Midas SIENA Operator's Manual

Telex Communications (UK) Ltd,

Klark Teknik Building,

Walter Nash Road,

Kidderminster.

Worcestershire.

DY11 7HJ.

England.

Tel:+44 1562 741515

Fax:+44 1562 745371

Website: www.midasconsoles.com

OPERATORS MANUAL

MIDAS Siena audio mixing console

DOC02-Siena Issue 1.0 - Janruary 2005

Telex Communciations (UK) Ltd.

In line with the company’s policy of continual improvement, specifications and function may be

subject to change without notice. This Operators Manual was correct at the time of writing. E&OE.

©

Important Safety InstructionsImportant Safety Instructions

IEC-60065-Edn7-Midas

These symbols are internationally accepted symbols that warn of potential hazards with electrical products.

The lightning flash with arrowhead symbol, within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

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

11. Onlyuse attachments / accessories specified by the manufacturer.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualified personnel. Servicing is required when the apparatus is damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, orhas been dropped.

12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer,

or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,

DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE

AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

DECLARATION OF CONFORMITY

We, Telex Communications (UK) Ltd

of, Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ.

Declare that a sample of the following product:-

to which this declaration refers, is in conformity with the following directives and/or standards:-

Product Type Number Product Description Nominal Voltage (s) Current Freq

A Subsidiary of Telex Communications, Inc.

Siena Professional Audio 115V AC 2.2A 50/60Hz

Mixing Desk 230V AC 1.1A

Directive(s) Test Standard(s)

Generic Standard using EN55103 Limits and Methods

EN50081/2

Class B Conduct Emissions EN55103 Class B Radiated Emissions EN55103 Fast Transient Bursts EN61000-4-4 Static Discharge EN61000-4-2

Electrical Safety

EN60065:2002 UL60065-03 CAN/CSA60065-03 IEC60065-2001

Pending

Signed:............................ Date: 1st February 2005

Name: Simon Harrison

Authority: Research and Development Director, TelexCommunications (UK) Ltd

Attention! Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations of use which must be observed when these products are taken into service to maintain compliance with the above directives. Details of these special measures and limitations to use are available on request and are available in product manuals.

Telex Communcations (UK) Ltd, Klark Teknik Building, Walter Nash Road, Kidderminster. Worcs. DY11 7HJ. England Tel:+44 1562 741515 Fax:+44 1562 745371 www.midasconsoles.com www.klarkteknik.com

Welcome

Thank You for using a Midas Siena mixing console. The Siena has been developed to meet the needs of even the most

demanding live sound applications. The console delivers both the quality of build and superior audio performance that you would expect from a Midas. All backed up, of course, by the standard Midas Three Year Warranty.

The Siena is an all purpose Monitor or Monitor/Front of House (FOH) hybrid console that is quickly and easily configurable.

Available in 24, 32, 40, 48, 56 and 64 input channel frame sizes, each mono input channel offers microphone and line inputs with four band swept equaliser, direct output and insert send/return. In addition to a master stereo bus, each channel may be assigned onto the console's 16 mix sends, configurable for mono or stereo operation, and featuring independent pre/post switching, level/level or level/pan control.

The 16 mix bus outputs provide the flexibility to generate mono floor monitor or stereo wireless in-ear monitor feeds, with each bus featuring dedicated metering, an insert point and fader level control. In addition, any mix bus from 9 to 16 may be routed and panned onto the stereo master providing sub mixing capabilities for FOH applications.

A comprehensive solo system and five auto mute groups further enhance the Siena's feature set for dealing with the most demanding of applications.

Please take the time to complete and return the registration card and, to obtain the best results, please read this operator's manual.

Finally,

Enjoy your new Midas Siena Console!

Operators Manual - Page 5

Contents

ATTENTION: Installation and power

6

Input Channels 7

Master Section : Mix Bus Outputs 13

Master Section: Stereo Master and Monitoring Controls

Setting up the Siena 27

Functional Block Diagrams 35

Dimensions and Weights 39

Rear Panel Description 41

Specification and Features 43

Crib Sheet 47

Rear Panel and Gain 8 Channel Equalisation 9 Mix sends (Auxiliary sends and groups) 10 Routing to Stereo Master Outputs 11 Metering and Automutes 12

Mix Bus Outputs (Auxiliary Send/ Group Masters) 14 Rear Panel and Metering 15 Direct Input to Mix 16 Mix Bus 1-8 Master Controls 17 Mix bus 9-16 Master Controls 18

Rear Panel and Metering 19 Direct Input Master Controls 20 Talkback 21 Auto Mute Masters 22 Local Monitoring and Headphone Outputs 23 The Solo System (AFL and PFL) 24 Helix Digital Equaliser and Solo Tracking System 25 Stereo Master Output Controls 26

Mono Input Diagram 36 Mix Output Diagram 37 Master Module Diagram 38

Connections

Male XLR

Pin 1 - Screen/Ground

Pin 2 - Hot Signal Pin 3 - Cold Signal

ATTENTION

The following special limitations must be observed in order to maintain safety and electromagnetic compatibility performance.

Power Connection

The console should only be operated with the power supply connected to ground via the ground in the mains connector.

Audio Connections

The console should only be operated with high quality twisted-pair audio cables. All connector shells should be of metal construction so that they provide a screen when connected to the console. All jack connector shells should be connected to the cable screen. All XLR plugs should have pin one (1) connected to the cable screen.

Electric Fields

If the console is operated in an electromagnetic field that is amplitude modulated by an audio frequency signal, the signal to noise ratio may be degraded. Degradation of up to 60dB may be experienced under extreme conditions (3V/m, 90% modulation).

INSTALLATION

Position

Power

The position of the console will vary from venue to venue. However, when positioning the console for front of house usage it is worth placing the console in a position where the sound system used can be heard properly from the mix position. Try to avoid placing the console behind pillars or large objects , or mixing from a level above the speaker position (e.g. from a balcony).

Also try to avoid placing the console near or on any power distribution units or power amplifiers.

If using an external power supply, it should be located as far away from the console as the connecting cable will allow. The power supply should be set for the voltage supply available in your area and plugged into the mains outlet using the cable provided.

!

THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH

THE MAINS EARTH DISCONNECTED

Please note that the power supply contains LETHAL VOLTAGES greatly in excess of

the mains voltage and that it’s rails can produce extremely large currents which

could burn out equipment and wiring if shorted. All testing and servicing should

ONLY be carried out by aqualified engineer.

Female XLR

Pin 1 - Screen/Ground Pin 2 - Hot Signal Pin 3 - Cold Signal

The console should only be operated with high quality twisted-pair audio cables. All connector shells should be of metal construction so that they provide a screen when connected to the console. All jack connector shells should be connected to the cable screen. All XLR plugs should have pin one (1) connected to the cable screen.

Connections

Quarter Inch Jack

TRS Signal TRS Insert TRS Headphone

Sleeve Screen/Ground Screen/Ground Screen/Ground Ring Cold Signal Insert Return Right Tip Hot Signal Insert Send Left

Operators Manual - Page 6

12

3

1

2

3

Input Channel

Operators Manual - Page 7

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Input ChannelsInput Channels

The Siena channel inputs are located on the rear of the console. Each channel provides:

one insert point on a single TRS jack socket. one direct output on a single impedance balanced quarter-inch jack socket one line in quarter-inch TRS balanced jack socket one mic balanced XLR female

The channel is unbalanced and requires a conventionally wired insert lead where: - Channel Signal Send

- Channel Signal Return

- Signal Common Ground

The direct out and insert points operate at a nominal level of 0dBu.

Balanced XLR and Jack inputs are conventionally wired:

- 1. Screen - 2. Hot Signal - 3. Cold Signal

- T. Hot Signal - R. Cold Signal - S. Screen

The console's are set post fader as standard. However, an internal jumper may be set to offer one of four alternatives:

Pre EQ, insert, channel fader and mute. Pre EQ and channel fader, but post insert and mute. Post EQ and insert, but pre channel fader and mute. Pre channel fader, but post insert, EQ and mute.

insert point Tip Ring Sleeve

XLR TRS

direct outputs

Please refer to theservice manual or contact your authorisedMidas service agent for more details onsetting this option.

ins

mic gain

+30 +45

+60+15

mic

padpower

48v -15

O

Front Panel

All input channels on the Siena console are mono and the actual number available will depend on your choice of frame.

Rear Panel

48V Power - When depressed, the Siena

will apply 48 volts phantom power to the microphone input. This is used to power condenser microphones, direct inject boxes and other devices that require phantom power.

The red phantom LED will light to indicate that 48V phantom is in operation.

-15dB Pad - The Pad switch provides 15dB attenuation to the input signal allowing for the connection of high output microphones and line level signals without overloading the channel input amplifier. Overloads are indicated on the in-channel meter by the red LED at the top.

Mic Gain - The mic gain is continuously variable from +15dB to +60dB (0dB to +45dB with the Pad enabled). The actual value of the gain required will depend upon the source and should ideally be set such that peaks in level on the input should not cause the input amplifier to overload (occasional peaks of +12dB is okay, +18dB is too high).

Mic Ø - The mic phase switch, when depressed, causes a 180 degree phase change (with respect to the input signal) to occur in the input amplifier such that the channel signal will have opposite polarity to the input signal.

The mic phase switch is commonly needed where two microphones are used facing each other (for example when using a microphone on both the top and bottom of a snare drum). Ordinarily the two microphones would be out of phase causing cancellation when the console sums the two signals into the output. Reversing the phase of one signal causes the microphones to have the same phase and no cancellation.

Ins - The ins switch enables the channel insert point by connecting the insert return to the channel signal path. The insert is switched into circuit before the EQ section, and may be used to apply external processing such as compression, gating or effects to the channel signal.

Hi-Pass - The Hi-Pass switch enables the high pass filter in the channel signal path. The filter is located before the insert point and channel equaliser, and is ideal for removing low frequency handling noise, bass rumble or mains hum.

High Pass Frequency - The cutoff frequency of the high pass filter is continuously variable from 20Hz to 400Hz.

Operators Manual - Page 8

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Channel Equalisation

Each input channel of the Siena has a four (4) band sweep EQ allowing tonal control over the input signal.

- The gain of the treble equaliser is continuously variable from -15dB to +15dB

with a centre detent at 0dB.

- The centre frequency of the treble equaliser is continuously variable from

2kHz to 20kHz.

- The gain of the hi-mid equaliser is continuously variable from -15dB to +15dB

with a centre detent at 0dB.

- The centre frequency of the hi-mid equaliser is continuously variable from

400Hz to 8kHz.

- The centre frequency of the lo-mid equaliser is continuously variable from

100Hz to 2kHz.

- The gain of the lo-mid equaliser is continuously variable from -15dB to +15dB

with a centre detent at 0dB.

- The centre frequency of the bass equaliser is continuously variable from

20Hz to 400Hz.

- The gain of the bass equaliser is continuously variable from -15dB to +15dB with a

centre detent at 0dB.

- The Equaliser can be enabled by depressing the EQ On switch. Otherwise changes on the Equaliser controls have no effect. This can be used to compare the sound with and without EQ during sound check.

Treble (Gain)

Treble (frequency)

Hi-Mid (Gain)

Hi-Mid (frequency)

Lo-Mid (frequency)

Lo-Mid (Gain)

Bass (frequency)

Bass (Gain)

EQ On

EQ Off (mix pre) Depressing the EQ Off (mix pre) switch causes pre fader sends onto mix busses

1-16 to be sourced before the channel equaliser. For example, you may wish to EQ the channel signal feeding the master stereo bus while deriving mix sends pre EQ. Note: post fader sends are always post EQ.

Operators Manual - Page 9

Input ChannelsInput Channels

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Mix Sends (Auxiliary Sends and Groups)

For maximum flexibility, the Siena has 16 mix busses for use as auxiliary sends or groups. In addition, any pair of busses may be configured for mono or stereo operation.

For example, today you may be using the console purely as a monitor desk, in which case you probably want to generate as many auxiliary sends as possible. In addition, you may require both mono and stereo mixes to feed a mixture of floor monitors and wireless in-ear monitoring. By configuring any odd/even pair of the Siena's mix busses for stereo operation, you have complete flexibility over the console layout.

Alternatively, in a hybrid FOH/monitor application, you may wish to create both auxiliary sends and group masters. Note that the controls for mix outputs 9-16 vary slightly from those for mix outputs 1-8. This is due to the fact that mix bus outputs 9-16 may be routed, and panned, onto the stereo master bus. Therefore, mix busses 9-16 are ideal for use as group outputs as they may be output separately from the console and/or summed onto the stereo master for a FOH mix. For these reasons, use mix busses 1-8 for auxiliary sends and 916 to create audio sub groups when working in a hybrid FOH/Monitor application.

mix sends are sourced after the channel insert, mute and EQ but before the channel fader. They will also be fed pre EQ if the (EQ Off) switch is depressed. As a result, the actual level sent to the aux bus is proportional to the mix send control only.

mix sends are sourced after the channel insert, mute, EQ and channel fader. As a result, the actual

level sent to the mix bus is proportional to the aux send control AND the channel fader.

Please note that, for illustration purposes, mix sends 1 and 2, only, are shown below. However, all 16 mix sends work in the same manner. In addition, to help locate the correct send more easily, sends 9 to 16 are highlighted by a lighter background panel colour.

Pre Fade

mix pre

Post Fade

Operators Manual - Page 10

Input ChannelsInput Channels

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Mix Send Level - The mix send level is continuously variable from off (-inf ) to +6dB.

Mix Send Level - The mix send level is continuously variable from off (-inf) to +6dB.

Mix Send Pre/Post Switching

pre

Any mix send may be sourced pre fader by depressing the button. In this mode, the channel fader has no effect upon the level of the signal sent to the mix bus.

Note: both pre and post fade sends are muted when the channel mute is enabled.

When configured for stereo operation, the upper switch is inactive.pre

Mix Send Pre/Post Switching

pre

Use the lower of the two switches to switch the stereo send pre fader. In this mode, the channel fader has no effect upon the level of the signal sent to the mix bus.

Note: both pre and post fade sends are muted when the channel mute is enabled.

Stereo Send Operation

stereo

pre

Stereo sends are configured globally for each odd/even pair of mix busses by the recessed switches located beside each pair of master faders in the Master section. Please refer to Page 17 for more details.

If mix busses are configured for stereo operation, the two rotary controls and switches behave slightly differently from mono mix sends to provide stereo pan, send level and pre/post fader control:

Mix Send Pan The mono signal from the channel may be positioned within the stereo field using the left/right pan control. Turn the control fully anticlockwise to pan signal to the left (mix bus 1) or clockwise to pan to the right (mix bus 2). Adjustment between hard left and hard right is continuous.

Note: the pan control obeys a constant power law (i.e. -3db at the centre.)

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Routing to the Stereo Master Output

In addition to the 16 mix bus sends, Siena features a stereo master output.

Typically, this would be used to generate the Front of House (FOH) mix for hybrid FOH/monitor applications. In stand alone monitor applications, the master output may remain unused or provide an additional stereo output bus.

Operators Manual - Page 11

Input ChannelsInput Channels

Pan The mono signal from the channel may be positioned within the stereo field using the channel pan control. Turn the control fully anticlockwise to pan signal to the left or clockwise to pan to the right. Adjustment between hard left and hard right is continuous, with a centre detent.

Note: the pan control obeys a constant power law (i.e. -3db at the centre.)

Stereo stereoDepressing the switch routes the channel signal onto the stereo (master left and right) bus. The signal is sourced post EQ, pan, mute and fader.

Mute MUTE- The switch mutes the channel signal feeding all 16 mix bus (pre or post fader) and stereo master bus outputs. However, signal will still be sent to the insert send. The mute status of the channel is indicated by the corresponding mute LED.

Note: the mute switch may be controlled from any of the five Auto Mute masters, see Page 22 for details.

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Operators Manual - Page 12

Input ChannelsInput Channels

Channel Fader - The channel fader allows for continuous adjustment of the channel level from off (-inf) to +10dB. At 0dB, the output of the channel to the stereo master and 16 Mix busses will be at unity gain (i.e. no boost or cut in level from the input).

Solo - When selected, the channel SOLO switch routes signal onto the After Fade Listen (AFL) and Pre Fade Listen (PFL) outputs. The solo LED indicator illuminates to show that the channel solo is active.

Depending on the AFL and PFL selector in the master section, you may now be listening to the channel signal after the fader (AFL) or pre fader (PFL) on either the main monitor or headphone outputs.

Note: the AFL bus is a stereo bus; the PFL bus is mono. For more details on AFL and PFL monitoring, please refer to the 'The Solo System' on page 24.

4 LED Meter - The 4 LED meter indicates the channel's peak signal level, measured after the insert point and EQ, but before the channel fader and mute. This provides a confidence meter, allowing the user to monitor the input signal prior to opening the fader, or deselecting the channel mute.

With the insert and EQ disabled, the meter shows the peak signal level in four stages:

+18dB - Overload (Peak) +12dB - High Level 0dB - Normal Level

-18dB - Signal Present

The in-channel meter is especially useful when setting the microphone gain of a channel. Also, as the, meter is post EQ, it is possible to see the effect that the channel equalisation has upon the level.

For optimal performance, the level for input channels should be around +6db. Therefore, ideally, the in-line meters should show the 0dB LED illuminated consistently when signal is present, with occasional illumination of the +12dB LED.

Note: it may be necessary to turn the input gain down when excessive EQ is used to prevent the channel from overloading.

Auto Mute 1, 2, 3, 4 & 5 The Siena has five auto mute groups that can be controlled from the master section of the console. To assign an input channel to an auto mute group, switch in the desired auto mute switch.

Note: auto mute 5 is also available on the 16 mix and stereo output masters and, therefore, you may wish to reserve this group for dealing with output mute functions.

Commonly, the auto mute groups are used to provide easy muting of similar channels. For example:

Drum Mics Allows the engineer to mute the whole drum kit at once. Choir Overheads Allows the engineer to quickly remove all choir mics at once Orchestra Parts Allows the engineer to zone mics together (e.g. Brass,

Strings, etc.) and mute sections together if they were not playing.

Note: the auto mute groups and the individual channel mutes work like a logical OR where any single or combination of mutes will mute the channel output. This means, for example, that if channel 1 is assigned to auto mute group 4, and both the auto mute master and channel mute are active, the output of the channel will remain muted until the auto mute master and individual channel mute are deactivated.

Channels Reason

both

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Master Section

Operators Manual - Page 13

Master SectionMaster Section

The Master Section of the Siena console is divided into two principal areas:

On the left hand side of the panel, the two rows of eight faders, associated controls and metering provide output control for the console's 16 mix busses. Typically, these 16 mix bus outputs are used for auxiliary send masters and/or group outputs.

On the right hand side of the section, you will find the stereo master output, local and headphone monitoring, master AFL/PFL selector, talkback, tone, direct input and auto mute master controls.

The Siena has 16 mix bus outputs for use as auxiliary sends or group outputs. The console uses a generic approach to the mix bus structure to enable it to cover a wide range of applications.

For example, today you may be using the console purely as a monitor desk, in which case you probably want to generate as many auxiliary sends as possible. In addition, you may require both mono and stereo monitor mixes to feed a mixture of floor monitors and wireless in-ear monitoring. By configuring any odd/even pair of the Siena's mix busses for stereo operation, you have complete flexibility over the console layout.

Alternatively, in a hybrid FOH/monitor application, you may wish to create both auxiliary sends and group masters. You may already have noticed that the controls for mix outputs 9-16 vary slightly from those for mix outputs 1-8. This is due to the fact that mix bus outputs 9-16 may be routed, and panned, onto the stereo master bus. Therefore, mix busses 9-16 are ideal for use as group outputs as they may be output separately from the console and/or summed onto the stereo master for a FOH mix. For these reasons, use mix busses 1-8 for auxiliary sends and 9-16 to create audio sub groups when working in a hybrid FOH/Monitor application.

Mix Bus Outputs (Auxiliary Send/Group Masters)

Operators Manual - Page 14

Each LED meter indicates the peak signal level of the mix bus output from -24dB to +21dB in 3 dB steps. Signal is measured after the master fader and mute providing a true representation of the level leaving the mix output XLR on the rear of the console.

1 mix meters 2

9 mix meters 10

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Each of mix bus outputs 1-16 may be connected to external equipment by means of one single balanced male XLR socket (0dBu nominal level).

In addition to this, each mix bus provides an insert send and return on a single unbalanced quarter-inch TRS jack conventionally wired (0dBu nominal level).

Mix Bus Inserts Mix Bus Outputs

XLR Sockets 12 3

TRS Insert Jacks TR S

- Screen - Signal Hot - Signal Cold

- Signal Send - Signal Return - Screen

Master Section: Mix Bus OutputsMaster Section: Mix Bus Outputs

Operators Manual - Page 15

Rear Panel

Mix Bus Outputs (Auxiliary Send/Group Masters)

insert insert

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MUTE

Metering

On Siena, every one of the 16 mix bus outputs features its own dedicated LED meter, providing a constant overview of every mix leaving the console.

The meters are arranged in pairs so that when busses are configured for stereo operation, metering may be clearly identified. In addition, they are laid out in two rows reflecting the 1-8 and 9-16 layout of the master faders lower down the module.

Direct Input to Mix

In addition to the console's input channels, Siena features a single stereo direct input (line level) which may be added to any of the 16 mix bus outputs or stereo master.

A common application is to use the direct input as a stereo effects return. For example, you may be using an auxiliary send to feed signals to an external reverberation unit. Connecting the reverb return to the direct input allows you to add reverb back to each of your artist's monitor sends, without needing to use an additional pair of input channels for this purpose.

The direct input is a stereo line level input available on the rear panel of the master section. It features its own input

control, solo and mute facilities. For more details on these controls and connections, please refer to Page 20.

Following the input stage, the to controls adjust the amount of direct input signal added to the each of the 16 mix busses.

direct 1 direct 16

level

2

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direct

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Master Section: Mix Bus OutputsMaster Section: Mix Bus Outputs

Operators Manual - Page 16

Direct Input Level to Mix - Controls the direct input level added to each mix bus output. Level may be adjusted continuously from off (-inf) to +6dB.

The signal added to each mix bus is affected by the mono/stereo configuration of each mix bus. For example, if mix busses 1 and 2 are configured for stereo operation, bus 1 is fed from direct input left and bus 2 from direct input right according to the level settings of the and

controls. However, the left and right direct input signals are also summed, so that if say mix bus 3 is configured as a mono bus, it is the mono sum which is added to this output.

Note: a -3dB offset is applied to the mono sum. This automatic level compensation ensures that when adding the direct input to a mixture of mono and stereo mix busses, similar direct level settings may be applied without any perceptible difference in level.

direct 1

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insert insert

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Master Section: Mix Bus OutputsMaster Section: Mix Bus Outputs

Operators Manual - Page 17

Auxiliary Send/Group Masters

Mix Bus 1-8 Master Controls

The master controls for mix bus outputs 1-8 vary slightly from those offered on mix bus outputs 9-16. This is due to the fact that mix busses 9-16 offer the additional feature of routing, and panning, onto the stereo master bus. This makes mix busses 916 ideal for use as group outputs in a hybrid FOH/Monitor application.

First, let's deal with the controls for mix bus masters 1-8. Note that for clarity, only the first pair of mix bus outputs are illustrated on the front panel drawings below.

Stereo LED Illuminates when mix busses are linked for stereo operation, see below.

Insert When depressed, the corresponding mix bus insert return is inserted pre fader into the mix bus output signal path.

Stereo/Mono stereo

input channel

pre

Use the recessed switch to link the odd/even pair of mix busses for stereo operation. When set for stereo, the following operational changes occur:

On each , separate level and pan controls become available for the stereo mix send. To switch the stereo send pre fader, use the lower of the two channel switches. (The upper switch is inactive in stereo mode.) Please see Page 10 for more details on input channel controls.

The solos for a stereo bus are adjusted such that odd bus solos route signal to AFL left and even bus solos route signal to AFL right. When mix busses are configured for mono operation, solos are summed in mono onto the AFL output.

All other controls (e.g. fader output level, mute, solo and insert return switching) remain independent for the left and right sides of the mix bus master.

Mute MUTEThe switch mutes the mix bus output signal post fader. (i.e. signal is muted at all points except the mix bus insert send and PFL bus). The mute status is indicated by the corresponding mute LED.

Note: the mute switch may be controlled by Auto Mute master 5, see below.

Fader The fader provides continuous adjustment of the mix bus output level from off (-inf) to +10dB.

Auto Mute 5 Depress this switch to assign any of the 16 mix bus output mutes to auto mute group 5. The Siena has five auto mute groups that can be controlled from the master section of the console. Any input channel may be assigned to auto mute groups 1-4; both input channels and mix bus masters may be assigned to group 5.

Solo SOLO

SOLO

When selected, the mix bus switch routes signal onto the stereo After Fade Listen (AFL) and mono Pre Fade Listen (PFL) busses. The solo LED indicator illuminates to show that the mix bus solo is active. Depending on the AFL/PFL selector in the master section, you may now be listening to the mix bus output signal after the fader (AFL) or pre fader (PFL) on your local monitoring or headphone outputs.

Any of the 16 mix bus master switches may also trigger auto solo messages on an external Helix digital equaliser via the console's Solo Tracking System. For more details, please refer to Page 25.

insert insert

stereo stereo

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Master Section: Mix Bus OutputsMaster Section: Mix Bus Outputs

Operators Manual - Page 18

insert insert

stereo stereo

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Auxiliary Send/Group Masters

Mix Bus 9-16 Master Controls

The master controls for mix bus outputs 9-16 are identical to those for mix bus outputs 1-8 with the addition of the following features:

Route to Stereo Master

stereo

Depressing the switch routes the mix bus output onto the stereo (master left and right) bus. The signal is sourced post insert, pan, mute and fader.

Pan The signal from the mix bus output may be positioned within the stereo master field using the pan control. Turn the control fully anticlockwise to pan signal to the left or clockwise to pan to the right. Adjustment between hard left and hard right is continuous, with a centre detent.

Note: the pan control obeys a constant power law (i.e. -3db at the centre.)

These additional features make mix busses 9-16 ideal for creating sub mix groups from the console.

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Master Section: Stereo Master & Monitoring ControlsMaster Section: Stereo Master & Monitoring Controls

Operators Manual - Page 19

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The Siena's stereo master and monitoring outputs are located on the rear of the console and provide:

Master L Left Bus XLR Male (Bal) 0dBu Master R Right Bus XLR Male (Bal) 0dBu PFL Out PFL Solo Bus XLR Male (Bal) 0dBu Monitor L Local Monitor Left XLR Male (Bal) 0dBu Monitor R Local Monitor Right XLR Male (Bal) 0dBu Monitor M Local Monitor Mono XLR Male (Bal) 0dBu Talk Out Talk Bus XLR Male (Bal) 0dBu

Also provided are Master L and R insert points (Insert MR and Insert ML) on conventionally wired quarter-inch TRS jacks (0dBu nominal level), a stereo direct input (Direct In L and Direct In R) on line level balanced jack inputs and Talk Input (Male XLR balanced, 0dBu nominal level).

Output Source Connector Nom. Level

master

monitor

talk

monitormonitor

talk out

pfl out

master

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L

R

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R

in

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insert direct in

direct in

PUSH

Rear Panel

Stereo Master and Monitoring Controls

Metering

Master Meters The two master meters

indicate the peak signal level of the left and right master outputs from -24dB to +21dB in 3 dB steps. Signal is measured after the master fader and mute providing a true representation of the level leaving the output on the rear of the console.

Solo Meters The two solo meters always follow what is being monitored on the local monitor and headphone outputs. Therefore, they will meter either stereo AFL or mono PFL signals depending on the solo selections across the console and master AFL/PFL selector. Please refer to Page 24 for more details on the console's solo system.

Note: when in PFL mode, the mono PFL bus appears on the left and right Solo meters.

The solo meters are pre monitor and phones mute and level control, and so are unaffected by changes in headphone or local monitoring level.

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Master Section: Stereo Master & Monitoring ControlsMaster Section: Stereo Master & Monitoring Controls

Operators Manual - Page 20

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Direct Input Master Controls

In addition to the console's input channels, Siena features a single stereo direct input (line level) which may be added to any of the 16 mix bus outputs or stereo master.

A common application is to use the direct input as a stereo

effects return. For example, you may be using an auxiliary send to feed signals to an external reverberation unit. Connecting the reverb return to the direct input allows you to add reverb back to each of your artist's monitor sends, without needing to use an additional pair of input channels for this purpose.

The direct input is a stereo line level feed available on the rear panel of the master section. It features its own input level control, solo and mute facilities as follows:

Direct Input Level The direct input level provides continuous adjustment of input level from off (-inf) to +20dB. Use this control to set the optimum input level for the stereo direct input.

Mute MUTEThe switch mutes the direct input cutting off all feeds except to the PFL bus. The mute status is indicated by the corresponding mute LED.

Solo SOLOThe switch routes the direct input signal onto the mono PFL and stereo AFL busses. The solo status is indicated by the solo LED.

Direct to Masters When depressed, this switch routes the stereo direct input to the master stereo bus, via the Direct to Masters level control.

Direct to Masters Level This level control sets the level of the direct input applied to the stereo master bus when the Direct to Masters switch is depressed. Level may be adjusted from off (-inf) to +6dB.

Note: the to controls located above the mix bus output master faders adjust the amount of direct input signal added to the each of the 16 mix busses. For more details on these controls, please refer to Page 16.

direct 1 direct 16

Tone Generator (Oscillator)

The Siena provides an internal tone generator which may be routed to any of the console's 16 mix bus and stereo master outputs.

When enabled, the output of the tone generator is added to the talk bus where it may be combined with the console's talk mic and external talk inputs. The combined signals are then routed to any of the bus masters using the 'talk to mix' and 'talk to masters' switches located in the Talkback section.

Note: to route only the tone generator to a mix bus output or stereo master, without talkback, make sure that both the and switches are disabled.talk on talk ext

Frequency The output frequency of the generator is continuously variable from 50Hz to 5kHz allowing the user to test, for example, three or four bands of a crossover system.

Generator Level The level of the generator output is continuously variable from off (-inf) to +10dB.

Generator On Enables the tone generator.

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Talkback

The Siena provides talkback which may be routed to any of the

console's 16 mix bus and stereo master outputs. There are two

options for connecting talkback sources to the console:

On the front panel, a conveniently located internal talk mic

socket, supplied with 48V phantom power, allows connection of a condenser microphone.

On the rear panel of the master section, the XLR allows connection of an external talkback source.

Each of these circuits is individually routed to the talk bus, and combined with the tone generator if it is enabled. The combined talkback and tone signals may then be routed to any of the console's 16 mix bus and stereo master outputs using the 'talk to mix' and 'talk to masters' switches shown below.

Note: to route only talkback to a mix bus output or stereo master, without the tone generator, make sure that the

switch is disabled.

In addition to routing talkback to the console's mix bus and master outputs, the circuit available on the rear panel of the master section, provides an output of the talk bus enabling the combined talkback and tone signals to be output to an external communications system.

talk in

Generator On

talk out

Master Section: Stereo Master & Monitoring ControlsMaster Section: Stereo Master & Monitoring Controls

Operators Manual - Page 21

Talk Mic The internal talk mic socket is a conventionally wired XLR male and is supplied with 48V phantom power allowing the connection of condenser microphones for engineer talkback.

Talk Mic Gain The gain of the internal talk mic input is continuously variable from +15dB to +60dB.

Talk On When depressed, the internal talk mic input is enabled and routed to the talk bus. In addition, all local monitor outputs are attenuated by 20dB to help prevent feedback.

Talk to Mix Bus Outputs (1-2, 3-4, etc.) The 16 talk to mix switches route

the combined talkback and tone generator signals individually to each of the console's 16 mix busses.

Talk to Masters mastersThe switch routes the combined talkback and tone generator signals to the console's stereo master.

Talk External talk ext

talk in talk out

talk in

talk out

The switch enables both the and connections on the rear panel of the master section. This adds the external talkback source connected to the XLR to the talk bus. It also activates the

connection providing an output

feed from the talk bus.

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Master Section: Stereo Master & Monitoring ControlsMaster Section: Stereo Master & Monitoring Controls

Operators Manual - Page 22

Auto Mute Masters

The Siena provides five auto mute groups commonly used to provide easy muting of similar channels. For example:

Drum Mics Allows the engineer to mute the whole drum kit at once. Choir Overheads Allows the engineer to quickly remove all choir mics at once Orchestra Parts Allows the engineer to zone mics together (e.g. Brass, Strings, etc.) and

mute sections together if they were not playing.

Any input channel may be assigned to auto mute groups 1-4; both input channels and mix bus masters may be assigned to group 5, therefore, you may wish to reserve this group for dealing with output mute functions.

For example, when using the console to run monitors during a live concert, there may be one song where most of the band will leave the stage. During this part of the show, monitor sends are only needed for one or two performers. By selecting auto mute 5 on all of the other band members' auxiliary send masters, you may mute these monitor feeds with one switch press auto mute master 5.

The auto mute master switches located in the master section activate each auto mute group as follows:

Channels Reason

Auto Mute Masters 1, 2, 3, 4 & 5

Press the corresponding auto mute master switch to mute all input channels and/or bus masters included within the auto mute group (1 through 5). The auto mute master status is indicated by the corresponding LED.

Note: don't forget to check the status of your auto mute masters and auto mute group assignments carefully, as any mutes on assigned input channels or bus outputs will not be released until the auto mute master is disabled!

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Local Monitoring and Headphone Outputs

The Siena provides local stereo and mono monitor outputs, stereo headphone and separate PFL output. Typically, each of these outputs is provided for the following applications:

Local Monitor L/R Stereo Rear Panel For connection of local stereo loudspeakers. Local Monitor M Mono Rear Panel For connection of a local mono loudspeaker. Headphone (Phones) Stereo Arm Rest For connection of stereo headphones. PFL Out Mono Rear Panel For linking the PFL output of the Siena to another

console.

when running monitors, you may wish to listen to your mono floor monitor feeds on a separate speaker to your stereo in-ear monitoring so that you know what the artist is hearing from each system. Connect a pair of stereo speakers to the output and a separate mono speaker to the output. Now solo the mix bus masters feeding both the in-ear monitoring and floor monitors. Using the mono and stereo local monitor switches, you will now be able to mute the floor monitor speaker to listen to the stereo in-ear monitor feed or vice versa.

Do not confuse the output with the connection, as the PFL Out is always active and does not feature level or mute control. This is because the PFL Out is typically used to connect the PFL bus to a second console. For example, if the Siena is working with the support band, it may be necessary to feed its PFL output to the main band's console.

By default, you will be monitoring the AFL bus on the local monitor and headphone outputs. However, you may choose to monitor the PFL bus for either inputs and/or outputs using the master AFL/PFL selector, see 'The Solo System' on Page 24 for more details.

Output Format Connection Application

Tip:

Local Monitor L/R Local Monitor M

MUTE

Local Monitor M PFL Output

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Master Section: Stereo Master & Monitoring ControlsMaster Section: Stereo Master & Monitoring Controls

Operators Manual - Page 23

Mono Sum mono sumThe switch sums the left and right monitor signals feeding both the local monitor and headphone outputs so that the stereo output may be checked for phasing issues and mono compatibility

Phones Level The level of the headphone output is continuously variable from off (-inf) to +20dB.

Phones Mute MUTEThe switch mutes the headphone output. The mute status is indicated by the corresponding LED.

Local Monitor Stereo Mute

MUTE

The stereo switch mutes the Monitor L and Monitor R outputs. The mute status is indicated by the corresponding LED.

Local Monitor Mono Mute MUTE

The mono

switch mutes the Monitor M output. The mute status is indicated by the corresponding LED.

Local Monitor Fader The local monitor fader allows for continuous adjustment of both the mono and stereo local monitor outputs (Monitor L, Monitor R and Monitor M) from off (-inf) to +10dB.

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The Solo System (AFL and PFL)

Siena's hierarchical solo system and master AFL/PFL selector provides the flexibility to monitor signals pre fade (PFL) or post fade (AFL) quickly and easily.

By default, you will be monitoring channels or outputs in AFL on the local monitor and headphone outputs when you press a

SOLO switch. To change to PFL monitoring, use the master AFL/PFL selector as described below.

Normally, solo switches intercancel. However, if you press a number of SOLO switches in less than a second, they will latch on together. This provides a quick way of listening to a number of channels or outputs. For example, to solo both the left and right sides of a stereo mix bus output. Alternatively, you can force the console solos to always be additive by enabling the mode. Note: in this mode, solos are prioritised according to the type of input or output see 'Solo Hierarchy' below for more details.

Note also that the master stereo left and right SOLO switches are both mechanically latching. By selecting these two switches you can set the default solo state to monitor the stereo master output whenever other solos are cleared.

Note: If these stereo master SOLO switches are not pressed, and no other solos are active, then no signal will feed the AFL or PFL busses and you will be monitoring silence.

Solo Add

Master Section: Stereo Master & Monitoring ControlsMaster Section: Stereo Master & Monitoring Controls

Operators Manual - Page 24

SOLO Clear SOLO Clear

SOLO Clear

The LED illuminates to show a solo is active. Press the switch to cancel all active solos. Note: Solo Clear does not apply to the stereo master left and right solos as these are mechanically latching switches.

SOLO Add SOLO Add

When depressed, the

switch allows multiple SOLO

switches to be selected.

AFL/PFL Selector

input PFL

output PFL

By default, you will be monitoring channels or outputs in AFL on the local monitor and headphone outputs when you press a SOLO switch. Press to force all input (input channels and the stereo direct input) solos into PFL mode. Press to force all output (16 mix bus and stereo master) solos into PFL mode. Select both switches to force PFL solos across the console.

Solo Hierarchy

In addition to the master AFL/PFL selector, Siena's hierarchical solo system allows you to quickly switch between monitoring say an input channel in PFL and a mix bus output in AFL. The local monitor and headphone outputs are controlled according to the following solo hierarchy:

1. Input channels and the stereo Direct Input solos take highest priority.

2. The 16 mix bus master solos take second priority.

3. The stereo master left and right solos take lowest priority.

To best explain the power of this system, let's take a typical operating scenario. For example, you may wish to set up the console so that you can PFL any input channel quickly, but still monitor your mix bus auxiliary sends or group masters in AFL. Select the switch to force all input channel and the stereo direct input solos into PFL mode. Also check that the switch is not selected so that all output solos remain in AFL. Turn on the

switch to enable additive solo selections. Finally, turn on the stereo master left and right SOLO latching switches

and check that you are now monitoring the stereo master output post fader (in AFL).

Now press any of the 16 mix bus master SOLO switches. Since the mix bus master solos are higher in priority than the stereo master solos, you will be monitoring only the output of the mix bus (in AFL) even though all three SOLO switches remain illuminated.

Then select a SOLO switch on any input channel. This time the hierarchical system works to provide you with monitoring of the input channel only. The input channel is monitored pre fader (in PFL) since this was the selection made from the master AFL/PFL selector.

If you now e input channel solo, you will go back to monitoring the mix bus output in AFL.

Remember that you can also use at any time to clear down all selections except the stereo master solos. This allows you to quickly revert to monitoring the stereo master output.

input PFL

output PFL Solo

Add

SOLO Clear

deselect th

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HELIX Digital Equaliser Solo Tracking System

The Siena console features a Solo Tracking System which allows any of the 16 mix bus master or stereo master solos on the console to trigger auto solo messages on the Klark Teknik DN9340 (HELIX) digital graphic equaliser. This unique interface allows engineers to quickly view the equaliser settings for a mix

output on the HELIX master display simply by pressing the corresponding mix solo switch on the console.

Note: the Solo Tracking System supports the Klark Teknik DN9340 (HELIX) digital graphic equaliser only. Multiple Helix units may be linked together to provide enough digital equalisers for all 16 mix bus and stereo master outputs as required. Please refer to the HELIX Operator's Manual for more details on configuration.

The console is connected to the master HELIX equaliser system using the RS-232 (9-pin) data port located on the lower rear connector panel. The data LED is not normally lit but will illuminate briefly each time a mix bus or master solo is triggered.

Master Section: Stereo Master & Monitoring ControlsMaster Section: Stereo Master & Monitoring Controls

Operators Manual - Page 25

DATA

Pressing any one of the 16 mix bus master or left/right stereo master solo switches on the console triggers the corresponding auto solo message to the HELIX. This results in the relevant EQ being automatically shown on the HELIX master display allowing you to now quickly view and adjust the master's EQ settings.

Note: the Solo Tracking System responds to the console's and the hierarchical system. For example, when you select the stereo master left SOLO switch, the HELIX will respond by displaying equaliser settings for the stereo master output. Now select one of the 16 mix bus master solos. As these are higher priority, the system cancels the stereo master solo trigger and the HELIX will now display equaliser settings for the chosen mix bus output. If you then deselect the mix bus master solo, the system reactivates the stereo master solo returning the Helix display to show EQ settings for the stereo master.

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Stereo Master Output Controls

In addition to the console's 16 mix bus outputs, the Siena provides a stereo master typically used to generate the front of house (FOH) mix, if required. Independent controls are provided for the left and right sides of the stereo master retaining ultimate control at all times.

Master Section: Stereo Master & Monitoring ControlsMaster Section: Stereo Master & Monitoring Controls

Operators Manual - Page 26

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Auto Mutes The two auto mute 5 switches are used to assign the left or right stereo master output mute to auto mute group 5.

Mutes MUTEThe two switches mute the left and right stereo master signals post fader. (i.e. signal is muted at all points except the master insert send and PFL bus). The mute status is indicated by the corresponding mute LED. Note: the mute switch may be controlled by Auto Mute master 5, see left.

Solos SOLO

SOLO Clear

The two switches route the left and right stereo master signals onto the stereo AFL and mono PFL busses. The solo LED indicators illuminate to show that the master solos are active. Depending on the PFL selector in the master section, you may be listening to the master output signal in AFL or PFL on your local monitoring or headphone outputs.

Note: the left and right master SOLO switches are mechanically latching and are not affected by the function. By selecting these two switches you can set the default solo state to monitor the stereo master output whenever other solos are cleared.

The two stereo master SOLO switches may also trigger auto solo messages on an external Helix digital equaliser via the console's Solo Tracking System. For more details, please refer to Page 25.

Faders The two stereo master faders provide continuous adjustment of the left and right master outputs from off (-inf) to +10dB.

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Operators Manual - Page 27

Setting up the

Siena

Setting Up The SienaSetting Up The Siena

The Siena has been designed with real world sound engineering in mind. With its flexible routing and feature set, the console is as happy running the front of house (FOH) mix as it is providing monitor mixes for the artists on stage.

In this section of the manual, we will introduce some of the basic operating principles of the Siena console, and discuss some typical operating scenarios and the best way to approach them.

Setting the Correct Input Gain

Leaving Enough Headroom

The Siena’s input channel has a mono microphone and line input. Gain is provided on these channels to allow the operator to obtain the optimal signal for the system.

Microphone Gain +15dB to +60dB (0dB to +45dB with pad switch enabled) Mono Channel Line Gain 0dB to +45dB (-15dB to 30dB with pad switch enabled)

Each channel of the Siena includes an in-line channel LED meter indicating the channel level (measured after the channel insert and EQ but before the channel fader). With the insert and EQ disabled, the in-channel meter will show the level at the input in four stages:-

-18dB - Signal Present 0dB - Normal operating level

+12dB - High Signal Level +18dB - 3dB before channel overload (clipping)

The input gain of the channel can be used to obtain the best operating level for the console. Too small a signal level (too little gain) and the best signal to noise ratio will not be achieved; too high a signal level (too much gain) and there is the chance of overloading the channel causing distortion.

Clearly, the gain should be positioned between these two points, to gain an optimal signal to noise ratio without overloading the channel. The ideal level for input channels would be around +6dB with occasional illumination of +12dB.

A channel signal is only permitted to swing high and low by an amount fixed by the power supply. If the maximum output of the Siena channel strip is +21dBu (0dBu = 0.775 volts RMS) then imagine the following situation:

Headroom is the amount of spare ‘swing’ available to the system. If 6dB headroom was desired at all times, a maximum level of +15dB is required to retain the headroom.

To prevent overload, the gain must be set to a point that even the highest output from the microphone during sound check has some headroom left to prevent any surprises during the show!

The consoles Busses (e.g. Left and Right Main buss) are the point where all channel signals are summed together. In normal operation, it is unlikely that all channels will receive the same signal at the same time so typically when 48 channels are summed together a gain of around 6 to 9dB will be seen. It is important to leave some headroom in the summing amplifiers so that they do not overload, should the sum exceed the maximum level.

Channel equalisation should be used with care. Boosting or cutting equaliser bands can make monitoring your actual input level very difficult. Excessive boosting of EQ (+15dB is available on each band)will have the same effect as applying more gain to the input, taking up valuable headroom. Consider backing off the channel gain when using large amounts of boost (if you have to use large amounts of boost) to retain a sensible level at the output.

Excessive EQ cut can have a similarly undesirable effect. If a large amount of signal is cut in the equaliser section, gain may be used to ‘make up’ the level lost in the equaliser. However, the input pre-amplifier still has the same amount of available headroom. If gain, added to ‘make up’ the loss in the equaliser, exceeds the maximum level into the microphone pre-amp then the channel won’t appear to be overloaded but the microphone pre-amp will. Turning off the equaliser will reveal the true story, whereby the microphone pre-amp may be overloaded. It is worth considering whether such large amounts of EQ cut is really required, or whether it is being used rather more as a volume control (in which case the input gain could be set to a normal operating level and the output adjusted on the channel fader).

TIP: You can monitor the level pre-EQ and post-EQ using the in-channel LED meter by switching the EQ in and out during sound check.

The Effect of EQ

Operators Manual - Page 28

Using Dynamics Processing to Control Gain

What is Unity Gain?

When working with signals that are constantly at a high level, the channel gain can accommodate these signals with ease. When working with varying signals (such as the vocals) it may be desirable to reduce the dynamic range of the signal so that the loud parts aren’t so loud (and don’t overload your channel input) and the quiet bits aren’t too quiet (so the signal to noise ratio would be increased).

Limiters and Compressors have a similar function which is to reduce the dynamic range of a signal. The means by which they do this won’t be discussed here but, these devices have the ability to reduce the level of loud signals automatically and also raise the gain to ‘make up’ the level as desired. The channel gain can now be set with adequate headroom to accommodate both loud and quiet signals and the compressor can reduce the dynamic range and ‘make up’ any reduction in level. By inserting such a device into the channel’s insert point you have the ability to remove the guesswork from setting your system gain.

However (and this is a big however), there are still sources of potential problems. The Siena is able to operate at levels up to +21dBu on both the insert send and return. If the maximum input level of the compressor was less than +21dBu then it is possible to overload the input of the compressor. The only way to resolve this situation would be to drop the channel input gain so that the input level of the compressor was not being overloaded. Bear in mind however, the level returned from the compressor would also be lower than +21dBu and excessive use of the compressor ‘make up’ gain would overload the output of the compressor!

Unity gain is a gain of 1 (i.e. no gain or attenuation is applied to a signal).

If a signal entered a mono line level input of the Siena at 0dBu and the gain was set to +15dB (an internal 15dB attenuation sets the net gain to 0dB), then the signal was routed to each output at 0dB, the channel fader was set to 0dB and each output fader was set to 0dB, the output should be 0dBu (or unity). Some console manufacturers mark the 0dB level of their faders and pots ‘U’.

Simple. But that’s just one signal. If we have two 0dBu signals entering the Siena (assuming they are coherent i.e. the same level and phase) to be summed in the busses, the output would no longer be 0dBu.

Simply,

0dBu = 0.775 volts

0.775 volts + 0.775 volts = 1.55 volts

1.55 volts is 0.775 volts +6dB (or a gain of 2)

To retain an output of 0dBu (our previous unity level) each input must be reduced.

0.775 volts / 2 = 0.3875 volts

0.3875 volts is 0.775 volts -6dB (or a gain of 1/2)

So each fader must be reduced to -6dB to retain the unity gain level of 0dBu on the console output. When using four inputs at 0dBu, the faders must be reduced to -12dB. Real life signals are not continuous, but the principal is the same. If you have a sinusoidal input that is nominally 0dBu on all 48 inputs with the channel faders at 0dB, the output is likely to be well above the 21dBu maximum output of the console and leave no headroom spare. With real world signals, 48 channels summed together will give around 6 to 9dB gain because it is unlikely that all 48 channels will receive the same signal at the same time. Instead signals will occur at different times, and there will be cancellation due to phase and frequency differences.

Operators Manual - Page 29

Setting Up The SienaSetting Up The Siena

Operators Manual - Page 30

Setting Up The SienaSetting Up The Siena

Signal Processing and Amplifiers

The final links in the system tend to be graphical equalisers, loudspeaker processors and finally amplifiers and speakers.

Graphical equalisers have the same problems as the Siena’s EQ. If excessive boost is applied to the signal, the graphic equaliser’s output may be overloaded. If, the output of the Siena is higher than the maximum input level of the graphic, the input of the graphic may be overloaded.

Loudspeaker processors have similar problems. If the input level to the processor is too high, the input may be overloaded and introduce distortion into the outputs (and to the speakers!). In addition to this, any boost on the processors outputs (say you want 3dB more bass) will cause that output to overload earlier (in this case 3dB before the other outputs).

Finally, amplifiers can introduce the most interesting results.

An amplifier has a sensitivity. That is, an input signal level that causes the amplifier to produce it’s maximum output level. For many amps this is 0dBu (0.775 volts RMS), others use 0dBV (1 volt RMS) others use different levels. Beyond this sensitivity, the amplifiers output will not be able to produce any more power and ‘CLIP’ (usually indicated by some serious looking red lights). Sending +21dBu level from the Siena will clip the output of most amplifiers causing damage to your loudspeaker system.

There are a number of solutions to this problem:

Reduce the amplifiers input attenuators to a level where the amplifier and console clip at the same point.

E.g. The input sensitivity is 0dBu, setting the input attenuator on the amplifier to -21dB would mean

that the console would clip at the same time as the amplifier. So operating the console sensibly the amplifier should never be clipped. The console led Meters will also accurately show the Available headroom left in the entire system.

-21dB may not be a sensible level to set as many operators choose not to run the output of the console so high. That is personal choice.

Run the output of the console at a level below 0dBu

This solution means that you won’t get full benefit of the console, and may suffer a reduced signal to noise ratio especially when running over long signal cables. But the amplifiers should be saved from clipping.

As with many things in the audio world, use your ears. If something sounds distorted check:

Input Gain too high? (lower input gain and check) EQ Too Much Boost? (disable eq and check) EQ Too Much Cut coupled with a High Input Gain? (disable eq and check) Too High a level into Inserted Processor? (disable insert and check) Clipping Loudspeaker controller or Amplifiers (check CLIP lights on amps etc.)

Busses and Routing

Monitors (Creating Auxiliary Sends)

Siena has a master stereo bus plus 16 mix bus outputs which may be used as auxiliary sends or group outputs depending on the application of the console. This generic approach to the mix bus structure enables the console cover a wide range of applications. Here are two typical examples:

When using the Siena purely as a monitor desk, you will want to generate as many auxiliary sends as possible to feed each artist's monitoring. In addition, you may require both mono and stereo monitor mixes to feed a mixture of floor monitors and wireless in-ear monitoring. By configuring any odd/even pair of the Siena's mix busses for stereo operation, you have complete flexibility over the console layout. A typical layout may be as follows:

1-8 mono sends to eight mono floor monitors. 9 & 10 mono sends to an external effects unit (e.g. reverb). 11-16 stereo sends to three stereo wireless in-ear monitor systems. Master Stereo stereo may remain unused, or generate an additional stereo monitor

send to the stage.

You may now use the mix bus master controls to adjust the level of each artist's send on the master fader, mute single or multiple feeds and solo your sends on local monitoring or headphones in AFL or PFL. Use the mix bus master insert sends and returns to apply any external master processing (e.g. a protection limiter) to individual sends.

* The stereo provides an additional input to the console. A common application is to use the direct input as a stereo effects return, which saves using two input channels for this purpose. For example, connect the output of your external reverb unit to the console's direct input. Now use the Direct Input Level to Mix controls, located above the mix bus master faders, to add reverb onto each artist's send.

* You may wish to listen to your mono floor monitor feeds on a separate loudspeaker to your stereo in-ear monitoring so that you know what the artist is hearing from each system. Connect a pair of stereo speakers to the

output and a separate mono speaker to the output. Now solo the mix bus masters feeding both the in-ear monitoring and floor monitors. Using the mono and stereo local monitor MUTE switches, you will now be able to mute the floor monitor speaker to listen to the stereo in-ear monitor feed or vice versa.

* The Siena provides five groups to provide easy muting of similar channels. For example, during a live concert, there may be one song where most of the band will leave the stage. During this part of the show, monitor sends are only needed for one or two performers. By selecting auto mute 5 on all of the other band members' auxiliary send masters, you may mute these monitor feeds with one switch press auto mute master 5.

Mix Bus Format Application

Tips

direct input

Local Monitor L/R Local Monitor M

auto mute

Operators Manual - Page 31

Setting Up The SienaSetting Up The Siena

Busses and Routing

Dual Purpose Front of House (FOH) and Monitor Applications

Group Outputs Typical Applications

With its flexible routing and feature set, the Siena is happy to run both the front of house (FOH) mix and provide monitor mixes for the artists on stage. In this dual purpose application, you will want to use some of the 16 mix busses, as above, to generate your monitor feeds to the stage, while the remaining busses can be used to generate audio sub groups.

The master controls for mix outputs 9-16 vary slightly from those for mix outputs 1-8. This is due to the fact that mix bus outputs 9-16 may be routed, and panned, onto the stereo master bus. This makes mix busses 9-16 ideal for use as group outputs as they may be output separately from the console and/or summed onto the stereo master for a FOH mix. For these reasons, use mix busses 1-8 for auxiliary sends and 9-16 to create audio sub groups when working in a hybrid FOH/Monitor application. A typical console layout may be as follows:

1-2 stereo send to one stereo wireless in-ear monitor feed. 3-7 mono sends to five mono floor monitors. 8 mono send to an external effects unit (e.g. reverb). 9-16 stereo four stereo group outputs. Master Stereo stereo summed from the group outputs (mix busses 9-16) and/or input channels to create the FOH mix.

Applications for groups vary, but include:

Sub mixes are a common way of saving time (and possibly embarrassment) when using a large number of microphones. For example: multiple microphones for Choirs, Drum Kits/Percussion, Orchestras, etc . . .

Typically, the sub mixes will probably be stereo so switch your chosen mix bus masters (e.g.9-16) into stereo mode using the recessed stereo switches located beside the mix bus master faders.

Each input channel to be sub mixed should be routed to the mix bus send ONLY (i.e. not to the stereo master). Remember to set both the and pan on the input channel send. The channel fader sets the relative level between the channels in the sub mix.

The group masters (e.g. mix bus masters 9-16) should then be routed to the stereo master bus and panned L-R as required. The sub mix is now set up.

The group master controls (mix bus masters) can now be used to control the overall level of the sub mix, mute the sub mix output or solo the sub mix signal.

Note: muting the sub mix is not the same as muting the input channels, as other input channel sends remain active. If channels within a sub mix are required to be muted, use the auto mute facility.

Often, it is either too expensive or undesirable to apply signal processing to each channel individually (for example: compression on a whole choir, graphic eq on a number of microphones, etc...).

Set up a sub mix, as described above, to group similar signals together. Now the desired external processor can be inserted into the group (mix bus master) insert send and return to apply processing to the sub mix.

When mixing for a number of speakers in a venue, it may be necessary to generate separate mixes with different levels or processing.

Route the input channels to the chosen mix bus sends, let's say mix busses 9 and 10 and adjust the channel send and fader controls.

Make sure the groups (mix bus masters) are NOT routed to the stereo master output. The group outputs (e.g. mix bus 9 and 10) should then be wired into the amplification feeds to the speaker systems.

You may now control the separate mixes using the channel mix sends and master mix bus controls.

Mix Bus Format Application

Sub mixes

Master EQ/External Signal Processing

Alternative Outputs

level

Operators Manual - Page 32

Setting Up The SienaSetting Up The Siena

Busses and Routing

Auxiliary Sends Typical Configuration

When determining how many mix busses you wish to use for auxiliary sends, you may wish to consider the following. We've also provided some recommendations on how to configure each send, depending on its application.

Artist Monitor Sends Pre (Post EQ) Th e level i n th e monitor s ta ys c onstant s o th at th e

engineer can change the FOH level without affecting the performer.

Effects Sends Post The level sent to the effects is proportional to the level on

the fader so the balance between wet (processed) and dry (un-processed) sound stays the same even when the channel level is changed.

Multitrack Recording Pre (Pre-EQ) The recording is made at constant level without EQ or Monitors from FOH so that these changes can be set in post-production when

more time, and a better listening environment are available. (You can also use the channel insert send as a Direct Out for this application but note that the output will be at unity).

Application Pre/Post Fade Reason

Operators Manual - Page 33

Setting Up The SienaSetting Up The Siena

Functional

Block Diagrams

Operators Manual - Page 35

Operators Manual - Page 36

MUTE

1

2

3

4

-18

0

12

18

insert

hi-pass

20

60

160

400

power

48v

mic gain

+30

+45

+60

+15

mic

automute 1 bus

phantom

hi-pass

filter

phase

reverse

-

insert

return

send

SIENA - MONO INPUT MODULE

BLOCK DIAGRAM

left bus

mix 2 mono bus

right solo bus

pfl bus

direct out

mix 1 mono bus

mix2stRbus

mix1stLbus

automute 2 bus

automute 3 bus

automute 4 bus

right bus

left solo bus

direct options

pfl meter

line in

-15

+10dB

solo logic bus

mic O

/

pad

-15

eq

on

eq

mix pre

off

stereo

SOLO

pre eq

post eq

10

5

0

20

15

30

40

2k

5k

10k

20k

treble

-15

+15

-15

+15

400

3k

8k

1k

hi-mid

100

300

1k

2k

-15

+15

lo-mid

20

50

100

200

-15

+15

bass

equaliser

pre1

pre(1)2

c

l

r

pan

mix 4 mono bus

mix 3 mono bus

mix4stRbus

mix3stLbus

mix 6 mono bus

mix 5 mono bus

mix6stRbus

mix5stLbus

mix 8 mono bus

mix 7 mono bus

mix8stRbus

mix7stLbus

mix 10 mono bus

mix 9 mono bus

mix10stRbus

mix 9 st L bus

mix12monobus

mix 11 mono bus

mix12stRbus

mix 11 st L bus

mix 14 mono bus

mix 13 mono bus

mix14stRbus

mix 13 st L bus

mix16monobus

mix 15 mono bus

mix16stRbus

mix 15 st L bus

5

automute 5 bus

pre3

pre(3)4

pre 5

pre(5)6

pre7

pre(7)8

pre9

pre(9)10

pre11

pre(11)12

pre 13

pre(13)14

pre15

pre(15)16

Post Fader (Default)

Pre Fader

Pre EQ,Postmute

Pre EQ, Pre insert

Post EQ

0

l

r

0

l

r

0

l

r

0

l

r

0

l

r

0

l

r

0

l

r

0

00

l

r

Operators Manual - Page 37

insert M1

return

send

SIENA - MIX OUTPUT MODULE

BLOCK DIAGRAM

mix1stLbus

solo logic bus

stereo

10

5

0

20

15

30

40

+21

+18

+15

+12

+9

+6

+3

0

-3

-6

-9

-12

-15

-18

-21

-24

mix 1 meter

mix 1 mono bus

stereo

MUTE

left bus

right bus

L

R

mix right solo bus

mix pfl bus

mix left solo bus

mix 1

+10dB

insert M2

return

send

mix2stRbus

10

5

0

20

15

30

40

+21

+18

+15

+12

+9

+6

+3

0

-3

-6

-9

-12

-15

-18

-21

-24

mix 2 meter

mix 2 mono bus

MUTE

mix 2

+10dB

SOLO

c

l

r

pan

direct

1

0

+6

SOLO

direct

2

direct post L

direct post R

direct post mono

solo to Helix interface1

solo to Helix interface 2

Note: Pan and stereo assign switch only occur on mix outputs 9-16

insert in

mix 1-8 only

5

automute 5 bus

5

automute 5 bus

0

+6

direct post mono

mono/stereo solo control

Operators Manual - Page 38

insert ML

return

send

SIENA - MASTER MODULE

BLOCK DIAGRAM

left bus

solo logic bus

SOLO

+10

0

generator

0

+10

phones

local

monitor

mic

talk

on

external

mix 1

on

auto

mute

masters

3

2

10

5

0

20

15

30

40

+21

+18

+15

+12

+12+9+9

+6

+3

0

-3

-6

-9

-12

-15

-18

-21

-24

left

right

master meters

+15

+60

50

150

5k

500

freq

0

+20

direct

input

1

2

3

1

right solo bus

pfl bus

left solo bus

master L

master R

master L

+10dB

master R

right bus

10

5

0

20

15

30

40

insert MR

return

send

10

5

0

+10dB

MUTE

monitor L

monitor R

MUTE

right

MUTE

left

talk in

talk out

OSC

mix1 mono bus

stereo

right bus

left bus

mix 3

mix 5

mix 7

4

automute 1 bus

automute 2 bus

automute 3 bus

automute 4 bus

left bus

right bus

left

right

-20dB

direct

(dim)

pfl out

+48V

phantom

+21

+18

+15

+12

+12+9+9

+6

+3+30

0

-3

-6

-9

-12

-15

-18

-21

-24

left

right

solo meters

+20dB

phones

mix1 st L bus

direct in L

direct in R

5

automute 5 bus

0

+6

direct

to masters

direct

direct post R

direct post L

mix3 mono bus

mix3 st L bus

mix5 mono bus

mix5 st L bus

mix7 mono bus

mix7 st L bus

mix 2

mix2 mono bus

mix 4

mix 8

mix2 st R bus

mix4 mono bus

mix4 st R bus

mix6 mono bus

mix6 st R bus

mix8 mono bus

mix8 st R bus

mix 6

mix 9

mix9 mono bus

mix 11

mix 13

mix 15

mix9 st L bus

mix11 mono bus

mix11 st L bus

mix13 mono bus

mix13 st L bus

mix15 mono bus

mix15 st L bus

mix 10

mix10 mono bus

mix 12

mix 16

mix10 st R bus

mix12 mono bus

mix12 st R bus

mix14 mono bus

mix14 st R bus

mix16 mono bus

mix16stRbus

mix 14

direct post mono

mono

monitor

MUTE

mono

SOLO

solo clear

solo logic bus

solo add

solo logic bus

SOLO

solo to helix L

solo to helix R

M5

automute 5 bus

M5

PFL

mix right solo bus

mix pfl bus

mix left solo bus

PFL

solo logic bus

MUTE

direct input

input

output

SOLO

MUTE

mix left solo bus

mix right solo bus

pfl bus

left solo bus

right solo bus

mix pfl bus

Dimensions and

Weights

Operators Manual - Page 39

Dimensions and Weights

Operators Manual - Page 40

Rear panel

Description

Operators Manual - Page 41

Solo

Tracking

System and

data

indicator

Rear Panel Description

Operators Manual - Page 42

Internal switching

mode power supply

mains inlet

1

External

linear

power

supply

connector

Lamp connector

Output module

Recessed lamp clip

Model shown Siena 480

1

Refer to specifications for PSU fitting option

Input module

Specification and

Features

Operators Manual - Page 43

Quarter Inch Jack

TRS Signal TRS Insert TRS Headphone

Sleeve Screen/Ground Screen/Ground Screen/Ground Ring Cold Signal Insert Return Right Tip Hot Signal Insert Send Left

Siena FeaturesSiena Features

XLR

Pin 1 - Screen/Ground Pin 2 - Hot Signal Pin 3 - Cold Signal

Note: Sockets are viewed from the front

face.

Operators Manual - Page 44

The following list of features is based upon the 48-channel frame size console.

48 mono input channels 16 Mix Bus Outputs Mono Channels: 4 Swept Frequency Bands (Treble, Hi Mid, Lo Mid, Bass) 48 volt phantom power independently switched on each channel (always enabled on talk mic) Hi-Pass filter on all inputs (Variable 20Hz to 400Hz) Signal Generator 48 Switched Channel Inserts 16 Switched Mix Bus Inserts 48 Direct Outputs (Five jumper selectable source options) Solo Tracking System

Microphone XLR(f) 1k5 ohm Yes Variable (+21dBu w/pad) 48 Ch Line Input 1/4” TRS Jack 10k ohm Yes Variable (+36dBu w/pad) 48 Direct Input 1/4” TRS Jack 10k ohm Yes Variable (+26dBu) 2 Talk Mic XLR(f) 1k5 ohm Yes Variable (+6dBu) 1 Talk Input XLR(f ) 10k ohm Yes 0dBu (+21dBu) 1

Direct Out 1/4” TRS Jack 100 ohm Imp Bal. 0dBu (+21dBu) 48 Mix Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 16 Talk Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 1 Master Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 2 (LR) Monitor Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 3 (LRM) PFL Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 1 Headphones 1/4” TRS Jack To drive headphones > 100 ohm +10dBu (+21dBu) 1

Input 1/4” TRS Jack 50/10k ohm (s/r) No 0dBu (+21dBu) (send/ret) 48 Mix 1/4” TRS Jack 50/10k ohm (s/r) No 0dBu (+21dBu) (send/ret) 16 Master 1/4” TRS Jack 50/10k ohm (s/r) No 0dBu (+21dBu) (send/ret) 2

Total XLR input count 50 Total Jack input count 50

Total XLR output count 23 Total Jack output count 49

Total insert count 66

The 48-channel Siena features:

Type Connector Impedance Balanced Level Nom(Max) No.

Inputs

Outputs

Inserts

12

3

1

2

3

Siena SpecificationSiena Specification

Internal Power Supply

Type Switching Line Voltage 90 - 240V AC Line Frequency 50/60Hz

Input Impedance

Microphone 1k5 ohm Balanced Line 10k ohm Balanced

Input Gain (all faders at 0dB)

Microphone Continuously variable from +15dB to +60dB Microphone + Pad Continuously variable from 0dB to +45dB Channel Line Continuously variable from 0dB to +45dB

(-15dB to +30dB Pad enabled)

Direct Inputs Continuously variable from off to +20dB

Maximum Input Level

Mic +6dBu Mic + Pad +21dBu Channel Line +21dBu (+36dBu pad enabled)

CMR at 100Hz

Microphone (Gain +40dB) Typ 95dB Microphone + Pad (Gain 0dB) Typ 80dB Line (Gain 0dB) Typ 80dB

CMR at 1kHz

Microphone (Gain +40dB) Typ 95dB Microphone + Pad (Gain 0dB) Typ 80dB Line (Gain 0dB) Typ 80dB

Frequency Response (20Hz to 20kHz)

Microphone to Mix +0 to -1dB

Noise 20Hz to 20kHz Microphone EIN ref. 150 ohms (Gain +60dB) -129dBu

System Noise (20Hz to 20kHz)

Summing Noise (48 channels routed with faders down) -80dB

Line to Mix Noise (48 channels routed at 0dB, pan centre) -75dB

Distortion at 1kHz

Microphone to Mix (Gain +40dB, 0dBu output) <0.03%

Crosstalk at 1kHz

Channel to Channel < -100dB Mix to Mix < -85dB Channel to Mix < -85dB Max. Fader Attenuation > 100dB Max. Mute Attenuation > 100dB

Output Impedance

All Line Outputs 50 ohms Balanced Source to drive > 600 Ohms Direct Output 100 ohms impedance balanced Insert Output 50 ohms unbalanced Headphones to drive > 100 ohms

Maximum Output Level

All Line Outputs +21dBu Headphones +21dBu

Nominal Signal Level

Microphone -60dBu to 0dBu Line 0dBu Headphones +10dBu

Operators Manual - Page 45

Siena SpecificationSiena Specification

Equalisation

Hi-pass slope 12dB/octave

Treble Band Cut/Boost +/-15dB

Frequency range 2kHz to 20kHz

Hi Mid Band Cut/Boost +/-15dB

Frequency range 400Hz to 8kHz Bandwidth 1 Octave

Lo Mid Band Cut/Boost +/-15dB

Frequency range 100Hz to 2kHz Bandwidth 1 Octave

Bass Band Cut/Boost +/-15dB

Frequency range 20Hz to 400Hz Bandwidth 1 Octave

Power Supply Information

The number of power supplies shipped as standard with the Siena varies with the frame size as follows:

24 1 0 NO 32 - 56 2 0 YES 64 2 1 YES

The internal supplies on the 64 channel Siena should be switched on at approximately the same time so that excessive load is not applied to any single supply.

The external power supply can be used to add or increase redundancy or to replace the internal supplies. The external supply has a “daisy chain” facility (as shown below) allowing for a number of power supplies to be used together adding redundancy to the system in the event of a power supply failing.

Connection 6 Pin Male XLR

Pin 1 0V Analogue Pin 2 +18V Analogue Pin 3 -18V Analogue Pin 4 +12V Gooseneck Light Pin 5 +48V Phantom Pin 6 0V Gooseneck Light Case Chassis

Under NO circumstances should the Venice series power supply be used with the Siena. Only the Midas V190 Linear External Power Supply is approved for use with Siena consoles.

Both the Siena and the Midas V190 linear external power supply both contain potentially lethal voltages and should only be serviced by authorised Midas service agents. In the event of malfunction, please refer servicing to qualified personnel. Contact your Midas dealer for more information.

Channels Internal External Redundancy

Servicing and Maintenance

Due to a policy of continual improvement, Midas reserves the right to alter the specification and performance at any time without prior notification.

Operators Manual - Page 46

Low

DCOutput/ Link

Power

Mains

48V

+

8V

1

_ 8V 1

2V

+

1

PUSHPUSH

Low

DCOutput/ Link

Power

Mains

48V

+

8V

1

_ 8V 1

2V

+

1

PUSHPUSH

BEFOREAPPLYINGMAINS.

CHECKVOLTAGESELECTOR

100V/120V/220V/240V

FUSE:5x20mm T5AL250V

AC~50-60Hz460W

SUPPLY VOLTAGE

CAUTION:

FORCONTINUEDPROTECTIONAGAINST RISK OFFORCONTINUED PROTECTION AGAINST RISK OF

FIREREPLACEWITHTHE SAME TYPE AND VALUE FUSE INDICATED.FIREREPLACEWITHTHESAMETYPEAND VALUE FUSE INDICATED.

ATTENTION:

REMPLACERPARUMFUSIBLE DE MÊME TYPEREMPLACERPARUMFUSIBLE DE MÊME TYPE

COMMEINDIQUÉ.

CAUTION

RISKOFELECTRICSHOCK

DONOTOPEN

NOUSERSERVICEABLEPARTS INSIDE REFER SERVICING TO QUALIFIEDSERVICEPERSONNEL.

DONOTEXPOSETHIS APPLIANCE TO RAIN OR MOISTURE

TOREDUCETHERISK OF ELECTRIC SHOCK,

WARNING:

RISQUEDECHOCELECTRIQUE. NE PAS OUVRIR.

AVIS:

THISDEVICECOMPLIESWITH PART15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING CONDITIONS: (1)THISDEVICEMAYNOT CAUSE HARMFUL INTERFERENCE, AND (2)THISDEVICEMUST ACCEPT ANY INTERFERENCE RECEIVED,INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

DCOutput/ Link

Pin6-

0VL

Pin1Pin2Pin3Pin4Pin5-

0VA +

8V

1

_

8V 1

2V

+

1

48V

+

MADEINKIDDERMINSTER,ENGLAND

CUS

PUSH

BEFOREAPPLYINGMAINS.

CHECKVOLTAGESELECTOR

100V/120V/220V/240V

FUSE:5x20mm T5AL250V

AC~50-60Hz460W

SUPPLY VOLTAGE

CAUTION:

FORCONTINUEDPROTECTIONAGAINST RISK OFFORCONTINUED PROTECTION AGAINST RISK OF

FIREREPLACEWITHTHE SAME TYPE AND VALUE FUSE INDICATED.FIREREPLACEWITHTHESAMETYPEAND VALUE FUSE INDICATED.

ATTENTION:

REMPLACERPARUMFUSIBLE DE MÊME TYPEREMPLACERPARUMFUSIBLE DE MÊME TYPE

COMMEINDIQUÉ.

CAUTION

RISKOFELECTRICSHOCK

DONOTOPEN

NOUSERSERVICEABLEPARTS INSIDE REFER SERVICING TO QUALIFIEDSERVICEPERSONNEL.

DONOTEXPOSETHIS APPLIANCE TO RAIN OR MOISTURE

TOREDUCETHERISK OF ELECTRIC SHOCK,

WARNING:

RISQUEDECHOCELECTRIQUE. NE PAS OUVRIR.

AVIS:

THISDEVICECOMPLIESWITH PART15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING CONDITIONS: (1)THISDEVICEMAYNOT CAUSE HARMFUL INTERFERENCE, AND (2)THISDEVICEMUST ACCEPT ANY INTERFERENCE RECEIVED,INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

DCOutput/ Link

Pin6-

0VL

Pin1Pin2Pin3Pin4Pin5-

0VA +

8V

1

_

8V 1

2V

+

1

48V

+

MADEINKIDDERMINSTER,ENGLAND

CUS

PUSH

To console

PSU 1

PSU 2

Front View

Rear View

To subsequent supplies

Crib Sheet InputCrib Sheet Input

Notes:

0

l r

0

l r

0

l r

0

l r

0

10

5

0

20

15

30

40

pan

stereo

lr

c

3-4

pre

5-6

pre

-8

7

pre

-21

15-16

pre

0

11-12

pre

0

lr

0

lr

0

lr

0

lr

13-14

pre

0

9-1

pre

15

ins

mic gain

300 1k

2k

2050400

4003k8k

1k

2k

5k

20k

2060400

padpower

48v

eq on

eq

mix pre

off

treble

hi-mid

lo-mid

bass

hi-pass

mic

O

30

45

60

160

10k

100

15

001

0

81

21

1

2

3

4

mute

auto

5

MUTE

SOLO

0

l r

0

l r

0

l r

0

l r

0

10

5

0

20

15

30

40

pan

stereo

lr

c

3-4

pre

5-6

pre

-8

7

pre

-21

15-16

pre

0

11-12

pre

0

lr

0

lr

0

lr

0

lr

13-14

pre

0

9-1

pre

15

ins

mic gain

300 1k

2k

2050400

4003k8k

1k

2k

5k

20k

2060400

padpower

48v

eq on

eq

mix pre

off

treble

hi-mid

lo-mid

bass

hi-pass

mic

O

30

45

60

160

10k

100

15

001

0

81

21

1

2

3

4

mute

auto

5

MUTE

SOLO

0

l r

0

l r

0

l r

0

l r

0

10

5

0

20

15

30

40

pan

stereo

lr

c

3-4

pre

5-6

pre

-8

7

pre

-21

15-16

pre

0

11-12

pre

0

lr

0

lr

0

lr

0

lr

13-14

pre

0

9-1

pre

15

ins

mic gain

300 1k

2k

2050400

4003k8k

1k

2k

5k

20k

2060400

padpower

48v

eq on

eq

mix pre

off

treble

hi-mid

lo-mid

bass

hi-pass

mic

O

30

45

60

160

10k

100

15

001

0

81

21

1

2

3

4

mute

auto

5

MUTE

SOLO

0

l r

0

l r

0

l r

0

l r

0

10

5

0

20

15

30

40

pan

stereo

lr

c

3-4

pre

5-6

pre

-8

7

pre

-21

15-16

pre

0

11-12

pre

0

lr

0

lr

0

lr

0

lr

13-14

pre

0

9-1

pre

15

ins

mic gain

300 1k

2k

2050400

4003k8k

1k

2k

5k

20k

2060400

padpower

48v

eq on

eq

mix pre

off

treble

hi-mid

lo-mid

bass

hi-pass

mic

O

30

45

60

160

10k

100

15

001

0

81

21

1

2

3

4

mute

auto

5

MUTE

SOLO

0

l r

0

l r

0

l r

0

l r

0

10

5

0

20

15

30

40

pan

stereo

lr

c

3-4

pre

5-6

pre

-8

7

pre

-21

15-16

pre

0

11-12

pre

0

lr

0

lr

0

lr

0

lr

13-14

pre

0

9-1

pre

15

ins

mic gain

300 1k

2k

2050400

4003k8k

1k

2k

5k

20k

2060400

padpower

48v

eq on

eq

mix pre

off

treble

hi-mid

lo-mid

bass

hi-pass

mic

O

30

45

60

160

10k

100

15

001

0

81

21

1

2

3

4

mute

auto

5

MUTE

SOLO

0

l r

0

l r

0

l r

0

l r

0

10

5

0

20

15

30

40

pan

stereo

lr

c

3-4

pre

5-6

pre

-8

7

pre

-21

15-16

pre

0

11-12

pre

0

lr

0

lr

0

lr

0

lr

13-14

pre

0

9-1

pre

15

ins

mic gain

300 1k

2k

2050400

4003k8k

1k

2k

5k

20k

2060400

padpower

48v

eq on

eq

mix pre

off

treble

hi-mid

lo-mid

bass

hi-pass

mic

O

30

45

60

160

10k

100

15

001

0

81

21

1

2

3

4

mute

auto

5

MUTE

SOLO

0

l r

0

l r

0

l r

0

l r

0

10

5

0

20

15

30

40

pan

stereo

lr

c

3-4

pre

5-6

pre

-8

7

pre

-21

15-16

pre

0

11-12

pre

0

lr

0

lr

0

lr

0

lr

13-14

pre

0

9-1

pre

15

ins

mic gain

300 1k

2k

2050400

4003k8k

1k

2k

5k

20k

2060400

padpower

48v

eq on

eq

mix pre

off

treble

hi-mid

lo-mid

bass

hi-pass

mic

O

30

45

60

160

10k

100

15

001

0

81

21

1

2

3

4

mute

auto

5

MUTE

SOLO

0

l r

0

l r

0

l r

0

l r

0

10

5

0

20

15

30

40

pan

stereo

lr

c

3-4

pre

5-6

pre

-8

7

pre

-21

15-16

pre

0

11-12

pre

0

lr

0

lr

0

lr

0

lr

13-14

pre

0

9-1

pre

15

ins

mic gain

300 1k

2k

2050400

4003k8k

1k

2k

5k

20k

2060400

padpower

48v

eq on

eq

mix pre

off

treble

hi-mid

lo-mid

bass

hi-pass

mic

O

30

45

60

160

10k

100

15

001

0

81

21

1

2

3

4

mute

auto

5

MUTE

SOLO

Midas SIENA Operator's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual