Peavey S-24 User Manual

S-24

™

Mixing Console Operating Guide

For more information on other great Peavey products, go to your local Peavey dealer or online at www.peavey.com

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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.

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

CCAAUUTTIIOONN::

Risk of electrical shock — DO NOT OPEN!

CCAAUUTTIIOONN::

To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside.

Refer servicing to qualified service personnel.

WWAARRNNIINNGG::

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.

PPRREECCAAUUCCIIOONN::

Riesgo de descarga eléctrica ¡NO ABRIR!

PPRREECCAAUUCCIIOONN::

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.

AADDVVEERRTTEENNCCIIAA::

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.

Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur la présence d’une tension dangereuse
pouvant être d’amplitude suffisante pour constituer un risque de choc électrique.

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.

AATTTTEENNTTIIOONN::

Risques de choc électrique — NE PAS OUVRIR!

AATTTTEENNTTIIOONN::

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.

AAVVEERRTTIISSSSEEMMEENNTT

: 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.

Dieses Symbol soll den Anwender vor unisolierten gefährlichen Spannungen innerhalb des Gehäuses
warnen, die von Ausreichender Stärke sind, um einen elektrischen Schlag verursachen zu können.

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

VVOORRSSIICCHHTT::

Risiko — Elektrischer Schlag! Nicht öffnen!

VVOORRSSIICCHHTT::

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.

AACCHHTTUUNNGG::

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

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

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IIMMPPOORRTTAANNTT SSAAFFEETTYY IINNSSTTRRUUCCTTIIOONNSS

WWAARRNNIINNGG::

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

1 1⁄

2

102

1 105

1

⁄

2

110

1

⁄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.

SSAAVVEE TTHHEESSEE IINNSSTTRRUUCCTTIIOONNSS!!

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S-24™Mixing Console

Description

The S-24 Sanctuary Series is a 21 channel mixing console specifically designed to meet the needs of churches, schools and 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-24 mixing system meets these
challenges by incorporating a unique set of features which not only make it easier to achieve outstanding sound quality, but also
simplify normal operation. In many applications, the S-24 can simply be pre-set, leaving the mix to the system’s automatic circuitry.

One of the S-24’s innovations is Automix

™

, 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-24 a natural for churches, auditoriums and
small conference rooms because it simplifies operation, reduces feedback and improves intelligibility. A compression circuit on these
patent-pending channels helps keep things from getting too loud, and 18 dB/octave low-cut filters remove rumble and handling
noise.

Another feature unique to Peavey Electronics is a new type of mid-equalization control called the Mid-Morph

™

(patent pending). 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 Monitor 1 and Monitor 2. The first 18
channels also have sends to the internal effects. LEDs light to show the presence of signal and the status of the channel. The
microphone preamps use our highly acclaimed low noise discrete transistor circuitry.

The three stereo channels (19/20, 21/22 and 23/24) 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. Complementing 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-24 system also includes the award-winning
Feedback Ferret

®

circuitry that automatically eliminates acoustic feedback on the Main and Monitor 1 outputs. To improve the
quality of the audio mix and to make the S-24 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-24 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-24 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.
Although the reduced dynamic range makes for easier listening at low to mid volumes, the AUTO-LEVEL circuit can be disabled if
not needed. To further enhance these outputs, the S-24 has a dedicated Ambient mic input to add congregational singing, the piano
or organ and other sound from the room to the recording and remote signals.

ENGLISH

5

CHANNEL & MASTER FUNCTIONS

The headphone amplifier with headphone/meter selector switch is another important tool for setting and operating the S-24™. 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.

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

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1. COMPRESSOR THRESHOLD: The first four channels have auto-mixing and compressor capabilities when

assigned to the pulpit or wireless group. These soft-knee compressors are 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 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 active tone control that adjusts treble frequency levels (+/-15 dB at 10 kHz).

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 4 kHz to add intelligibility to vocals. Either way, improved vocal or instrument
definition can be achieved.

5. LOW EQ: This is a shelving-type active tone control that adjusts bass frequency levels (+/-15 dB at 70 Hz).

It will add depth to thin signals or clean up overly thick ones.

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3

4

5

7

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6. MONITOR SEND (1–2): The monitor sends adjust the level of the channel signal added to the monitor mix. For

the Automix channels 1-4, the monitor send is post EQ, post fader, post Automix

™

. On channels 5-24, the monitor

sends are post-EQ, pre-fader. 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.

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8. GROUP (PRIORITY) ASSIGNMENT: This switch determines which group receives the channel signal.

The first two channels are always assigned to the Automix 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 Automix group and the solo group. The solo group has a high-pass filter to
remove rumble and low frequency noise. Channels 5 through 18 can be assigned to either the solo group or
the choir (normal) group.

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 +19
dBu and warns that gain or EQ boost should be reduced. There is roughly 2 dB of headroom remaining when
it lights. If the mute switch is depressed, it lights continuously to indicate that the channel is off.

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8

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 0 dB. 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 -20 dB). On the remaining channels the fader scale is from off to +10 dB 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 -20 dBu, 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 Automix group, this light indicates that the channel is

active and is a dominant Automix 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 Automix 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 if someone speaks 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.

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15

16

12

13

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15. MONITOR BLEND: The Monitor Blend control adjusts the mix of the left and right inputs sent to both the

Monitor 1 and Monitor 2 outputs. Setting this control in the center equally blends the left and right input into
the 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 19/20, 22/23 and 23/24 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.

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Master Functions:

17. PHANTOM POWER: Applies +48 VDC 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 S-24 setup instructions later in this manual for detail
instructions on setting the Ferret.

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19

20

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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 and 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. AMBIENCE MIC MUTE: The Ambience mic input is used to add room ambience, such as congregational

response, singing and organ, to the Remote and Record outputs. The Gain Control for this input is on the
back panel of the S-24 mix console. The Mute Control removes this signal from these outputs.

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25. OFF-LEVEL 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 (off).

26. 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

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illuminates at peaks and is not consistently on. To
disable compression, set the control to maximum
(full clockwise).

27. GROUP MUTE: The Solo and Choir/Inst Group

mute controls disable the signal from these input
groups going to the main Left/Right outputs. You
may also want to mute the Effects at the same
time. The Mute LED lights when the group is
muted.

28. 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).

29. 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.

30. 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.

31. 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

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