Peavey S-14P, S-14 User Manual

S-14™/S-14P

™

Mixing Console Operating Guide

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Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

CAUTION: CAUTION:

Risk of electrical shock — DO NOT OPEN! To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside.

Refer servicing to qualified service personnel.

WARNING:

To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture.

Before using this appliance, read the operating guide for further warnings.

Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” sin aislamiento dentro de la caja del producto y que puede tener una magnitud suficiente como para constituir riesgo de descarga eléctrica.

Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la operación y mantenimiento en la información que viene con el producto.

PRECAUCION: PRECAUCION:

Riesgo de descarga eléctrica ¡NO ABRIR! Para disminuír el riesgo de descarga eléctrica, no abra la cubierta. No hay piezas útiles

dentro. Deje todo mantenimiento en manos del personal técnico cualificado.

ADVERTENCIA:

Para evitar descargas eléctricas o peligro de incendio, no deje expuesto a la lluvia o

humedad este aparato Antes de usar este aparato, Iea más advertencias en la guía de operación.

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Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur qu’il ou qu’elle trouvera d’importantes instructions concernant l’utilisation et l’entretien de l’appareil dans le paragraphe signalé.

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Afin de réduire le risque de choc électrique, ne pas enlever le couvercle. Il ne se trouve à l’intérieur aucune pièce pouvant être reparée par l’utilisateur. Confiez I’entretien et la réparation de l’appareil à un réparateur Peavey agréé.

AVERTISSEMENT

: Afin de prévenir les risques de décharge électrique ou de feu, n’exposez pas cet appareil à la pluie ou à l’humidité. Avant d’utiliser cet appareil, lisez attentivement les avertissements supplémentaires de ce manuel.

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Dieses Symbol soll den Benutzer auf wichtige Instruktionen in der Bedienungsanleitung aufmerksam machen, die Handhabung und Wartung des Produkts betreffen.

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Risiko — Elektrischer Schlag! Nicht öffnen!

Um das Risiko eines elektrischen Schlages zu vermeiden, nicht die Abdeckung enfernen. Es befinden sich keine Teile darin, die vom Anwender repariert werden könnten. Reparaturen nur von qualifiziertem Fachpersonal durchführen lassen.

ACHTUNG:

Um einen elektrischen Schlag oder Feuergefahr zu vermeiden, sollte dieses Gerät nicht dem

Regen oder Feuchtigkeit ausgesetzt werden. Vor Inbetriebnahme unbedingt die Bedienungsanleitung lesen.

IMPORTANT SAFETY INSTRUCTIONS

WARNING:

When using electrical products, basic cautions should always be followed, including the following:

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 manufacturer’s 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 plug. The wide blade or third prong is 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 they exit from the apparatus.

11. Note for UK only: If the colors of the wires in the mains lead of this unit do not correspond with the terminals in your plug‚ proceed as follows:

a) The wire that is colored green and yellow must be connected to the terminal that is marked by the letter E‚ the earth symbol‚ colored green or colored green and yellow.

b) The wire that is colored blue must be connected to the terminal that is marked with the letter N or the color black. c) The wire that is colored brown must be connected to the terminal that is marked with the letter L or the color red.

12. Only use attachments/accessories provided by the manufacturer.

13. Use only with a 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.

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

15. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been 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, or has been dropped.

16. Never break off the ground pin. Write for our free booklet “Shock Hazard and Grounding.” Connect only to a power supply of the type marked on the unit adjacent to the power supply cord.

17. If this product is to be mounted in an equipment rack, rear support should be provided.

18. Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a sufficient time. The U.S. Government’s Occupational and Health Administration (OSHA) has specified the following permissible noise level exposures:

Duration Per Day In Hours Sound Level dBA, Slow Response

890 692 495 397 2 100

11⁄

1 105

⁄

⁄4or less 115

According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Ear plugs or protectors to the ear canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss, if exposure is in excess of the limits as set forth above. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels such as this amplification system be protected by hearing protectors while this unit is in operation.

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ENGLISH

S14/S14P Mixing Console

Description

The S-14 is a twelve channel, rack mountable, mixing console specifically designed to meet the needs of churches, schools, and small public venues. The challenge of these applications is to provide high quality sound where the experience of the operator ranges from novice to experienced. In many cases, these sound systems are used without an operator. The S-14 Sanctuary Series mixing system meets these challenges by incorporating a unique set of features which not only make it easier to achieve outstanding sound quality, but simplify normal operation. In many applications, the S-14 can simply be preset, leaving the mix to the system’s automatic circuitry.

One of the S-14’s innovations is an automatic mixing function provided on the first four channels. Once set-up is complete, the automatic mixer watches the incoming levels and automatically turns down unused and low priority inputs to give dominance to the main microphone. This gain-sharing, automix technology makes the S-14 a natural for churches, auditoriums and small conference rooms because it simplifies operation, reduces feedback, and improves intelligibility. A compression circuit on these channels helps keep things from getting too loud and 18 dB/octave low-cut filters remove rumble and handling noise.

Another feature found only in this mixer is a new type of mid equalization control called the Mid-Morph. This control is actually two mid controls in one. When cut, it pulls out low mid frequencies that causes the sound to be thick and muddy; when boosted, it shifts to an upper mid frequency that brightens the vocal range.

All channels have three band equalization, assignment selection, mute, and post-fader sends to Monitor1 and Monitor2. The first ten channels also have sends to the internal effects. LEDs light to show the presence of signal and the status of the channel. The microphone pre-amps use our highly acclaimed low noise discrete transistor circuitry.

Channel 10 can be used as a normal channel or as an ambient (congregational) pick-up channel for recording or radio feeds. When it is assigned to the Record and Aux outputs, the main, monitor and effects sends on this channel are disabled.

The two stereo channels (11/12 and 13/14) have input selection switches rather than group assign switches. The user can use these three position input selector switches to send the left and right inputs in stereo, the left input only or the right input only to the main outputs. The two mono input modes make it easy to work with split sound tracks that have the music on one channel and the vocals on the other. Complimenting this feature, the Monitor Blend control allows a mix of the vocal and instrument tracks to be sent to the monitors. This allows the vocal track to be mixed with accompaniment in the monitors but still have only the accompaniment track in the main sound system. (This works great for the children’s choir)

High-quality digital reverb is provided internally, with four presets and a mute. The S-14 system also includes the award-winning‚ Feedback Ferret circuitry that automatically eliminates acoustic feedback on the Main and Monitor1 outputs. To improve the quality of the audio mix and to make the S-14 system easier to operate, the Choir and Vocal sub groups have adjustable noise reduction and dynamic-range compression controls. The solo group also features a low-cut filter that reduces rumble and microphone handling noise. The choir group is full range to accommodate other microphones and instruments.

To improve the definition of vocals and spoken word, a specially designed high frequency enhancement circuit is provided. This Vocal Enhancement can have a subtle but pleasing impact on the overall sound quality. This affects all sub groups (pulpit, solo, and choir) but not the two stereo line channels.

To enhance the flexibility of these products, the output configuration of the S-14 can be set for stereo or dual mono operation. In stereo mode, the left and right master faders and outputs work the same as a conventional stereo mixer. Because many sound systems are monaural, the dual-mono mode allows the left and right outputs to work independently providing an additional output with master control.

In addition to the main and monitor outputs, the S-14 also has a stereo Record and monaural Auxiliary output. These outputs each have their own level controls that can be used for applications such as recording, broadcast, lobby, nursery or cry-rooms. These outputs are independent of the master L/R fader signals and feature an AUTO-LEVEL circuit that compresses the dynamic range and reduces noise. Although the reduced dynamic range makes for easier listening at low to mid volumes the AUTO-LEVEL circuit can be disabled if not needed.

The headphone amplifier with headphone/meter selector switch is another important tool for setting and operating the S-14. The user can listen to and observe the level of the main L/R output, hear the mix and monitor the level to Monitor outputs 1 and 2, or listen to the stereo channels to cue tapes or CDs without sending the signal to the house or monitor amplifiers.

The S-14P has all of the above features and includes a dual 500 Watt power amplifier. The back panel power amplifier mode switch allows its use as a stereo amplifier or one amplifier for the main system and second for monitors.

Note: As in all professional audio products, the performance is only as good as the installation allows. Please take the time to read this manual to best understand how this product should be installed and adjusted for optimal performance.

CHANNEL & MASTER FUNCTIONS

1. COMPRESSOR THRESHOLD: The first four channels have auto-mixing and compressor capabilities when assigned to the pulpit or wireless group. These soft-knee are compressors designed to keep levels from getting out of hand. The threshold control sets the level at which compression begins. The CMP LED located beside the channel’s fader lights to indicate that compression is taking place. To set it, start with the control fully clockwise and turn it down to the point that the LED lights only on the occasional peaks. If compression is not required, set this control to maximum. Compression is only available on channels 3 or 4 if they are assigned to the pulpit group.

2. GAIN: This control establishes the nominal operating level for the channel. The input gain can be adjusted over a wide range to compensate for soft voices or very loud drums. To maximize the signal to noise ratio, the gain should be set for proper level with the channel fader set to 0. If the signal present LED rarely lights or the clip LED comes on, it might be time to redo the system setup.

3. HI EQ: This is a shelving type of active tone control that adjusts treble frequency levels (+/-15dB at 10KHz). It is designed to remove noise or to add brilliance to the signal, depending on the quality of the source.

4. MID-MORPH EQ: Where most mid-range controls work at just one frequency, the Mid-Morph works at two. When turned counterclockwise, it cuts at 225 Hz to reduce frequencies that muddy the sound. When turned clockwise, it boosts at 4KHz to add intelligibility to vocals. Either way, improved vocal or instrument definition can be achieved.

5. LOW EQ: This is a shelving type of active tone control that adjusts bass frequency levels (+/-15dB at 70Hz). It will add depth to thin signals, or clean up overly thick ones.

6. MONITOR SEND (1–2): The monitor sends adjust the level of the channel signal added to the monitor mix. They are post-EQ, post-fader, and follow the channel’s level. The center detent is the unity gain (nominal) position.

7. EFFECTS SEND: This adjusts the level of the channel signal (post-EQ, post-fader) added to the effects mix. The signal is sent to the internal effects processor and to a master effects send output jack on the rear panel. If the internal effects are not needed, this send can be used as an additional output for monitors or external processing. The center detent is the unity gain (nominal) position.

8. GROUP (PRIORITY) ASSIGNMENT: This switch determines which group receives the channel signal. The first two channels are always assigned to the auto-mix group, so this switch sets the priority, with the wireless position being the highest. The dominance of a channel is determined both by the level of the signal through its channel compared to others and by the priority setting of the channel. Setting a microphone to the wireless position, gives it precedence over a fixed microphone set to pulpit. Using this approach reduces the comb-filtering effects that occur when both microphones pick up the same person speaking. Channels 3 and 4 are selectable between the auto-mix group and the solo group. The solo group has a high-pass filter to remove rumble and low frequency noise. Channels 5 through 9 can be assigned to either the solo group or the choir (normal) group. Channel 10 can be assigned to the choir group or sent directly to the record output circuitry. This allows it to be used as an ambient pick-up channel for congregation singing or background crowd noise for tape or radio feeds. When it is in this mode, channel 10 is disconnected from any group sends, including main, monitor, and effect sends.

9. MUTE: Mutes all channel signals including left-right, monitor, and effects sends. This is an Off switch for the entire channel. The two stereo channels are different in that when they are muted, they can still be monitored (cued up) in the headphones and on the meters using the headphone selector.

10. MUTE/CLIP LED: This light normally indicates the channel signal level is nearing the overload point. It monitors three points for overload: the input gain stage, equalization, and post-fader gain. It illuminates at +19dBu and warns that gain or EQ boost should be reduced. There is roughly 2dB of headroom remaining when it lights. If the mute switch is depressed, it lights continuously to indicate that the channel is off.

11. FADER: This is the channel output-level control. This control works somewhat differently on the automix channels 1–4 and the remaining inputs. On channels 1–4, the fader scale is from off to 0dB. The gain on these channels is best adjusted so that feedback will not occur with the fader set at 0. The fader will then be operated in the black area (0 to ±20dB). On the remaining channels the fader scale is from off to +10dB of gain. The optimum setting for these channels is the 0 (unity gain) position. Since the monitor and effect sends receive their signal after this control, it also controls their level.

12. SIGNAL PRESENT: When the channel signal exceeds ±20dBu, this lights, giving a quick visual indication that audio is present in the channel. This light should blink on during normal use.

13. CHANNEL STATUS: On a channel assigned to the auto-mix group, this light indicates that the channel is active and is a dominant auto-mix channel. If it is not lit, it does not mean that the channel is dead, but that the level is being attenuated. If channel 3 or 4 are assigned to the solo group, the state of their status LED is meaningless. With no signal on any auto-mix channel, all four status LEDs may light since all share the same gain.

14. COMPRESSION ACTIVE: When the level set by the compressor threshold control is exceeded, compression of the signal begins. When the gain reduction exceeds 3 dB this light will illuminate. The compressor on these channels is intended to help control the dynamic range when persons speak loudly. The light should only come on during loud speech. If the light is on much of the time, the dynamic range can be unnaturally compressed and the channel will be more prone to feedback.

15. MONITOR BLEND: The Monitor Blend control adjusts the mix of the left and right inputs sent to both the Monitor1 and Monitor2 outputs. Setting this control in the center equally blends the left and right input into monitors. If a split accompaniment track is played with vocals on one track, the Monitor Blend controls the mix of vocals added to the monitors to assist the singer(s). The headphone monitor can help make this adjustment.

16. INPUT SELECT: The inputs to channels 11/12 and 13/14 can be selected as left (mono), right (mono), or normal stereo. These channels are always assigned to the mains and cannot be assigned to another sub group. This input select switch is specifically included to help when using soundtracks that are split into vocal and accompaniment tracks. The track with the music can be selected and sent to the house, while the Monitor Blend controls the blend of left and right in the monitors.

Master Functions:

17. PHANTOM POWER: Applies +48VDC voltage to the input XLR connectors to power microphones requiring it. If phantom power is used, do not connect unbalanced dynamic microphones or other devices to the XLR inputs that cannot handle this voltage. An LED indicates when phantom power is on.

18. EFFECTS SELECT: There are four pre-programmed reverbs built into the console ranging from small to large. Use this switch to select the reverb that best fits the style of music being performed.

19. EFFECTS LEVEL: The amount of the effects signal sent to the main outputs is determined by this control. The channel effects send levels must also be turned up for reverb to be present

20. EFFECTS Mute/PK LED: This LED lights when the effects send level from the channels approaches 6 dB of clipping. Reduce the channel send levels if this blinks often. This light also illuminates when the effects output is muted.

21. EFFECTS MUTE: This switch mutes the effects instantly. Although reverb can sound good on music, it can be very distracting on spoken word. This switch allows the operator to quickly mute the reverb output when vocal mics are used for speaking.

22. FEEDBACK FERRET SETUP: The Feedback Ferret has three modes of operation. Normal, when it is scanning for feedback and placing and removing notch filters; Setup, when it is establishing fixed filters that will be stored; or Bypass. When the blue LED is on, it is in the normal mode and is looking for problems to solve. If the switch is pressed and held for three seconds, the LED will flash once and the Ferret will be in the setup, or learn mode. If the switch is pressed and held for six seconds, the LED will flash twice and the Feedback Ferret is in bypass mode. Please read the S14 setup instructions later in this manual for detail instructions on setting the Ferret.

23. AUX AND REC OUTPUT LEVELS WITH AUTO-LEVEL: These are the master output controls for the Aux and Record outputs. The record output is unbalanced stereo, the aux output is balanced mono. The signal can either be unprocessed or automatically leveled with an automatic level control (AUTO-LEVEL) circuit. The AUTO-LEVEL will keep the levels within a narrow dynamic range to maintain higher average levels for tape or hearing assisted feeds. The AUTO-LEVEL circuit is enabled by depressing the concealed switches using a small tool. The circuit is active when the switch is in the depressed position.

24. NOISE REDUCTION THRESHOLD: The solo and the choir groups have adjustable threshold downward expanders that reduce noise by lowering the signal when the level drops beneath a set point. This not only cleans up background noise, but also reduces feedback problems by attenuating mics assigned to this group when there is no activity. An LED indicates that the group is being attenuated. To disable noise reduction, set the control to minimum (full counter clockwise).

25. COMPRESSION THRESHOLD: In addition to noise reduction, soft knee compression is available for both the solo and the choir groups. The threshold is adjustable to set the amount of compression desired. An LED illuminates to indicate the group is being attenuated. The control should be set so that the light only illuminates at peaks and is not consistently on. To disable compression, set the control to maximum (full clockwise).

26. VOCAL ENHANCE: The circuitry of the vocal enhance has been designed to improve clarity and definition. The frequencies have been chosen to work well with speech and singing. The amount is determined by a concealed preset switch (MIN up, MAX down).

27. MONITOR CLIP/MUTE: Mutes the monitor output. The indicator will light when it is muted. The light also cautions that the monitor signal is within 2 dB of clipping, and channel send levels or the master monitor fader level should be reduced.

28. MONITOR MASTER FADER: Sets the overall level of the signal that is sent to the monitor output jacks. The headphone/meter select switch can be used to check the output level with the meter array.

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29. MAIN LEFT AND RIGHT FADERS: These are the master left and right faders. If the main outputs are set to dual mono, both have the same signal (sum of left and right) and can be used as zone outputs for house and annex levels etc. These controls are best operated at the 0 (full up) position. It is most important that they be at 0 when channel gains are set, however they can be used to lower the overall sound level if needed.

30. CONFIGURATION: The main outputs can be configured as full stereo or as a mono sum of the left and right signals. When in dual mono mode, the left and right outputs become individual outputs, with their levels set independently by their master faders.

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