to 6 kHz. This allows some truly creative
improvement of the signal in live situations, because the mid
band covers the range of most vocals. Listen carefully as you use
these controls together to find how particular characteristics of a
signal (i.e., vocal) can be enhanced or reduced. When MID EQ is
not being used, set the (lower) MID gain control to its center­detent position.

NOTE: The Q is fixed at 1.5.

LF EQ

Turn LF clockwise to boost low (bass) frequencies (at 60 Hz
and below) by up to 15 dB, adding warmth to vocals or extra
punch to synthesizers, guitars, and drums. Turn LF anticlock­wise to cut low frequencies by up to 15 dB to reduce hum,
stage rumble, or to improve a mushy sound. When LF is not
being used, set it to the center-detent position.

AUX Sends

Use these controls to set up separate mixes for foldback,
effects, or recording. The combination of each AUX Send is
mixed to the respective AUX Output at the rear of the mixer.

For effects work, the signal should be post-fade, so it will fade
up and down with the fader. However, for foldback or monitor
feeds, the signal should be pre-fade, so it is independent of the
fader. AUX 1 is always pre-fade, post-EQ, and would typically be
used as a foldback or monitor feed. AUX 2 and AUX 3 are
normally post-fade, post-EQ for use as effects sends or additional
submixes, but for flexibility AUX 2 may be switched to pre-fade,
post-EQ by pressing the associated PRE switch.

All AUX Sends are muted, along with the other channel outputs,
when the MUTE switch is pressed.

LEX FX

The LEX FX control is identical to the post-fade AUX 3, but the
signal is sent to the internal bus which feeds the input of the
built-in Lexicon Digital Effects Processor. The output of the
Lexicon processor may be added to the mix or AUX 1 or

AUX 2. The more you increase LEX FX, the more channel sig-

nal you send to the Lexicon effects unit.

continued on next page...

7

6

5

4

11

MIXER OPERATION

INPUT CHANNEL
(continued)

PAN

The PAN control sets the amount of the channel signal feed­ing the Mix L and R or Sub L and R busses (see SUB and

MIX on the next page), allowing you to move the source

smoothly across the stereo image. When the control is turned
fully right or left you are able to route the signal at unity gain
to either left or right outputs individually. A mono sum of the
post-fader channel signal is also fed to the Mono output,
unaffected by the position of the PAN control.

MUTE

All outputs from the channel except inserts and pre-fade
direct outputs are active when the MUTE switch is released
and muted when the switch is down, allowing levels to be pre­set before the signal is required.

SUB

Pressing SUB routes the channel signal to Sub L and R busses.
The channel signal will be fed proportionately to left or right
depending on the position of the PAN control.

MIX

Pressing MIX routes the channel signal to Mix L and R busses.
The channel signal will be fed proportionately to left or right
depending on the position of the PAN control.

11

10

9

8

12

MIXER OPERATION

Phantom Power
(Master Section)

Wiring XLRs

Unbalanced Input

Balanced Input

Wiring Plugs

Unbalanced Input

Balanced Input

Insert

3

15

14

2
1

7

8

10
11
12

13

5

6

4

9

INPUT

CHANNEL

INPUTS

(Rear Panel)

SOLO/PK

Pressing SOLO routes the pre-fade, post-EQ signal to the
headphones, control room output, and meters, where it
replaces the selected monitor source. The adjacent PK LED
illuminates to identify the selected channel is in solo mode.
This Pre Fader Listen (PFL) feature is a useful way of listening
to any required input signal, without interrupting the main
mix, for making adjustments or tracing problems.

When SOLO is released, the PK LED serves as a peak indicator
of the pre-fade, post-EQ signal and illuminates approximately
4 dB before clipping to give warning of a possible overload.
The signal is sampled both pre-insert and after the HF EQ.

NOTE: It is normal for the PK LED to turn off slowly when SOLO
is released.

Fader

The 100 mm fader allows precise balancing of the various
source signals being mixed to the selected outputs. You get the
most control when the input sensitivity is set up correctly, giv­ing full travel on the fader. See Setting Up the System on page 9
for help in setting a suitable signal level.

DIR (Direct Output)

Each channel has a dedicated direct output, labeled as DIR,
which allows direct connection to external devices; for example,
to feed a tape machine or effects unit.

The pre-fade direct output level may be monitored by pressing

SOLO on the appropriate channel to feed the pre-fade signal to

the monitors and the bargraph meters.

INS (Insert Point)

The unbalanced, pre-EQ insert point is a break in the channel
signal path, allowing a limiter, compressor, special EQ, or
other signal processing unit to be added in the signal path.
The insert point is a 3-pole ‘A’ gauge jack which is normally
bypassed. When a plug is inserted, the signal path is broken,
just before the EQ section. The send may be tapped off as an
alternative pre-fade, pre-EQ direct output if required, using a
plug with tip and ring shorted together so that the signal path
is not interrupted.

Inserts can also be used to send and return from a multitrack
tape machine.

15

14

13

12

13

MIXER OPERATION

MASTER SECTION

AUX OUTPUT MASTERS

Each of the three auxiliary outputs (AUX1 ~ AUX3) has a mas­ter level control which sets the output level of the combined
auxiliary signals from the channels, and an associated AFL
(After Fader Listen) switch. Just as a channel’s SOLO switch
allows pre-fade listening, you can monitor each auxiliary output
after the level control by pressing the AFL switch to determine
what level is leaving the output connector. This routes the aux­iliary output signal to the MONITOR or PHONES circuits,
replacing any existing signal which is selected. The console

METERS will also switch from the selected source to display the

PFL/AFL signal and the PFL/AFL LED lights to warn that a

PFL or AFL switch is pressed. When you release the switch the
MONITOR returns back to the previous source.

LEX FX MASTER

The LEX FX master control sets the overall level of the effects
sends from the channels before the input of the Lexicon
Digital Effects Processor. An associated AFL switch allows the
signal to be monitored in the same way as the auxiliary masters
(see above callout).

NOTE: When the LEX FX AFL switch is pressed, the meters become the
Lexicon Input level indicators.

SUB TO MIX

The submaster mix may be used to provide alternative outputs
from the mixer or, by pressing SUB TO MIX, the SUB L and R
master faders may be used as audio subgroups.When SUB TO

MIX

is selected, the combined level of input channels are

added to the main mix under the control of a pair of faders.

L SUB R (Master) Faders

The L SUB R (master) faders set the final level of the submaster
L and R outputs. Assuming input SENS settings have been
correctly set, the L SUB R (master) faders should be set close to
the ‘0’ mark to provide maximum travel on the faders for
smoothest control.

4

3

2

1

14

MIXER OPERATION

L SUB R L MIX R

1

7

6

2

4

3

5

19

13

12

21

20

8

9

10

15
16

17

18

14

L MIX R (Master) Faders

The L MIX R (master) faders set the final level of the mix L
and R outputs. Assuming input

SENS settings have been cor-

rectly set, the L MIX R (master) faders should be set close to
the ‘0’ mark to provide maximum travel on the faders for
smoothest control.

RET1~RET4 (Stereo Returns)

Four balanced stereo returns, RET1 through RET4, are avail­able for use as outputs of effects units or other stereo sources
and are mixed directly to the AUX or MIX/SUB busses at a
level set by the respective controls. The left-hand control sets
the return level to a choice of

AUX1 or AUX2 (AUX3 or

Lexicon

FX in the case of RET4), depending on the position of

the adjacent switch. The right-hand control sends the return
level to

MIX or SUB, depending on the position of the adja-

cent switch (i.e., it is effectively a rotary fader).
If a mono source is used, plugging it into the left jack only

will automatically feed the signal to both left and right busses.

DIGITAL EFFECTS PROCESSOR

The built-in Lexicon Digital Effects Processor provides a wide
range of echo, reverb, and acoustic treatments to add fullness
to sound, complement room acoustics, or for specific effects.

LEXICON RET (Return)

LEXICON RET is similar in operation to the stereo returns,
RET1 through RET4, but instead of taking an external

source, this section is fed from the output of the internal
Lexicon Digital Effects Processor. The left-hand control
sets the return level to a choice of

AUX1 or AUX2, depend-

ing on the position of the adjacent switch. The right-hand
control sends the return level to

MIX or SUB, depending

on the position of the adjacent switch (i.e., it is effectively a
rotary fader).

PROGRAM SELECT

PROGRAM SELECT is a rotary switch that provides selection

of any one of 16 factory-programmed effect combinations,
as listed on the panel legend below the controls. These fac­tory presets have been carefully implemented for this mixer
and should be suitable for most applications.

PARAMETER ADJUST

PARAM1/PARAM2

Two pre-programmed effects may be adjusted and saved in
on-board RAM (random access memory) using the

PRO-

GRAM ADJUST

encoder knob and PARAM1/PARAM2 stor-
age switches. The best settings for a particular application
are found by experimentation and through careful listen­ing to the final sound.

Adjustments are made by turning PROGRAM ADJUST,
while pressing down on PARAM1 or PARAM2, and listen-
ing to the result. As soon as you release

PARAM1 or

PARAM2, the setting will be held in internal RAM. Any

alterations to the pre-programmed settings are retained,
even if the mixer is turned off, and will be recalled the next
time the particular program is selected. If a setting differs
from the original default values, the USER LED will illumi­nate.

NOTE: To restore a parameter to its factory setting, press down on
both

PARAM1 and PARAM2 until the USER LED goes out.

LEXICON MUTE FOOTSWITCH

Lexicon effects may be remotely turned ON or OFF
through the LEXICON MUTE FOOTSWITCH jack (on the
rear panel). Use a standard latching (or non-latching) gui­tar footswitch, or similar unit that provides an isolated
switch closure, and connect it as shown below. The effect
will be muted when the switch is closed.

continued on next page...

11

10

9

8

7

6

5

15

MIXER OPERATION

NOTE: Do not apply any external
voltage to the plug’s terminals.

Wiring The

Mono

Phone Plug

11

open = effect ON
closed = effect OFF

LEXICON MUTE FOOTSWITCH
(Rear Panel)

MASTER SECTION (continued)

POWER Indicator

The POWER LED illuminates to show that power is being
supplied to the console.

MIC 48V (Phantom Power)

Many professional condenser microphones need an external
powering voltage, normally 48 volts dc, also known as
Phantom Power. This method sends a powering voltage down
the same wires as the microphone signal. When needed, press
the MIC 48V switch to supply the 48-volt dc power to all of
the microphone inputs. The adjacent LED illuminates when
power is active.

IMPORTANT: Do not use unbalanced microphones with
MIC 48V switched on as they may be damaged by the
phantom power voltage. Balanced dynamic microphones
and cables can normally be used with

MIC 48V switched

on. Contact your microphone manufacturer for guidance.
To avoid damaging external equipment, always set all

output faders set to minimum and then plug in all the
balanced microphones before pressing

MIC 48V.

2TK TO MIX

Press 2TK TO MIX to route the stereo signal connected to 2T

RETURN

directly into MIX outputs. This is an ideal way of
feeding pre-show music to the main outputs in live applications
without using up valuable input channels.

14

13

12

16

MIXER OPERATION

L SUB R L MIX R

1

7

6

2

4

3

5

19

13

12

21

20

8

9

10

15
16

17

18

14

2TK LEVEL

The 2TK LEVEL control sets the level of the 2-Track Tape
input, which is routed to the headphones, monitor outputs,
meters, or mix when

2TK TO MIX is active (see next callout).

Connect the unbalanced RCA L/R inputs, 2T RETURN, to the
tape machine’s unbalanced RCA outputs.

MONITOR Source Select

These switches allow a choice source for the phones, monitor
outputs, and meters. Normally the monitor source is either

MIX or SUB (or both, depending on which of the two right-

hand switches is selected), but pressing the

2TK switch swaps

the monitoring to the 2-track output. When the switch is
released, the normal

MIX or SUB selection is restored.

PFL/AFL LED

The PFL/AFL LED illuminates to show that a PFL or AFL is
active and is the source for the monitors and meters. The
LED will normally be off.

Bargraph Meters

Three-color peak-reading bargraph meters are provided to
monitor 2TK, MIX, or SUB signals, giving you a constant
warning of excessive peaks in the signal which might cause
overloading. Aim to keep the signal within the amber seg­ments at peak levels for best performance.

Similarly, if the output level is too low and hardly registering on
meters, the level of background noise may become significant.
Take care to set up the input levels for best performance.

When any

SOLO or AFL switch is pressed, the L and R meters

automatically switch to show the selected PFL or AFL signal on
both meters, in mono.

PHONES

This control sets the level of the monitor signal being sent to
the

MONITOR PHONES output.

MONITOR

This control sets the output level being sent to the MONITOR

OUTPUTS L

and R (on the rear panel) without affecting the

level to the meters.

MONITOR PHONES

The MONITOR PHONES output appears on a 3-pole 1/4"
phone jack for use with stereo headphones having an
impedance of 200 ohms or higher.

21

20

19

18

17

16

15

17

MIXER OPERATION

18

MICROPHONE OPERATION

EVO HANDHELD
DYNAMIC MICROPHONE

Features

• Frequency response tailored to vocalist use.

• Built-in windscreen/pop filter for effective suppression of

pop and breath noise.

• High feedback resistance due to frequency-independent
supercardioid polar response.

Description

The EVO Handheld Dynamic Microphone has a supercar­dioid polar response and is designed primarily as a vocalist
microphone for rough stage use. Due to its wide frequency
response, which slightly favors the midfrequency and treble
regions, this microphone ensures good intelligibility of speech.
The term supercardioid polar response means that the EVO
Handheld Dynamic Microphone is most sensitive to sound
arriving in the front, less sensitive to sound arriving in the
sides, and even less sensitive to sound arriving in the rear. This
directional characteristic is virtually the same for all frequen­cies and is, therefore, frequency independent.

Figure 1. The EVO Handheld Dynamic Microphone.

Shock-Absorbing Inner Grille

The EVO Handheld Dynamic Microphone is fitted with a
shock-absorbing inner grille for transducer protection against
damage. The strong die cast housing and the wire-mesh outer
grille provide additional protection for the transducer system.

Effective Windscreen

A very effective windscreen against pop and breath noise and
sibilance is formed by the outer steel wire mesh grille and a
layer of a special textile material.

Gold-plated XLR Connector

The EVO Handheld Dynamic Microphone also has a stan­dard 3-pin male, gold-plated, XLR-type connector for wired
use. This connector type is internationally standardized so
that you can connect the microphone to the rest of your
equipment by using any commercially-available microphone
cable fitted with a female 3-pin XLR-type connector.

Wiring

The EVO Handheld Dynamic Microphone is a low-imped­ance microphone with an electrical impedance rated at
200 ohms and has a balanced output (see Figure 2).

Figure 2. Balanced wiring diagram for EVO Handheld Microphone.

In order to prevent interference from stray magnetic fields,
use the supplied two-conductor shielded cable to connect the
microphone to a MIC input on EVOi.sys.

NOTE: Do not use an unbalanced cable, since it may act as an antenna
and pick up stray magnetic fields.

3

2

1

1

3

2

19

MICROPHONE OPERATION

Using The Microphone On Vocals

The human voice is the most expressive musical instrument
that exists. The EVO Handheld Dynamic Microphone helps
bring out all the nuances of the human voice, even when
acoustic conditions are less than ideal. Singing with a micro­phone, however, requires a certain discipline and practice.
Study the following hints so you can make full use of your
microphone’s sound potential.

Proximity Effect

This phenomenon is common to all dynamic unidirectional
microphones and occurs when the microphone is used close to
the sound source. It boosts the low frequencies and may, if
uncontrolled and at great loudness, render the words of a song
unintelligible. Yet, you may also want to utilize the proximity
effect to give more body and an intimate sound to your voice.
Basically, the closer your lips are to the microphone, the bigger
and mellower your voice will sound, while a longer working
distance will produce a colder, harder, more distant sound. Use
this effect to make your voice sound aggressive, neutral, insinu­ating, etc., just as the music requires, simply by changing the
working distance.

Proper Placement

Don’t sing directly into any microphone! If you do, it will not
only pick up excessive breath noise but also cause sibilance.
Try singing to one side of the microphone or over the micro­phone head. The result will be a well-balanced, natural sound.

Figure 3. Singing over the top of the microphone.

Controlling Feedback

A sound reinforcement system that spontaneously starts to
howl and scream is dreaded by musicians and audiences alike.
This phenomenon, known as feedback, occurs when part of
the sound radiated by a loudspeaker is picked up by a micro­phone, amplified, and fed back into the loudspeaker. Above a
certain volume setting (i.e., feedback threshold), it seems the
signal runs in circles as the system starts to howl and can only
be brought under control again by turning down the volume.

Even though EVOi.sys has its own suppression capabilities to
counteract the onset of feedback, the EVO Handheld
Dynamic Microphone has a super cardioid polar response to
help suppress feedback as well. This means that it is most sensi­tive to sound (e. g., the voice) arriving from the front and is less
sensitive to sound coming from the sides and the rear (e. g.,
monitor speakers), as shown in Figure 4.

Figure 4. The EVO Handheld Dynamic Microphone helps to suppress
sound arriving from the rear and sides.

The greatest feedback suppression is achieved by placing the
main speakers in front of the microphones (i.e., at the front
edge and to the sides of the stage). When singing behind these
speakers, you will inevitably hear your voice softer than it is
actually being reproduced. This is why many singers end up
“devouring” their microphones. Using monitor speakers solves
this problem, but at the expense of an increased risk of feed­back. Therefore, you should never point your microphones
directly toward the monitor speakers.

continued on next page...

20

MICROPHONE OPERATION

EVO HANDHELD
DYNAMIC MICROPHONE

Using The Microphone On Vocals

Controlling Feedback (continued)

Feedback may also be triggered by room resonances (deter­mined by the acoustics of the room you’re in), particularly in
the low-frequency region (i.e., indirectly by the proximity
effect). In this case, you can easily stop the howling just by
moving a bit away from the microphone.

Background Vocals

Never let more than two people sing into one microphone.
With more singers, sound arrives at an angle greater than 35°
off-axis and is picked up in the region where the microphone
starts to becomes less sensitive. To attain the same loudness as a
solo voice, mixer gain would have to be boosted and feedback
risk would therefore increase.

Microphone Care

The EVO Handheld Dynamic Microphone has a matte
nickel-plated housing that is easily cleaned with a soft cloth,
slightly dampened in water. After extended use, a windscreen
will become soiled by dust and saliva and start to alter the
sound and feedback performance of any microphone. We
therefore recommend washing the foam windscreen with water
or a very mild detergent solution and letting it dry overnight.

21

MICROPHONE OPERATION

EVO WIRELESS HANDHELD
DYNAMIC MICROPHONE

The EVO Wireless Handheld Dynamic Microphone
provides the same acoustic performance as the equivalent
hardwire microphone versions. The transmitter uses a dipole
antenna integrated in the body and operates in a subband up
to 4 MHz wide within the 710 to 861 MHz UHF range.
The EVO Wireless Handheld Dynamic Microphone can be
switched to a maximum of 15 different carrier frequencies,
depending on local frequency allocations.

POWER

Slide the switch to turn transmitter power on (I) or off (0).

CHANNEL

Use the rotary CHANNEL switch to select a desired carrier fre­quency for transmission.

IMPORTANT: Be sure to switch POWER to off before
selecting a

CHANNEL.

Status LED

Indicates battery status and audio input overload. If the LED
glows, the batteries are OK. If the LED is constantly lit, the
batteries will be dead in about 90 minutes. If the LED flashes,
the audio input is being overloaded.

GAIN

Use the rotary GAIN control to match the microphone’s level to
the transmitter’s audio section.

MIC

Slide the switch to 0 to mute the audio signal while power
and carrier frequency remain on. Thus, no noise will become
audible if you mute the microphone, even if the SQUELCH
control on the EVO wireless receiver is set to minimum.

Battery Compartment

The battery compartment is inside the lower portion of the
microphone body. See Setting Up on page 8

Carrier Frequency Table

A label of available Carrier Frequencies is affixed inside the
battery compartment.

Frequency Set Designation

The same label (in the battery compartment) also lists the

Frequency Set designated for this microphone.

8

7

6

5

4

3

2

1

3

2

4

51

22

MICROPHONE OPERATION

EVO LAVALIERE MICROPHONE/
BODYPACK TRANSMITTER

The EVO Lavaliere Microphone is a professional, omnidirec­tional, miniature-condenser, clip-on microphone. With its
wide frequency range (20~20,000 Hz), low distortion at high
sound pressure levels, and small size, it is an ideal choice for
speech use in situations calling for an inconspicuous micro­phone and mobility for the speaker.

The EVO Bodypack Transmitter is internally powered by two
(2) AA batteries and is designed for use with the supplied
lavaliere condenser microphone. It operates in a subband up
to 4 MHz wide of the 710 to 861 MHz UHF range. The
EVO Bodypack Transmitter can be switched to a maximum
of 15 different carrier frequencies, depending on local fre­quency allocations.

Lavaliere Microphone

Lavaliere Microphone

EVO Lavaliere M ic r ophone with attached 3-pin female
mini-XLR connector.

Clip

Use this accessory to attach the EVO Lavaliere
Microphone to clothing (e.g., a lapel). Insert the cable
about 1/2" away from the microphone case.

Tie Pin

Use this accessory to attach the EVO Lavaliere
Microphone to a tie. Insert the cable about 1⁄2" away
from the microphone case.

3

2

1

10

11

15

4

9

1

3

2

12

13
14

16

5

8

6

7

Bodypack Transmitter

Security Cover

Protects the POWER and MIC switches from being
actuated unintentionally.

MIC

Slide the switch to 0 to mute the audio signal while power
and carrier frequency remain on. Thus, no noise will become
audible if you mute the microphone, even if the SQUELCH
control on the EVO wireless receiver is set to minimum.

POWER

Slide the switch to turn the transmitter power on (I) or off (0).

Status LED

Indicates battery status and audio input overload. If the LED
is constantly lit, the batteries will be dead in about 90 min­utes. If the LED flashes, the audio input is being overloaded.

Audio Input

3-pin male mini-XLR connector for connection to the EVO
Lavaliere Microphone.

Antenna

Permanently connected, flexible antenna.

GAIN

Use the rotary GAIN control to match the microphone’s level to
the transmitter’s audio section. It is also accessible when the
battery door is on.

CHANNEL

Use the rotary CHANNEL switch to select a desired carrier
frequency for transmission.

IMPORTANT: Be sure to switch POWER to off before
selecting a

CHANNEL.

Belt Clip

Use the Belt Clip to attach the transmitter to your belt in one
of four ways, as shown in Figure 5 (on the right).

Carrier Frequency Table

A label lists available frequencies and is affixed to the rear
panel of the bodypack transmitter.

Figure 5 The Belt Clip can be positioned on the EVO Bodypack
Transmitter in four ways.

Frequency Set Designation

The same label (on the rear panel) also indicates the
designation of the Frequency Set.

Battery Compartment

See Setting Up on page 8

Battery Door

See Setting Up on page 8

16

15

14

13

12

11

10

9

8

7

6

5

4

23

MICROPHONE OPERATION

12

12

EVO WIRELESS RECEIVER
SYSTEM CONTROLLER

The EVO Wireless Receiver System Controller consists of a
pair of stationary true-microcontrolled diversity receivers for

use with EVO microphone transmitters. Each EVO Wireless
Receiver operates in a subband of up to 4 MHz wide across
the 710 MHz to 861 MHz UHF range. Each unit can be
switched to a maximum of 15 different carrier frequencies,
depending on local frequency allocations.

24

MICROPHONE OPERATION

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

1

2 3

6

8

9

4 5 7

13 15

16

14

12

1

Front Panel

Rear Panel

Securing the

Power Cord

10 11

Front Panel

Antennas

Each EVO Wireless Receiver uses two antennas for diversity
in order to receive the transmitter signal at two different
spots. The diversity electronics will automatically activate the
antenna that delivers the better signal.

POWER

Press this switch to turn the controller’s power on or off.

SQUELCH

The squelch circuit switches the receiver off if the received sig­nal is too weak, in order to suppress related or residual noise
while the transmitter is off. Set the SQUELCH control to min­imum before first switching the receiver on.

MUTE LED

The MUTE LED turns on red if the squelch is active. In this
case, the audio output will be muted.

NOTE: The MUTE LED does not indicate the position of the MUTE
switch on a microphone transmitter.

RF LOW/OK LEDs

Indicate the received field strength of the transmitter signal.

DIVERSITY A/B LEDs

Indicate which of the two receiving antennas is active.

AF/PEAK LEDs

Indicate the received audio level. Optimum modulation
occurs when the green LED is on and the red LED flashes
occasionally. If the LEDs do not light, the sensitivity setting
on the transmitter is too low. If the red LED is constantly on,
overmodulation is occurring.

CHANNEL

Use the CHANNEL rotary switch to select the desired carrier
frequency or alternative frequencies.

VOLUME

Use the VOLUME control to match an EVO Wireless
Receiver’s output level to an input channel’s sensitivity on the
EVO mixer.

Rear Panel

Carrier Frequency Table

A label (on the bottom) lists available Carrier Frequencies.

Frequency Set Designation

The label (on the rear panel) lists the Frequency Set for
this receiver.

AUDIO OUT (Balanced)

Balanced 3-pin male XLR audio output for connection to a
balanced audio input (e.g., a MIC input on the EVO mixer).

AUDIO OUT (Unbalanced)

Unbalanced audio output on a 1⁄4" mono jack for connection
to an unbalanced audio input (e.g., a guitar amplifier).

BALANCED LINE/MIC

Use the BALANCED LINE/MIC switch to set AUDIO OUT

(Balanced)

to line or microphone level.

POWER

Input connector for the supplied ac adapter.

Screwdriver

If desired, use the Screwdriver to adjust CHANNEL and GAIN
controls on microphone transmitters.

16

15

14

13

12

11

10

9

8

7

6

5

4

3

2

1

25

MICROPHONE OPERATION

26

APPLICATIONS

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

HOUSE OF WORSHIP

27

APPLICATIONS

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

BALANCED UNBALANCED

BALANCED

LINE MIC

POWER

AC/DC 12-16 V

20 mA

Set: XXXX

SNR: XXXXX

For IM-free frequencies

refer to manual

LIVE PERFORMANCE

This Troubleshooting section specifically concerns the operation
of the EVO Mixer and EVO Microphones.

For problems associated specifically with EVOi.324
Loudspeakers and the integrated EVOi.net please refer to the
Troubleshoot Sections in each User's Guide respectively.

The EVO Mixer Station Doesn't Power Up:

Check that the AC mains supply is present. Check that the
mains voltage selection is correct for your country.

Check that the AC mains power cord is firmly connected.
Check the AC mains fuse.
If none of the above provide a solution then contact your

Dealer.

My condenser microphone is not working:

Check that the 48V phantom power is on.
Make sure the mic is plugged into the Mic input.
Make sure that the mic cable is a balanced 3-wire type.

The Meters don't show any signal:

Check that the input gain has been set correctly.
Make sure that the source is connected to the appropriate input

socket for the level of signal.
Do you have something connected on the Inserts, and is that

external device switched on?
Are the Master faders set at max., are input faders set high

enough and is the channel routed to the output being moni­tored?

Check that the Mute switch is not engaged on the relevant
channel.

Is the appropriate monitor select switch pressed?
Is there a SOLO or AFL pressed on another channel?

There is no Mix output:

Check that the Mix Master fader is up.
Do you have something connected on the Mix Inserts, and is

that external device switched on?

There is no Monitor output:

Is the monitor control set high enough?
Is the appropriate monitor select switch pressed?

My headphones are distorting:

Check that the Phones level is not set too high.
Are the headphones less than 200 ohm impedance?

How do I prevent my wireless microphones
from cutting out, clicking, and generally being
noisy:

Try to keep a minimum transmitter to receiver distance of 16ft
(5m).

Make sure the transmitter is never more than 164ft (50m) from
the receiver.

Keep the two transmitters at least 40” (1m) apart, and check
before the performance what frequency to set each to for best
operation.

Make sure that the Bodypack transmitter antenna hangs freely,
and doesn't make contact with the user’s skin. The human body
attenuates RF signals.

Always use fresh batteries before a performance!

The Reception on the selected carrier frequency
is disrupted:

Change the carrier frequencies. Make sure these are at least one
step up or down from each other. This is necessary to provide
the minimum frequency spacing required for intermodulation­free operation.

IMPORTANT: Make sure the Transmitter and the Receiver are
both switched OFF when changing the carrier frequency. The
new, selected carrier frequency is activated when the Transmitter
is switched back ON.

28

TROUBLE SHOOTING

29

TECHNICAL DATA

EVOi.sys Specifications

Noise

Measured RMS 20 Hz to 20 kHz Bandwidth

Mic. E.I.N. @ max gain 150W source impedance -129 dBu

Aux, Mix & Masters @ max.,

16 inputs routed with faders, pots down < -80 dBu

Crosstalk (@l kHz, typical) Channel Mute < 96 dB

Fader cut-off (rel. 0 mark) < 90 dB

Routing Isolation < 90 dB

Aux Send pots offness < 84 dB

Frequency Response

Mic/Line Input to any output 20 Hz - 30 kHz < .05 dB

THD + N

Mic sens. -30 dBu, + 14 dBu at all outputs @ l kHz < 0.009%

Input & Output Impedance

Mic Input 1.8 kW

Line Input 10 kW

Stereo Return Input (Balanced jack) 10 kW

2TK Return (Unbalanced RCA Phono) 12 kW

Mix, Aux, Direct Outputs, and Insert Sends 75 W

Input and Output Levels

Mic Input max. level +22 dBu

Line Input max. level < +30 dBu

Stereo Return Input max. level < +30 dBu

Headphones (@ 200 Ohms) 150 mW

30

TECHNICAL DATA

710 to 860 MHz
FM
50-20.000 Hz

+/- 10 ppm
30kHz

< 0.5%
Yes
typ 50 dB(A)

10mW
typ 130 mA
2 x AA
>10h

350mV/ 1 kHz
220v.Ohm

240 x 36 mm
(9.45 x 14.17 in.)

245 g (9.8 oz.)

710 to 860 MHz
FM
50-20.000 Hz

+/- 10 ppm
30kHz

< 0.5%
Yes
typ 50 dB(A)

Yes
10mW

typ 130 mA
2 x AA
>8h

350mV/ 1 kHz
220v.Ohm

Pin 3-6V/6k8

92 x 65 x 20 mm
(3.62 x 2.56 x 0.79 in.)

76 g (3.04 oz.)

710 to 860 MHz
FM
50-20.000 Hz

< 0.4%
Yes
>100 dB(A)

Yes

typ 145 mA

typ. -95 dBm

-95 to -80 dBm

Balanced XLR: MIC/Line level switchable; typ.
30 dB Unbalanced 1/4” Jack:

0 dBm XLR; 6 dBm

210 x 170 x 42 mm
(8.27 x 6.70 x 1.65 in.)

470 g (18.8oz.)

Carrier Frequency
Modulation FM
Audio Bandwidth
Frequency Stability

(-10 degrees C to +45 C degrees ETS +30
degrees C to +60 degrees C FCC)

Rated devation
T.H.D. at 1 kHz
Compander Characteristics
S/N Ratio
Limiter
RF-Output
Current Consumption
Power Requirement
Battery Life
Input Sensitivity
Audio Input-related Deviation
Input Impendance
Phantom Power
Squelch Threshold
Audio Output

Size (W x D x H)

Net Weight g (oz)

HANDHELD BODYPACK RECEIVER

UHF Transmitters

EVO Microphones-Wireless

31

TECHNICAL DATA

Dynamic Pressure Gradient Microphone

Polar pattern: Supercardioid

Frequency range: 60 to 20,000 Hz; at 1 cm: 20 to 20,000 Hz

Sensitivity at 1000 Hz: 2.5 mV/Pa (-52 dBV) re 1 V/Pa

Impedance at 1000 Hz: <600 ohms

Recommended load impedance: >2000 ohms

Max. SPL for 1 % (3 %) THD: 147 dB SPL (156 dB SPL)

Equivalent noise level: 22 dB(A) (DIN 45412)

Environment: Temperature: -10º C to +60º C

Rel. humidity at +20º C: 95 %

Connector: 3-pin XLR

Connector pinout: Pin 1 ground

Pin 2 hot
Pin 3 return

Case material: Die-cast zinc alloy

32

WARRANTY

JBL Limited Warranty

The JBL Limited Warranty on professional loudspeaker prod­ucts (except for enclosures) remains in effect for five years from
the date of the first consumer purchase. JBL amplifiers are war­ranted for three years from the date of original purchase.
Enclosures and all other JBL products are warranted for two
years from the date of original purchase.

Who Is Protected by This Warranty?

Your JBL Warranty protects the original owner and all subse­quent owners so long as: A.) Your JBL product has been pur­chased in the Continental United States, Hawaii or Alaska.
(This Warranty does not apply to JBL products purchased else­where except for purchases by military outlets. Other pur­chasers should contact the local JBL distributor for warranty
information.); and B.) The original dated bill of sale is present­ed whenever warranty service is required.

What is Covered by the JBL Warranty?

Except as specified below, your JBL Warranty covers all defects
in material and workmanship. The following are not covered:
Damage caused by accident, misuse, abuse, product modifica­tion or neglect; damage occurring during shipment; damage
resulting from failure to follow instructions contained in your
Instruction Manual; damage resulting from the performance of
repairs by someone not authorized by JBL; claims based upon
any misrepresentations by the seller; any JBL product on which
the serial number has been defaced, modified or removed.

Who Pays for What?

JBL will pay all labor and material expenses for all repairs cov­ered by this warranty. Please be sure to save the original ship­ping cartons because a charge will be made if replacement car­tons are requested. Payment of shipping charges is discussed in
the next section of this warranty.

How to Obtain Warranty Performance

If your JBL product ever needs service, write or telephone us at
JBL Incorporated (Attn: Customer Service Department), 8500
Balboa Boulevard, PO. Box 2200, Northridge, California
91329 (818/893-8411). We may direct you to an authorized
JBL Service Agency or ask you to send your unit to the factory

for repair Either way, you'll need to present the original bill of
sale to establish the date of purchase. Please do not ship your
JBL product to the factory without prior authorization.
If transportation of your JBL product presents any unusual
difficulties, please advise us and we may make special arrange­ments with you. Otherwise, you are responsible for transport­ing your product for repair or arranging for its transportation
and for payment of any initial shipping charges. However, we
will pay the return shipping charges if repairs are covered by
the warranty.

Limitation of Implied Warranties

ALL IMPLIED WARRANTIES, INCLUDING WAR­RANTIES OF MERCHANTABILITY AND FITNESS FOR
PARTICULAR PURPOSE, ARE LIMITED IN DURATION
TO THE LENGTH OF THIS WARRANT Y.

EXCLUSION OF CERTAIN DAMAGES

JBL'S LIABILITY IS LIMITED TO THE REPAIR OR
REPLACEMENT, AT OUR OPTION, OF ANY DEFEC­TIVE PRODUCT AND SHALL NOT INCLUDE INCI­DENTAL OR CONSEQUENTIAL DAMAGES OF ANY
KIND. SOME STATES DO NOT ALLOW LIMITATIONS
ON HOW LONG AN IMPLIED WARRANTY LASTS
AND/OR DO NOT ALLOW THE EXCLUSION OF
INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO
THE ABOVE LIMITATIONS AND EXCLUSIONS MAY
NOT APPLY TO YOU. THIS WARRANTY GIVES YOU
SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO
HAVE OTHER RIGHTS WHICH VARY FROM STATE
TO STATE.

JBL Professional Contact Information
Mailing Address
JBL Professional
8500 Balboa Blvd.
Northridge California 91329

Customer Service
Monday through Friday 8:00am - 5:00pm Pacific Coast Time

In the U.S.A. (800) 8JBLPRO (800.852.5776)
On the World Wide Web: http://www.jblpro.com

Applications ...26
AUX sends ...11
Bargraph meters ...17
Connections

Microphones ...7, 8
Power ...5
Network ...6

Speakers ...6
Design Overview ...4
DIR (Direct output) ...13
Equalizer ...11
FCC Statement ...4
Headphones ...17
Hooking up the system ...9, 26
House of Worship Applications ...26
INS (Insert point) ...13
Initial Settings ...9
Lexicon Effects ...11, 14, 15
Lexicon Mute ...15
Line inputs ...10
Live Performance Applications ... 27
Master section ...14
Microphones

Connections ...7, 8

Features ...18

Input settings ...10

Operation ...19

Phantom power ...10, 16

Wireless ...4, 8, 21

Wireless lavaliere ...22

Wireless Receiver ...24

Mixer features

AUX sends ...11
Bargraph meters ...17
100 Hz Hi pass filter ...11
DIR (Direct output) ...13
Equalizer ...11
Headphones ...17
Input channels ...10
INS (Insert point) ...13
Lexicon Effects ...11, 14, 15
Master section ...14
Monitors ...17
Mute control ...12
Pan Control ...12
RET (returns) ...15
Setting the initial mix ...9
SOLO button ...13
Specifications ...29
SUB busses ...2

Mute control ...12
Packaging contents ...3
Pan Control ...12
Phantom power ...10, 16
Phones ...17
Power connections ...5, 9
RET (returns) ...15
Set-up ...26
SOLO button ...13
Speakers (Also see EVOi.324 manual)

Connecting ...6, 26

Specifications ...29
SUB busses ...12
System Set-up ...9, 26
Testing the system ...9
Trouble shooting ...28
Using the manual ...3
Warranty (US) ...32
Wireless microphones ...4, 8, 22, 30
Wireless Receiver ...24

33

INDEX

A Harman Inter national Company

JBL Professional • 8500 Balboa Boulevard • Nor thridge, CA 91329

www.jblpro.com

Part # 337539-001

© Copyright 2001 JBL Professional • Printed in the USA