STK Professional Audio SM-16SDDR, VM-16SDDR, VM-14SDDR Owner's Manual

SM-16SDDR / VM-16SDDR
VM-14SDDR

Professional Console Powered Mixer

OWNER'S MANUAL

Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre

Delay Reverb

Delay Level

Revarb Level

Delay Time

Delay Repeat

Revarb Time

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE

SEND

RETURN

SLEEVE

SEND

RETURN

SLEEVE

SEND

RETURN

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

9

13 15

14 16

101112

BAL STEREO

Input Channels

All Left Inputs = Mono

Programs

1 -

2 -

3 -

4 -

1 -

2 -

3 -

4 -

9 - 10

15-16

11-12 13-14

Digi DDR

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GND TIP(+)

RING(-)

BAL=

UNBAL

Digi DDR Effect Processor

UNBAL=

GND TIP(+)

Digi DDR

Programs

Delay

Programs

1. Delay/ECHO
50~1000 msec

2. Delay CROSS F.B
50~1000 msec

3. Delay 3 Tap PAN
50~1000 msec

4. Delay One Short
50~1000 msec

Reverb

Programs

1. Reverb Hall
2~10 sec

2. Reverb Room

0.5~5 sec

3. Reverb Plate
1~8 sec

4. Reverb AMBIENT
200~2000msec

2

SM-16SDDR / VM-16SDDR
VM-14SDDR

Professional Console Powered Mixer

Table of Contents

1.

Introduction

................................................................................................................................................................................

3

2.

Important Safety Instructions

.................................................................................................................................

4-5

3.

Warranty Information

.......................................................................................................................................................

6

4.

Connecting Your System

.............................................................................................................................................

7-10

5.

Operating Your System

.................................................................................................................................................

10-13

6.

Panel Description

..................................................................................................................................................................

14-23

7.

Troubleshooting

....................................................................................................................................................................

24

8.

Block Diagram

.........................................................................................................................................................................

25-26

9.

Specications

..........................................................................................................................................................................

27-29

10.

Rack Bracket Mounting

.................................................................................................................................................

30-31

1.

Introduction

Congratulations and thank you for choosing a STK professional console powered mixer.

The new SM-16SDDR/VM-16SDDR/VM-14SDDR powered stereo mixing consoles are
professional quality products combining a full featured mixing console with stereo graphic
equalizers, digital signal processing and integrated stereo power amplifications. The mixer and

equalizer/amplier sections can be electronically separated allowing complete exibility in a variety
of applications. The products features oversized heat sinks along with two speed, direct air cooling
for trouble free operation under the most adverse conditions. In addition, these three kind models
have a bar graphic LED display to performance conditions. While providing powerful, accurate and
reliable performance along with outstanding value, your STK new SM-16SDDR/VM-16SDDR/
VM-14SDDR powered mixing console has been designed for many years of dependable service.
These powered mixers ideal for portable PA systems for venues and medium large live sound club,

meeting room, sanctuary, or outdoor gathering. Please take the time to read this manual before

operation so that you fully understand and correct use of this ne products.

3

4

2.

Important Safety Instructions

1. Read Instructions

All the safety and operating instructions should be read before the appliance is operated.

2. Retain Instructions

The safety and operating instructions should be retained for future reference.

3. Heed Warnings

All warnings on this appliance and in the operating instructions should be adhered to.

4. Follow Instructions

All instructions should be followed.

5. Water and Moisture

This appliance should not be used near water- for example, near a bathtub, sink, laundry tub, in a wet basement, near a swimming
pool, etc.

6. Heat

This appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including
ampliers) that produce heat.

7. Power Sources

This appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the

appliance. If you are not sure of the type of power supply to your home, consult your appliance dealer or local power company.

For appliances intended to operate from battery power, or other sources, refer to the operating instructions.

8. Polarization

If the appliance is equipped with a polarized alternating-current line plug (a plug having one blade wider than the other), this plug
will t into the power outlet only one way. This is a safety feature. If you are unable to insert the plug fully into the outlet, try
reversing the plug. If the plug should still fail to t, contact your electrician to replace your obsolete outlet. Do not defeat the safety

purpose of the polarized plug.

9. Grounding

If the appliance is equipped with a 3-wire grounding-type plug, a plug having a third (grounding) pin, this plug will only t into a
grounding-type power outlet. This is safety feature. If you are unable to insert the plug into the outlet, contact your electrician to

replace your obsolete outlet. Do not defeat the safety purpose of the grounding-type plug.

10. Power Cord Protection

Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them,

paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance.

11. Damage Requiring Service

Unplug this appliance from the wall outlet and refer servicing to qualied service personnel under the following conditions:

a. When the power-supply cord or plug is damaged.
b. If liquid has been spilled, or objects have fallen into the appliance.
c. If the appliance has been exposed to rain or water.
d. If the appliance does not operate normally by following the operating Instructions. Adjust only those controls that are

covered by the operating instructions as an improper adjustment of other controls may result in damage and will often require
extensive work by a qualied technician to restore the appliance to its normal operation.

e. If the appliance has been dropped or the cabinet has been damaged.
f. When the appliance exhibits a distinct change in performance-this indicates a need for service.

12. Servicing

Do not attempt to service this appliance yourself as opening or removing covers may expose you to dangerous voltage or other
hazards. Refer all servicing to qualied service personnel.

2.

Important Safety Instructions

5

Some common decibel ranges :

Level Example

30 Quiet library, Soft whispers

40 Living room, Refrigerator, Bedroom away from trafc

50 Light trafc, Normal ConversationAir

60 Conditioner at 20 ft., Sewing machine

70 Vacuum cleaner, Hair dryer, Noisy Restaurant

80 Average city trafc, Garbage disposals, Alarm clock at 2 ft.

13. Listening for a Lifetime

Selecting ne audio equipment such as the unit you've just purchased is only the start of your musical enjoyment. Now it's time
to consider how you can maximize the fun and excitement your equipment offers. STK PROFESSIONAL and the Electronic
Industries Association's Consumer Electronics Group want you to get the most out of your equipment by playing it at a safe level.

One that lets the sound come through loud and clear without annoying blaring or distortion and, most importantly, without

affecting your sensitive hearing.

Sound can be deceiving. Over time your hearing “comfort level” adapts to a higher volume of sound. So what sounds “normal”
can actually be loud and harmful to your hearing. Guard against this by setting your equipment at a safe level BEFORE your

hearing adapts.

To establish a safe level :

•

Start your volume control at a low setting.

•

Slowly increase the sound until you can hear it comfortably and clearly, and without distortion.

Once you have established a comfortable sound level :

•

Set the dial and leave it there.

•

Pay attention to the different levels in various recordings.

Taking a minute to do this now will help to prevent hearing damage or loss in the future. After all, we want you listening for a

lifetime.

Used wisely, your new sound equipment will provide a lifetime of fun and enjoyment. Since hearing damage from loud noise is
often undetectable until it is too late, this manufacturer and the Electronic Industries Association's Consumer Electronics Group
recommend you avoid prolonged exposure to excessive noise. This list of sound levels is included for your protection.

6

UNPACKING

As a part of our system of quality control, every STK

product is carefully inspected before leaving the factory

to insure awless appearance.

After unpacking, please inspect for any physical

damage. Save the shipping carton and all packing

materials, as they were carefully designed to reduce the

possibility of transportation damage should the unit

again require packing and shipping.

In the event that damage has occurred, immediately

notify your dealer so that a written claim to cover the

damage can be initiated with the carrier. The right to

any claim against a public carrier can be forfeited if

the carrier is not promptly notied and if the shipping

carton and packing materials are not available for

inspection by the carrier. Save all packing materials until

the claim has been settled.

STK Customer Service Department

396-43, CHEONGCHEON-DONG, BUPYEONG-GU,

INCHEON, KOREA.

TEL : [phone]~1790

FAX : [phone]

E-mail : [e-mail]

www.stkpro.com

STK LIMITED 1 YEAR WARRANTY

STK electronics are warranted to be free from defects

in materials and workmanship under normal use for a

period of 1 year from date of original purchase.

During that period, STK will at its option, repair

or replace materials at no charge if product has been

delivered to STK by a STK dealer or STK Service Center

together with the original sales receipt or other proof of

purchase.

Warranty excludes fuses, exterior nish, normal wear,

failure due to abuse, or operation outside of specified

ratings. Warranty applies to original purchaser only.

This warranty gives you specic legal rights which vary

from state to state.

For more information about warranty repair,

please contact : Customer Service Dept., The STK

Professional Audio.

FOR YOUR RECORDS

All of us at STK thank you for your expression

of confidence in STK products. The unit you have

purchased is protected by a limited 1 year warranty. To

establish the warranty, be sure to fill out and mail the

warranty card attached to your product.

For you own protection, ll out the information below for you own records.

Other Information :

3.

Warranty Information

Model Number :

Dealer :

Phone :

Serial Number :

Date Of Purchase :

Salesman :

7

On Off

VS-15

STEREO DIGITAL POWER AMPLIFIER

BRIDGE

Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre

Delay Reverb

Delay Level

Revarb Level

Delay Time

Delay Repeat

Revarb Time

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE

SEND
RETURN

SLEEVE

SEND
RETURN

SLEEVE

SEND

RETURN

1=GND,
3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+)

9

13 15

14 16

101112

BAL STEREO

Input Channels

All Left Inputs = Mono

Programs

1 -

2 -

3 -

4 -

1 -

2 -

3 -

4 -

9 - 10

15-16

11-12 13-14

Digi DDR

Post
or
pre

Post
or
pre

Sends

Monitor

Digi DDR Digi DDR Digi DDR Digi DDR Digi DDR Digi DDR Digi DDR Digi DDR

MAX

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GND TIP(+)

RING(-)

BAL=

UNBAL

Digi DDR Effect Processor

UNBAL=

GND TIP(+)

Digi DDR
Programs

Delay

Programs

1. Delay/ECHO
50~1000 msec

2. Delay CROSS F.B
50~1000 msec

3. Delay 3 Tap PAN
50~1000 msec

4. Delay One Short
50~1000 msec

Reverb
Programs

1. Reverb Hall
2~10 sec

2. Reverb Room

0.5~5 sec

3. Reverb Plate
1~8 sec

4. Reverb AMBIENT
200~2000msec

SM-16SDDR

FOR CLUB

VFX-299

SP-112M

V-3.5M

SP-118SL SP-118SL

VS-15

SP-112M

DI-2000A

Professional
Console
Powered Mixer

Right/Monitor

Speaker Outputs

2+

2

1+

1

NC

NC

Left/Main

Speaker Outputs

2+

2

1+

1

NC

NC

SP-152HSP-152H SP-152HSP-152H

Main Speaker System Main Speaker System

Rear Panel

Front Panel

DI-Box

Keyboard

Recorder

Cd Player

Mic

Effects Processor

Monitor Monitor

Monitor Amplifier

Subwoofer Amplifier

Subwoofer Speaker

Guitar

A. System Hookups

Note : The Connecting of the SM-16SDDR/VM-16SDDR/VM-14SDDR console powered mixer is nearly identical, this system
hookups will help you to understand and get the most out of all these 3 kind powered mixers. Before you begin your connections,
you must decide how you will congure your sound system, mono or stereo. Below are system variations that can be used with

your powered mixer. Carefully consider all of them to decide which system you will use.

Note : The SM-16SDDR console powered Mixers feature exible patching options which make possible more variations of setup
than are presented here. Once familiarized with the unit's capabilities, you should be able to achieve practically any setup you

desire.

1. Powered Stereo With Sub Woofer System Hook Diagram

SM-16SDDR Powered Stereo With Sub Woofer System : Set the Amp Assign switch to the stereo (out) position.
The basic stereo with sub woofer setup: One or more parallel speaker systems connected to each of the left and right sides of
the output operating in stereo. And connect the sub woofer output jack on the front panel directly to the input jack of your sub
woofer power amplier. : Addition of an externally powered monitor system.(See following Hookup diagram)

4.

Connecting Your System

8

4.

Connecting Your System

2. Powered Main+Monitors System Hookup Diagrams

VM-16SDDR Powered Main(L+R) + Monitor system : Set the Amp Assign switch to the L+R/Monitor (in) position.
Now that you have decided which mode and type of system operation you will use, The basic Main(L+R)+Monitor setup : One or

more parallel speaker systems connected to the left side for Main, and one or more parallel speaker systems connected to the right

side for Monitor system.(See following Hookup diagram)

On O

Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre

Delay Reverb

Delay Level

Revarb Level

Delay Time

Delay Repeat

Revarb Time

V

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE

SEND

RETURN

SLEEVE

SEND

RETURN

SLEEVE

SEND

RETURN

1=GND,
3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+) 1=GND,

3=COLD(-)

2=HOT(+)

9

13 15

14 16

101112

BAL STEREO

Input Channels

All Left Inputs = Mono

Programs

1 -

2 -

3 -

4 -

1 -

2 -

3 -

4 -

9 - 10

15-16

11-12 13-14

Digi DDR

Post
or
pre

Post
or
pre

Sends

Monitor

Digi DDR Digi DDR Digi DDR Digi DDR Digi DDR Digi DDR Digi DDR Digi DDR

MAX

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GND TIP(+)

RING(-)

BAL=

UNBAL

Digi DDR Eect Processor

UNBAL=

GND TIP(+)

Digi DDR
Programs

Delay

Programs

1. Delay/ECHO
50~1000 msec

2. Delay CROSS F.B
50~1000 msec

3. Delay 3 Tap PAN
50~1000 msec

4. Delay One Short
50~1000 msec

Reverb

Programs

1. Reverb Hall
2~10 sec

2. Reverb Room

0.5~5 sec

3. Reverb Plate
1~8 sec

4. Reverb AMBIENT
200~2000msec

Professional Console Powered Mixer

VM-16SDDR

FOR HOUSE OF WORSHIP

DI-Box

Keyboard

VFX-299

DI-2000A

Recorder

Cd Player

Mic

Effects Processor

Right/Monitor

Speaker Outputs

2+

2

1+

1

NC

NC

Left/Main

Speaker Outputs

2+

2

1+

1

NC

NC

Main Speaker System (L+R) Main Speaker System (L+R)

Rear Panel

SP-115M

SP-153H SP-153H

SP-115M

Monitor Monitor

Guitar

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Ⅰ

Introduction l

제품 소개

B. CONNECTORS

Your SM-16SDDR/VM-16SDDR/VM-14SDDR professional console powered mixers uses several types of input and output

connectors.

1. XLR Input jacks

Electronically balanced inputs accept a standard XLR male connector. Pin1=ground, pin2=hot or positive(+) and pin3=cold
or negative (-) (see Figure a). These connectors should be utilized for low impedance microphones. If you are using a high
impedances microphone, it will likely have a cord with a 1/4 connector on it. In this case, it would be appropriate to plug such
microphones into a line input, however performance, and gain may be lessened. for best performance. We recommend you invest
in one of the many higher quality, law impedance mics available on the market, or alternatively, purchase an impedance matching

transformer from your dealer.

2. TS 1/4″Phone Input Jacks

These tip / sleeve(TS) jacks accept an unbalanced line level signal using a normal male phone plug. (See Figure b)
TS Jacks and plugs are used in many different applications, always unbalanced. The tip(+) is connected to the audio signal and the
sleeve to ground (earth).

3. TRS 1/4″ Phone Stereo Jacks

The 1/4″phone stereo jacks are 1/4″three conductor jacks. 1/4″Tip is send (or hot) Ring is return(or cold) and sleeve is
ground(TRS).
The 1/4” stereo Jacks can be used a channel insert jacks : post-gain, and pre-EQ or stereo channel balanced inputs: tip is hot(+)
ring is cold(-) sleeve is ground. (See Figure c)

4. Speaker Output Jacks

The speaker output jacks are 1/4″two conductor jacks. Their power output and function are dependent upon the particular unit
that you are using. (See Figure d)
The tip is connected to the speaker-level audio signal positive and sleeve to negative not ground (earth).

Use speaker cables with a minimum conductor size for the length you need as listed in below.

4.

Connecting Your System

For cable lengths over 60m(200ft) at 8 ohms, and over 30m(100ft) at 4 ohms, the conductor sizes needed for less than 0.5dB

power losses are rarely practical for physical and cost reasons. As a practical compromise for these situations the recommended

conductor gauge is 10AWG or 25 metric.

The Speakons, Speakon connectors are purpose-built for low voltage, high current applications.
Each connector incorporates two pair of conductors, labeled 1+, 1-, by convention, single.
When attaching NL4FC mating connectors, be sure to insert the connector to its full depth, then turn the connector

45°clockwise to lock it in place. wire the speakon connectors as shown below.

•

Connection Table

Minimum AWG 4 Ohm 8 Ohm

18 3m(10ft) 7.6m(25ft)

16 7.6m(25ft) 15m(50ft)

14 7.6m(25ft) 23m(75ft)

12 15m(50ft) 38m(125ft)

10 30m(100ft) 60m(200ft)

Output Function Pins

Left 1+, 1-

Right 1+, 1-

Min Metric WG 4 Ohm 8 Ohm

12 3m(10ft) 8m(26ft)

14 8m(26ft) 15m(50ft)

16 8m(26ft) 25m(82ft)

20 15m(50ft) 40m(131ft)

25 30m(100ft) 60m(200ft)

4.

Connecting Your System

For Powered Stereo with Sub Woofer System Hook Diagram.

A. Connections

1.Power Switch OFF

Be sure the rear panel power switch is off before making any connections.

2. Connect the mains power

Push the line cord securely into the IEC connector on the rear panel, connect it to an AC outlet.

3. Connect the input devices into the one or more input channels.

Plug a balanced microphone into one of the mic XLR connectors on the front panel. Or other line level signal source(key board
or guitar DI box) into one of the 1/4” line input phone jacks.

4. Connect the input devices into the Stereo input channels 7-8(VM-14SDDR)/9-10(SM,VM-16SDDR) and more stereo

channels :

Using standard 1/4″shielded cables, connect the desired devices into the stereo input channels:

Keyboards, drum machines, tape programs and others.

5. Connect the tape and CD player

If you are feeding a signal from a tape or CD player into your power mixer, using a stereo RCA cable, Connect the output jacks
of the player to the tape in jacks on the front panel. If you wish to record the output of your power mixer, using a stereo RCA
cable, connect the tape out jack on the front panel to the input jacks of the CD or tape recorder.

10

5.

Operating Your System

4. RCA Phone Jacks

The RCA jacks accept unbalanced male pin connectors. (See Figure e)
The tip is connected to the audio signal and the sleeve to ground (earth).

a. Female 3 Pin XLR Connector

d. Speaker Jack

b. Unbalanced 1/4'' Connector

e. RCA Jack

c. Balanced 1/4'' Stereo Connector

Tip

Sleeve

Ring

POSITIVE(+)

NEGATIVE(-)

11

5.

Operating Your System

6. Connect the external effects device

If you are utilizing an external effects device, using standard 1/4″shielded cables, connect the Aux send jack on the top of front
panel to the input jack of the effects device and connect the output jack of the effects device to the stereo input channels (VM­14SDDR :11-12 or 13-14/SM,VM-16SDDR : 13-14 or 15-16) inputs jack on the front panel.

7. Connect the passive speakers

Using heavy gauge(more than 18 gauge) unshielded 1/4″speaker cables or speakon jack cables, connect your left and right main
speaker systems to the each side of two parallel speaker output jacks on the rear panel. The total speaker impedance load of
your speaker systems connected must be 4 ohms or greater. If you plug two speakers parallel, each speakers must be 8 ohms or
greater. Don’t use guitar cords for speaker cables it will be too hot. If you are not certain of your total speaker impedance load,

contact your dealer for assistance.

WARNING: Operating your SM-16SDDR/VM-16SDDR/VM-14SDDR powered mixer at an output impedance less than 4
ohms, and then can damage your unit and void your warranty!

8. Connect the subwoofer system (Optional)

If you are utilizing a separate subwoofer system, using a standard 1/4" shielded cable, connect the subwoofer jack to the
Input jack of the your subwoofer Amplier; using a heavy gauge unshielded 1/4" speaker cable, connect the subwoofer to the
subwoofer Amplier output jack.

9. Connect the external Monitor Equalizer

If you are utilizing an external graphic equalizer for the monitors, using a standard 1/4″shielded cable, Connect the monitor out
jack on the front panel to the input jack of your external monitor equalizer.

10. Connect your external Monitor Power Amp

If you are utilizing an external equalizer for the monitors, using a XLR cable or a standard 1/4″shielded cable, connect the
output jack of your monitor equalizer to the input jack of your monitor power amp.
If you are not using an external monitor equalizer, connect the monitor out jack on the front panel directly to the input jack of
your monitor power amplier.

11. Connect the Monitor speakers

Using heavy gauge unshielded 1/4″speaker cables, connect your monitor speakers to the output jacks of the monitor power
amplier. make sure that the total impedance load of your monitor speakers is not less than the recommended minimum

impedance that your monitor power amp can safely handle.

B. Ready, steady, Getting sound!

1.

The channel level fader, monitor, and EFX/DSP controls fully down.

2.

Set all the EQ controls to the center, including the graphic EQ sliders.

3.

Slide down the main level and main monitor fader, and Amp In Level controls fully down.

4.

For each mono channel, the gain control knobs turn to the around AM 10:00 Counterclockwise(line unity gain)position if you
are using a line-level source. Turn to the around PM 13:30 clockwise(mic unity gain) if you are using a microphone or other
low-level source.

5.

For condenser mics, turn on the phantom power switch on the rear panel. If you are using both condenser and dynamics, don’t

worry. Phantom power will not hurt most dynamics. Check the microphone user manual if you are not sure.

6.

For each stereo channel, press out the level switch (low gain) if you are using a line-level source. Press in the level switch(high
gain) if you are using other low-level source.

7.

Play something into the selected input and sliding up the channel level fader to -5 or U(unity). This could be an instrument, a
singing or speaking voice, or a line input such as a CD player or tape recorder output. Be sure that the volume of the input source
is the same as it would be during normal use. If it isn't, you might have to readjust these levels during the middle of the set.

8.

The amp in level controls turn to 5 or more but not to max(about 70%) then slowly sliding up the main(L/R) level control
fader, and main monitor level control fader(if you decided Powered Main+Monitors system) until you hear the signal in your
speakers. The Amp In Level controls just before internal power amp input circuit and it is similar to your external power amp
volume control knobs. you will likely have to re-adjust this later, but for now, this setting will allow you to hear your powered
stereo system and decide what further adjustments are necessary.

9.

Repeat steps 4 to 7 for the remaining channels.

10.

Adjust the levels to get the best mix. Keep the level controls fully down on unused channels.

5.

Operating Your System

C. Graphic Equalizer use

The SM-16SDDR/VM-16SDDR/VM-14SDDR is equipped with a dual 5-band equalizer that can be congured to affect master
output and each main speaker output. You should think of the graphic equalizer as an extended "Tone Control." the built-in
graphic equalizer(s) divide the audio spectrum into 5 segments or bands. You can raise or lower the level of each individual band
by adjusting the slider on that band. Any environment has its own set of acoustics, even outdoors. Some environments will reect

or absorb certain frequencies more than others. a graphic equalizer allows you to attenuate ranges of frequencies that are too

strong and boost others that are too weak, or, in other words, to "Equalize" the ve different bands in their relationship to each

other.

1. Set all of the 5 EQ sliders at 0(middle)position, where there is a detent.

2. Adjust the Equalizer. Try to adjust the Graphic Equalizer until the system sounds the way you think it should. Try to ascertain
which areas of the audio spectrum are too strong and which are too weak. Adjust the Graphic Equalizer to compensate for these
differences. Make further adjustments to the Graphic Equalizer to compensate for any feedback problems that may exist. See the

Professional Operating Tips section of this manual for more detailed instructions on this procedure.

D. Protection Circuit

The STK console powered mixer is designed full circuit protection and have protect indicator LED(red) on the front panel. The
protect LED indicates that there is a problem either in the amplier's external connections, load or temperature conditions or its
internal functions. If one of these situations occurs, the amplier senses the problem and automatically switches into its "Protect
Mode". The LED will light to warn you of the trouble and the amplier will stop working. If the LED lights and stays on, switch
the unit off. If you feel that you have been able to correct the fault condition that caused the unit to go into the protect mode,
switch the powered mixer on again. If you have successfully removed the fault condition, the amplier will run normally.

CAUTION

: If the protect LED remains lit when attempting to resume operation, DO NOT USE THE UNIT. Take your STK

console powered mixers to an authorized service facility or contact your dealer for help.

E. MONITOR OPERATION

The idea behind a monitor system is to provide a completely independent mix of your input signals to your monitor speakers so

that the performers can hear what they are doing and perform their best.

Because of speaker placement, program material, and several other factors, it is rare that the monitor mix will be the same as the

main mix.

1. Set the Master Main Mix Level Fader Control to Zero

Since the monitor mix is completely separate from the main mix, all of the monitor settings will be initially made with the master

level control set to the zero position.

2. Set the Master Monitor Send Level Fader Control to Zero

3. Set the input Level of the External Monitor Equalizer(if applicable)

If you are using a separately powered monitor system, set the input level control of the equalizer to about 60%. you will need to

check this setting later to be sure there is no clipping or distortion.

4. Set External Monitor Amplifier(if applicable)

If you are using a separately powered monitor system, set the input level control of the external amplier to about 60%. You will

need to check this setting later to be sure there is no clipping or distortion.

5. Set the master Monitor send Level Control

Set the master monitor send fader control to 8 or 9(near line level out) on the front panel. You will likely have to re-adjust this
later, but for now, this setting will allow you to hear your monitor system and decide what further adjustments are necessary.

6. Set the channel Monitor Controls

Decide which channels you want to include in the monitor mix. set a nominal level on each of these channels using the channel
monitor control. Slowly raise the level on each individual channel until the optimum volume is achieved or, in the case of a

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microphone channel until you begin to hear feedback.

If you start to hear feedback, quickly reduce the monitor control of that channel back to 0 or until the feedback stops. Carefully

raise the control again, stopping before the point at which you experienced feedback.

7. Adjust the Monitor Equalizer

Make any adjustments necessary if you are utilizing an external graphic equalizer for the monitors , you will adjust the external

monitor equalizer.

8. Make final adjustments to the monitor system

After you have properly set the graphic equalizer, Make any further adjustments to the monitor system that are necessary. When
you have completed all adjustments to the monitor system, you can raise the level of the master main mix level fader control for

the main system.

F. CARE AND MAINTENANCE

Your STK console powered mixer is built to provide years of dependable service under demanding circumstances. It requires no
internal maintenance but a common sense approach to its use will help you enjoy long and reliable operation. Here are some tips:

1. Power Requirements

Your powered mixer is capable of 110-120V AC or 220-240V AC operation allowing world-wide usage. It is pre-wired at the
factory for the correct voltage in your country. It is possible to change the mains voltage but it is an internal operation that can
only be performed by an experienced technician. Contact your dealer or service center for more information.

2. Periodic Cleaning

Keep the unit clean by wiping frequently with a damp, soft cloth. Use a mild detergent cleaner if necessary, Applied to the cloth,

but not directly to the mixer. Do not use solvents or the other chemicals to clean the unit. A large (dry) paint brush is useful to
remove cumulated dust from between the many control knobs on the mixer. If you accidentally spill liquid onto or into the unit,

disconnect the power cord and allow the unit to dry thoroughly before attempting to use it.

3. Connecting Cables

Use only high quality connecting cables with your STK console powered mixer. Faulty or suspicious cables should be replaced to

avoid possible deterioration of your sound quality.

4. Connections

Check cable connections frequently, if you move your equipment often, check input and output jack condition to be sure they
have not sustained any transportation damage, in temporary installations, such as live performances, check all cable connections
before each performance In permanent installations, verify the operation of all cables and connections often. It is much easier to

dead with a poor cable or connection before a performance or recording session than during it.

Other Notes

•

When shutting down, turn off any external ampliers or powered speakers rst. When powering up, turn on any external

ampliers or power speakers last.

•

This SM-16SDDR/VM-16SDDR/VM-14SDDR has been inspected and tested prior to being shipped. During unpacking,

carefully check that you have received all the required accessory. this is also the time to check the main unit for damage. If
any damage is noticed , promptly report this to your shipping carrier. Save the shipping boxes and all packing materials in
case the unit needs to shipped for service.

13

5.

Operating Your System

14

6.

Panel Descriptions

1. Mic Inputs

The microphone input to each channel strip is made through

a standard 3-pin female Mic connector, XLR(3-pin)balanced
input accepts microphone-level signal, XLR pin 1 is "Shield",
pin 2 is "Hot" and Pin 3 is "Cold". The mic input will handle
any kind of mic level you can toss at them, without over

loading.

2. Line Inputs

The Line In connection for each channel strip is located just
under MIC connector, and is made through a ¼" TRS (Tip­Ring-Sleeve) phone jack. ¼" connector tip is "Hot" ring
"Cold" and sleeve is "Shield". Plugging a guitar into a line

input can result in the loss of high frequencies, causing an

unnatural and dull sound. Normally, you must use a STK
direct box between a guitar and a mixer's input, which serves
to convert the impedance of the guitar from high to low.

2a. Channel Insert Jack

Allows interface to external signal processing devices, or
direct channel output. 1/4" connector Tip is Send, Ring is
Return and Sleeve is Ground.

This patch point allows you to insert a compressor, equalizer

or any other signal processing device into 5.6.7.8(VM­14SDDR : CH5.6) input channel strips of VM,SM-16SDDR.

3. Low Cut Switch

75Hz 18dB/octave low-cut lter eliminates unwanted
subsonic frequencies, while still allowing full use of the Low
Equalization(8). We recommend that you use the Low Cut
lter on every microphone except bass application sound
(drum, bass guitar, recording of thunder-volt)

4. Line Trim/Mic Gain

Simultaneously adjusts the mic input gain to accept signals
from -10dBu to -50dBu, and trims the line input to accept
signals from +10dBu to -40dBu. Before start input level
setting, Please read “set the level” as followings.

Set the Levels :

To set the channel GAIN controls, it's not even necessary
to hear what you're doing at the outputs of the mixer. If you

want to listen while you work, plug headphones into the

PHONES jack on the front panel, then set the PHONES

knob about one-quarter of the way up. The following steps
must be performed one channel at a time.

1. Push in the channel's SOLO (14) switch. Make sure the
SOLO MODE (21) switch is down (PFL).

2. Play something into the selected input. This could be

an instrument, a singing or speaking voice, or a line input
such as a CD player or tape recorder output. Be sure that
the volume of the input source be an instrument, a singing
or peaking voice, or a line input such as a CD player or
tape recorder output. Be sure that the volume of the input
source is the same as it would be during normal use. If it

FRONT PANEL SECTION

A. Monaural Input Channel

Note: The operation of the SM-16SDDR/VM-16SDDR/

VM-14SDDR console powered mixer is nearly identical. This
manual will help you to understand and get the most out of
all STK console powered mixers.

Post or Pre Post or Pre Post or Pre Post or Pre Post or Pre

Post or Pre

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE

TIP(+)

RING(-)

SLEEVE TIP(+)

RING(-)

SLEEVE

SEND

RETURN

SLEEVE

SEND

RETURN

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

1=GND,
3=COLD(-)

2=HOT(+)

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6b

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6.

Panel Descriptions

isn't, you might have to readjust these levels during the

middle of the set.

3. Adjust the channel's GAIN(4) control so that the LEDs
on the RIGHT meter (16) stay around "0" and never go
higher than "+10."

5. High Equalization

This control gives you up to 15 dB boost or cut at 12kHz,
and it is also at at the center detent. Use it to add sizzle to
cymbals, and an overall sense of transparency or edge to the
keyboards, vocals, guitar, and bacon frying. Turn it down a

little to reduce sibilance, or to hide tape hiss.

6. Mid Equalization: Level

Provides ±12dB of Cut/Boost to the midrange frequency

signals. The frequency range affected depends on the setting

of the mid EQ frequency control (7). . MID range EQ is

often thought of as the most dynamic because the frequencies

that dene any frequencies particular sound are almost
always found in this range. The mid EQ range(100Hz to
8kHz)includes the male or female vocal range as well as the

fundamentals and harmonics for many instruments.

6a. HI Mid Equalization: Level

The high MID EQ section is a peaking/dipping equalizer
with a xed center frequency of 3KHz. Provides ±12dB of
cut or boost centered. The high MID EQ range includes
the female vocal range as well as the fundamentals and

harmonics for many instruments.

6b. LOW Mid Equalization: Level

The low MID EQ section is a peaking/dipping equalizer
with a xed center frequency of 800Hz. Provides ±12dB
of cut or boost centered. The low MID EQ range, which
include the male vocal range and the fundamentals of some
mid lower instruments(bass guitar,kick drum,lower brass).

7. Mid Equalization: Frequency

Adjusts the center frequency of the peak/dip midrange
control (6) from 100Hz to 8kHz. This determinies the center
frequency for EQ lter, and allows you to zero in on the
precise narrow band of frequencies you want to have affected
by the MID EQ.

8. Low Equalization

Provides ±15dB of shelving equalization control to boost or
cut low frequency signals 80Hz and below. This frequency

represents the punch bass drums, bass guitar, fat synth

patches, and some really low voice singers.
Note : Use in conjunction with the low cut switch, you can
boost the low EQ without injecting tons of infrasonic debris
Into the mix.

9. Monitor Send

This control provides continuously variable adjustment of the
channel EQ input signal sent to the monitor mixing buss. It

is totally independent of the other channel controls.

10. Aux1 Send

Adjusts the amount of the channel input signal supplied to
the Aux1 output. Aux1 send is pre or post-EQ and factory­congured for post-fader operation.

11. Aux2/EFX

The channel Aux2/EFX control provides continuously
variable adjustment of the post fader signal sent to the DSP
of DIGI EFFECT, as well as to the effects send circuitry for
line level Aux2 output.Carefully adjust each control to set up
the DIGI EFFECT or Aux2 output. The controls off when
turned fully down, deliver unit gain at the center detent, and
can provide up to 15dBof gain turned fully up.

12. Pan

Sends the post fader signal to the left and right master

outputs. In the center position, the signal is equally sent to

both the left and right master outputs.

13. Peak Indicator LED

The red LED near the pan pot is marked Peak, and that
stands for Overload. The channel strip overload circuit
constantly checked at a critical point in the channel strip, just
after the EQ circuit. If the channel strip ampliers are begin
too loud into overload, Peak light will ash bright red. You
need to nd out which source is too high and make things
right. Start by returning down the Gain control until the
Peak LED no longer light.

14. Solo Switch

A solo switch the signal selected for listening in the
headphones, allowing the channel to be heard alone, pre­fader or post-fader, according to the position of the solo

mode switch (21).

15. Channel Fader

Provides continuously variable control of the channel output
level to the left and right master outputs.
The fader controls the channel's level… from off to unity
gain at the "U" marking, on up to 4dB of additional gain.
This "U" stands for "unity gain," meaning no change In
signal level. Once you have adjusted the input signal to line­level, you can set the control at "U" and your signals will
travel through the mixer at optimal levels. What's more, all
the labels on our level controls are measured in decibels(dB),
so you’ll know what you're doing level-wise if you choose to
change a control's settings.

16

6.

Panel Descriptions

FRONT PANEL SECTION

B. Stereo Input Channel

1. Left (Mono) Input

Accepts 1/4" TRS (tip/ring/sleeve) balanced input or TS (tip/
sleeve) unbalanced sources at line level. 1/4" connector tip is
"Hot", ring is "Cold" and sleeve is "Shield". Input is routed to

the left output bus.

In the absence of a plug in the right input (2), the left input
signal is also provided to the right input, that the channel

functions as a mono channel.

2. Right Input

Similar to the left input (1), any inputs to this connector are

only routed to the right output bus.

3. Level Switch

Determines the nominal input level required at the stereo line
inputs for full level. Selections are +4dB and -10dB.
This switch attenuates the input signal by 14dB when
connecting a line level device to channels 7-10(VM­14SDDR),9-12(VM,SM-16SDDR). This is the rst control
that the input signals meet. It allows you to choose the level
depending on the type of input source you have connected.
If it is incorrectly, then the input signals may overload the

mixer, causing distortion, or it may come too low, and be lost
in noise.

4. High Equalization

Provides ±15dB of shelving equalization control to boost or
cut high frequency signals 12kHz and above. Affects both

left and right channel input signals.

5. Mid Equalization

Provides ±12dB of Cut/Boost to the midrange frequency

channels. This control is centered at 2.5kHz. Affects both
left and right channel input signals.

6. Low Equalization

Provides ±15dB of shelving equalization control to boost or
cut low frequency signals of 80Hz and below. Affects both

left and right channel input signals.

7. Monitor Send

Adjusts the amount of mono-summed channel input signal
supplied to the monitor output. Monitor send is post-EQ and

pre-fader.

8. Aux1 Send

Adjusts the amount of mono-summed channel input signal
supplied to the Aux1 output. Aux1 send is pre or post-EQ
and factory-congured for post-fader operation.
For pre-fader modication of Aux1 Send, please see contact
STK PROFESSIONAL AUDIO.

9. Aux2 Send/EFX

Determines the amount of post EQ, post fader signal sent
simultaneously to the DSP of Digi EFX, as well as to the
effects send circuitry for line level Aux2 output.

10. Balance

When turned to the right, gradually attenuates the left

Post or Pre

9

13 15

14 16

10

11

12

BAL STEREO

Input Channels

All Left Inputs = Mono

9 - 10

15-16

11-12 13-14

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MAX

MAX

MAX

D

I

G

I

U

A

U

X

U

MAX

MAX

4U

0U

MAX

P

R

E

U

P

O

S

T

U

MAX

P

R

E

U

P

O

S

T

U

MAX

0

U

4

U

-10dBU

-8

0

U

4

U

-10dBU

-8

4U

0U

MAX

Digi DDR

Programs

Delay

Programs

1. Delay/ECHO
50~1000 msec

2. Delay CROSS F.B
50~1000 msec

3. Delay 3 Tap PAN
50~1000 msec

4. Delay One Short
50~1000 msec

Reverb

Programs

1. Reverb Hall
2~10 sec

2. Reverb Room

0.5~5 sec

3. Reverb Plate
1~8 sec

4. Reverb AMBIENT
200~2000msec

13

14

11

15

1

2

3

4

5

6

7

8

9

10

12

17

Ⅰ

Introduction l

제품 소개

6.

Panel Descriptions

channel input signal. When turned to the left, gradually

attenuates the right channel input signal.

11. Solo Switch

A solo switch the signal selected for listening the headphones,
allowing the stereo channel to be heard alone, pre-fader
or post-fader, according to the position of the solo mode

switch(21).

12. Channel Fader

Provides continuously variable control of the channel output
level to the left and right master outputs.

The fader controls of the Mono input channel/stereo input
channel is nearly identical. Please refer to mono channel

fader(15).

13. CH11-12/13-14(VM-14SDDR),CH13-14/15-

16(VM,SM-16SDDR) inputs for expanded more stereo

channels

This will help to expand two more stereo input channels.

Allows 1/4" line level stereo inputs directly to the left and

right mixing buss, there also feed of the monitor and aux1

sends.When no plug is inserted into the right jack, the left
input is also provided to the right master output for mono

operation.

14. Aux Sends 1&2

The Aux1send phone jack outputs the pre or post fader
signal( factory-congured for post-fader operation) and Aux 2
send outputs xed post signal. Provides the unbalanced, line­level, for connection to external effects or monitor systems.
The AUX 2 signal adjusted by the AUX2/EFX control of
each channel. will be sent to the EFFECT bus, and output
from this jack. The processed output of the internal DIGI
EFFECT does not come out of here, but is added internally

to the main out or monitor out.

15. Channel Strips and Controls for CH 11-12/13-14(VM-

14SDDR),CH13-14/15-16(VM,SM-16SDDR) Inputs

These inputs channel is expanded stereo inputs to use your

additional external line level source, or use to stereo Aux

inputs, or stereo effect returns. These channel strips each
controls and route the signals is are nearly identical to the

near stereo channel 9-10. Have channel output level controls,
also have independent level controls for the monitor, aux1.
The Aux1send phone jack outputs the pre or post fader
signal( factory-congured for post-fader operation) ,and it

can be used as effect send returns. These two stereo input
channels are also feature Solo switches.

18

Ⅰ

Introduction l

제품 소개

6.

Panel Descriptions

1. Tape Input (Left/Right)

Allows a stereo tape machine, CD player or similar device to
be attached via unbalanced RCA connections, and auditioned

in the headphone output. To route the tape input to the

headphone output. The tape input have input level controls

also feature Solo switches

2. Tape Output (Left/Right)

Derived directly from the left/right master output,
master EQ input signal pre main fader, allows convenient
connection, via unbalanced RCA jacks, to any tape or CD/
recording device.

3. Subwoofer Output Jack

This line level subwoofer output allow you to conveniently

add supplemental bass to your system.

The signal is derived from the summed left+right master

output and the summed master output is can routed through

a 125Hz low pass lter by on off select switch(31).This is
usually patched to the inputs of an external power amplier
running a passive subwoofer, or directly to a powered
subwoofer.Whatever adjustment you make to the main mix.

4. Monitor Output

Delivers the monitor output mix, through the monitor sends
output level control(27).
The monitor output phone jack outputs the monitor bus

signal after the monitor send master control, this could be

passive stage monitors powered by an external amplier, or

can be connected to the input of a powered monitor speaker.

5. Main Output

These two 1/4″connectors provide a direct feed from the
nal output of the master stereo main mix.
The level of these is controlled by the main left and right level

fader control.

The main output jack out the main bus signal after the
5-band graphic equalizer and main master level fader control,

and can be connected to the input of a larger mixer, or a

more powerful amplier. Can also be used to feed an external
effect processor, or external active crossover for powered sub

woofer systems. This output play the same signal as the rear

panel speaker- level outputs, only at line-level.

6. Amp Input Jacks And Amp in Level

Amp In Jacks : This input provides direct access to the built­in power amplier for a preamplied signal source.Use of
this input disconnects the power amplier from the main
mixing buss, post graphic EQ,and allows external input use
of the internal power amplier.
Amp in Level : Provides continuously variable control of
the internal power amp output to the passive speakers.The
controls just before power amp input signal, after amp in
jacks. Turn to full left the amp output no power and turn to

full right the amp output is max power, beginning time this

FRONT PANEL SECTION

C. Master Section

Delay Reverb

Delay Level

Revarb Level

Delay Time

Delay Repeat

Revarb Time

Programs

1 -

2 -

3 -

4 -

1 -

2 -

3 -

4 -

Digi DDR

Sends

Monitor

GND TIP(+)

RING(-)

BAL=

UNBAL

Digi DDR Effect Processor

UNBAL=

GND TIP(+)

13 1412

18

19

20

21

23

26 26

27 28 29 30

31

24

22

1110

1

2

3

4

5

8

9

7

6

6

15

16

17

25

19

Ⅰ

Introduction l

제품 소개

6.

Panel Descriptions

level control set is around center and then to control main
mix fader level setting, then you will likely have to re-adjust
this level control to increase internal power amp outputs.

7. Amp Mode Selector & Level

This switch lets you choose which signals paths from the

mixer section are sent to the internal power ampliers. This
allows considerable exibility in the use of the SM-16SDDR/

VM-16SDDR/VM-14SDDR powered mixer. For example,

if you already have high power main amplier with main
passive speaker(or high powered type main loudspeakers),
you could use these internal power ampliers to run passive

stage monitors.

Stereo Amp Mode(not pushed in) : The speaker outputs from
Left/Main is the left side of the main mix post graphic EQ,

and speaker outputs from Right/Monitor is the right side of

the main mix post graphic EQ . Choose this position to play

a straight stereo show.

Mains/Monitor Mode (pushed in) : Left side Left/Main is the

mono main mix, and right side Right/Monitor is the monitor

mix. In this setup ,you could run a mono PA system on one
channel, and a passive stage monitor system on the other.

Do not change the position of the power amp mode switch
when the mixer is powered on.

8. DSP Footswitch Jack

The DSP Footswitch jack is a standard 1/4＂size

accommodating a monaural ON/OFF Footswitch that
enables/disable the internal digital effects. If the internal DSP
have already been muted(off) with the front panel ON/OFF
switch(22) then the foot switch has no effect.

9. Headphone Output

This is where you plug in your stereo headphones. It is a 1/4"
TRS stereo jack and provides from phones/source signal that

is routed to the phones amps, as determined by the phones/

source matrix (18,19,20,21).The volume is controlled with the
PHONES out level (14).
(TIP=LEF T,RING=R IGHT, SLE EVE=CH ASSIS )
WARNING: To avoid damage to your hearing, do not
operate the headphones or sound system at excessively
high volume. Continue exposure to high volume sound can
cause frequently selective or wide range hearing loss. Also,
headphone minimum impedance is higher than 30 ohms.
(nominal 150 to 330ohms)

10. Phantom Power Indicator LED

This LED glows green when the phantom power circuit has
been engaged(4.on rear panel)

11. Power LED

This LED glows green to indicate that the unit has been

switched on and that AC power has been applied.

12. Protect LED

Your STK power mixer is equipped with a built-in output

protection circuit. This LED glows red when there is a
system problem and the amplier has shut down to protect

itself and any attached equipment from damage due to an

electronic fault or improper usage. The rst thing you should

do is check all of your connections for proper wiring.

13. Effect To Monitor Control

This control used to route signal from output of the internal

DIGI EFFECT to the monitor output jack, this control is

used to add effects to the stage monitors.

14. Headphone Out Level

This controls the volume at the phones output(9),from off(0)
to maximum gain(max)

15. Meter Assembly

Allows visual monitoring of whichever signals are assigned
to headphone outputs. When any signal is in AFL solo mode,
that signal's level is shown on the left and right meters. When
any signal is in PFL solo mode, the right meter shows that
signal's input level.

The meter input signals from phones/source, if nothing is

selected in the phones/source matrix (18.19.20.21) and no
channels are in SOLO, the meters won't do anything. To
display a signal level, a source must be selected in the phones/
source matrix, which feeds the PHONES (9) outputs. The
meters reect the program level of the selected source prior
to the PHONES level controls. When a channel is soloed,
the meters change to reect the level of that channel's signal
level, pre-or post-fader, depending on the SOLO MODE (21)

setting.

16. Level Set Indicator and levels

The level set indicator lights when PFL Solo mode is active,
indicating that the right meter is displaying whichever signals

are assigned headphone outputs. The meters display the main

L/R output signals, or the solo(PFL) signals if activated
by any solo switches. When a channel is soloed, the meters
change to reect the level of that channels signal level, and
the meters indicate before phones knobs giving you the real
facts at all times, even if you are not listening at all.

17. Solo Active Indicator

Lights to indicate that AFL or PFL solo mode is activated on

one or more input channels.

18. Phone Source Select: Monitor

Directs the monitor outputs to the headphone output, and to
the Right meter assemply.

19. Phone Source Select: L/R Master

Directs the left and right master outputs to the head-phone
output, and to the meter assembly.

20. Phone Source Select: Mono Output

Directs the mono output to the headphone output, and to the

Left meter assembly.

20

6.

Panel Descriptions

21. Solo Mode Switch.(PFL/AFL)

Controls whether solo feature is 1) After-fader listen (AFL)
up position.2) Pre-fader listen (PFL) down position.
Engaging a channel’s SOLO switch will cause this dramatic
turn of events: That existing main input signals selections are
replaced by the SOLO signal, the SOLO signal, appearing at
the headphones, and at the right meter(left and right meters
when in AFL solo mode).The audible SOLO sound levels are
then controlled by the phone level control knob(14), but the
SOLO levels appearing on the meters are not controlled by
the phone level control knob.
You want to see the actual channel level on the meters
regardless of how loud you’re listening. With the SOLO
MODE switch in the down position, you’re in PFL mode,
meaning Pre-Fader Listen. This mode is required for the “set
the levels” procedure(4. MonoCH) and is handy for quick
spot-checks of channels. Especially ones that have their
faders turned down. With this switch down, you’re in AFL
mode, meaning After-Fader Listen. You’ll hear the stereo

output of the soloed channel- it will follow the channel’s

GAIN, EQ, FADER and PAN settings. It’s similar to muting
all the other channels, but without the hassle. Use AFL mode
during mix down. In PFL Mode. Remember, PFL mode taps

the channel signal before the fader.

22. DSP On/Off Switch

This push control activates/deactivates the internal DIGI
EFFECT. The LED will turn on as a reminder that DSP

signal is mute off.

23. Digital Effect Program Select Switch

Determine the application program of desired effect sound
.These key allows for the selection of each 4 different types

of reverb and delay programs.
Delay Program Select : 1) Delay. 2) Delay 3 Tap Pan. 3)
Delay Cross Feedback. 4) Delay One Short.
Reverb Program Select : 1)Reverb Hall. 2) Reverb Room. 3)
Reverb Plate. 4) Reverb Ambinet.

24. DSP Peak indicator

The purpose of the red PEAK LED is indicate, when digital

effect input signal is dangerously close to clipping

This LED will icker when DSP input signal level reaching
the DIGI EFFECT processor is in a good operating range.
The LED turn on level is -7dB before clip that you still have
margin but if continuously turn on this LED, then the DIGI
EFFECT processor is being overloaded with too strong
signal. Turn down the knobs(CH Aux2/EFX) if it is. Just
sometimes LED turn on signal level is best for good DIGI
EFFECT sound. The signal levels going into the DSP are
affected by channel Aux2/EFX controls, and the channel
level fader controls. Check the LED if you alter these

controls.

FRONT PANEL SECTION

C. Master Section

Delay Reverb

Delay Level

Revarb Level

Delay Time

Delay Repeat

Revarb Time

Programs

1 -

2 -

3 -

4 -

1 -

2 -

3 -

4 -

Digi DDR

Sends

Monitor

GND TIP(+)

RING(-)

BAL=

UNBAL

Digi DDR Effect Processor

UNBAL=

GND TIP(+)

13 1412

18

19

20

21

23

26 26

27 28 29 30

31

24

22

1110

1

2

3

4

5

8

9

7

6

6

15

16

17

25

21

6.

Panel Descriptions

25.DEGITAL EFFECT Time controls

The each Effect program parameters controlled by these

linear potentiometer, the all controls are no scratch effects or

distorted audio sound appears during parameter variations .
Effect Parameters Control
Dealy.Reverb Level Control : This level controls the each
Delay and Reverb output signal level from the DSP.
Delay time control : This control adjust the delay time range.
Turn to full right the delay time range are 1000msec, and
turn to full left the delay time range are 50msec.
Reverb time control : This control adjust the reverb time
range. Turn to full right the reverb time range are 10sec, and
turn to full left the reverb time range are 50msec.
Delay Repeat control : This control adjust the delay feedback
range. Turn to full right the feedback amounts are 90%,and
turn to full left the feedback amounts are 0%.

FEATURES

The STK PROFESSIONAL AUDIO DIGI EFFECT
processors gives the power to create original sounds with a

wide range of effects.

Each effect patch(effect setting) can be stored in the internal

memory, calling up any patch is quick and easy by linear
potentiometer.

APPLICATIONS

* Longtime delay and repeat for moslem church.

* Very clean and bright echo feedback and delay for european

karaoke vocal sound.

26. Graphic Equalizer(Left Master)

This 5 band stereo graphic equalizer adjust the left and right
main mix output, it affects the line-level outputs(5.3), as well
as the main speaker-level outputs. Each sliders allows you to
adjust the level of its frequency band, with up to 12dB boost
or cut, and no change in level at the center(0 dB) position.
The EQ section comes before the main level and meter
assembly. Therefore, as you adjust the EQ, you can keep an
eye on the meters in case you over-do it and take the levels
into overload. The graphic EQ is provided for overall system

tonal control and acoustic feedback control.

27. Monitor Master Level Control

This fader control provides independent overall adjustment

of the signal to Monitor Output, and to the Monitor

amplied output, when in Main+Monitor mode.

28. Digital Effect Master Control

This master EFECT fader control adjust the level of the
internal DIGI EFFECT signal fed to main buses.

29. MAIN Mix L/R Level Control

This fader Control adjusts the main bus signal for post 5
band stereo EQ. And this setting is output to left and right
main out jack output . This control also affects main meter

assembly, internal power amplier inputs , and the speaker –
level outputs.
This gives you ultimate control over your audience. Adjust
carefully, with your good eye on the meters to prevent
overloading, and your good ear to the levels to make sure

audience is happy

30. Mono Master Level (Subwoofer)

Provides continuously variable control over the signal to the

mono output.
The Mono Master fader control is a sum of the left and right

mix buses, buffered with its own output ampliers, post main
mix L/R fader control.

31. Subwoofer Switch

This push control activates/deactivates of the low pass lter
to subwoofer output jack. the low pass frequency is 125Hz.

T15A 250V T30A 120V

VM16S-DDR

1200

450 450

300 300

T10A 250V T20A 120V

T10A 250V T20A 120V

22

6.

Panel Descriptions

D. REAR PANEL SECTION

SM-16SDDR

VM-16SDDR

VM-14SDDR

1

1

1

6

6

6

8

8

8

1. Power Switch

This switch controls the AC mains power to your SM-16SDDR/VM-16SDDR/VM-14SDDR console powered mixer. Power is on

when the switch is in the on(up) position and is conrmed when the power LED indicator is illuminated on the front panel.
Note : Before turning on or off the mixer. It is a good idea to turn down the main master and monitor master controls. As a
general guide, you should turn on your STK console power mixer rst, before any external power ampliers or powered speakers,

and turn it off last. This will reduce the possibilities of any turn-on, or off thumps in your speakers.

2. Fuse

VM-16SDDR/VM-14SDDR : The fuse is located in the fuse holder.
SM-16SDDR : The fuse is located on the SMPS primary lter circuit board the inside of the unit.
WARNING: To avoid possible equipment damage and/or personal injury, the fuse should always be replaced with the same type
and rating. Using improper fuses will void the warranty. The power mixers should always be disconnected from AC outlet prior
to fuse changing. If the fuse repeatedly fails, the unit should be referred to qualied service personal for repair.

Type and rating.

VM-16SDDR/VM-14SDDR :
T 20A 250V for 100V-120V AC mains power.
T 10A 250V for 220V-240V AC mains power.
SM-16SDDR:
T 30A 250V for 100V-120V AC mains power.
T 15A 250V for 220V-240V AC mains power.

2

2

5

5

5

7

7

7

3

3

3

4

4

4

23

6.

Panel Descriptions

3. IEC Socket

This is where you connect the supplied AC line cord to provide AC power to the SM-16SDDR/VM-16SDDR/VM-14SDDR
console powered mixer. This socket accepts the supplied 3-prong IEC AC power cord. before you plug AC power cord into the
powered mixer, make sure that the voltage of your unit is the same voltage as your local AC mains supply. Use only the power

cord supplied. Also, disconnecting the plug’s ground pin is dangerous. Please don’t do it.

4. Phantom Power Switch

This switch control provides 48V of DC power to the independent channel XLR inputs for the use of condenser microphone
without external battery. The LED will turn on as a reminder that phantom power is engaged on the front pannel.
Never plug single-ended(unbalanced)microphones, or ribbon mics into the mic input jacks if phantom power is on.

5.6. Right/Monitor Speaker Output Jack

These two parallel speaker output jacks accept standard 1/4＂two-conductor phone plugs(SM-16SDDR: 5-way binding post) or

NL4FC matching speakon connectors, providing maximum rated power at 4 ohms or at 8 ohms. Load impedances less than
4 ohms will not draw additional power and may cause the unit to go into protect mode. Only passive loudspeakers should be
connected to these speaker-level outputs.

Warning

: failure to correct this can result in damage to your unit !

The function of these jacks depends upon the position of the Amp mode select assign switch(located on the master section of the
front control panel). If the Amp mode select assign switch is in the stereo position (not Pushed in), the unit is in the left & right
mode. The power amplier driving these outputs then gets its signal from right main bus, the output level is controlled by the
master level control, and the right 5-band EQ is used for nal equalizing of the right side. If the Amp mode select assign switch
is in the L+R/monitor position(pushed in), the unit is in the Main+Monitor mode. The power amplier driving these outputs
then gets its signal from the monitor circuit. The output level is controlled by the monitor level control, the left 5-band EQ is not

affected of the monitor speakers.

7.8. Left/Main Speaker Output Jack

These two parallel speaker output jacks accept standard 1/4＂two-conductor phone plugs(SM-16SDDR: 5-way binding post) or

NL4FC matching speakon connectors , providing maximum rated power at 4 ohms at 8ohms. Load impedances less than 4 ohms
will not draw additional power and may cause the unit to go into protect mode. Only passive loudspeakers should be connected
to these speaker-level outputs.

Warning

: failure to correct this can result in damage to your unit!

The function of these jacks depends upon the position of the Amp mode select assign switch is in the stereo position (not Pushed
in), the unit is in the left & right mode. The power amplier driving these outputs then gets its signal from left main bus, the
output level is controlled by the master level control,and the left 5-band EQ is used for nal equalizing of the left side. If the Amp
mode select assign switch(7) is in the L+R/ monitor position(pushed in), the unit is in the Main+Monitor mode. The signal from
the right and left buses is combined and feeds the power amplier that drive these output jacks. The output level is controlled by
the mono fader level control post L/R main mix fader and post left/right stereo 5-band EQ.

24

7.

Troubleshooting

There is no power

•

Make sure the power cord is rmly connected to the back of the unit and to the power outlet.If using a power strip/surge-

protector, make sure that it is plugged in and switched on.

•

If using a power strip/surge-protector, make sure that it is plugged in and switched on.

There is no sound

•

Make sure the MASTER and input CHANNELS level controls VOLUME knobs are set to an audible level.

•

If using microphones, make sure they are connected properly and cables are not defective.

•

If using an external player, make sure they are connected properly and cables are not defective.

•

If an external effects device is connected, make sure it is powered on.

The sound has static

•

Check the EQ settings. You may have set the EQ settings too high.

•

You may have a line-level signal connected to the Mono CH mic inputs. Connect only mics on XLR connectors and connect

only music instruments to the each channels 1/4” line input jacks.

Noise

•

Make sure everything is connected rmly and properly.

•

Make sure there are no defective cables.

•

Turn the channel levels down, one by one. If the sound disappears, it’s either that channel or whatever is plugged it, so unplug

whatever that is.If the noise disappears, it’s from your whatever.

Bad output

•

Make sure graphic EQ’s set to reasonable level.

•

Unplug anything from the main line-level outputs, or other line level outputs, such as the Mon out, Aux and Efx out, just in

case one of your external pices has a problem.

•

If the internal power amplier clipping, you may be overdriving the ampliers. Check the loudspeaker average load impedance

is not less than 4 ohms. Check the speaker wiring.

Ⅰ

Introduction l

제품 소개

















25

8.

Block Diagram

26

POWER OUTPUT SECTION

R/MONITOR

POWER OUTPUT SECTION

Ⅰ

Introduction l

제품 소개

8.

Block Diagram

SM-16SDDR ONLY

Ⅰ

Introduction l

제품 소개

9.

Specications

Specications subject to change without notice.NOTES :

■

General Specications

Model SM-16SDDR VM-16SDDR VM-14SDDR

Output Power

1㎑ @ EIA THD

8 Ω per channel
4 Ω per channel

2 x 450 W
2 x 750 W

2 x 290 W
2 x 430 W

2 x 290 W

2 x 430 W

Total Harmonic Distortion

f=1kHz, Rated Output

0.05%

Frequency Response

20 Hz～20 kHz, 8 Ohm, 1 watt

CH IN to Main OUT ＠+4dBu

+1, -2 dB
+1, -2 dB

Hum and Noise

20 Hz～20 kHz, Rs=150Ohm,

-128 dB Equivalent input noise

-70 dB Residual output noise (SP OUT)

-97 dB Residual output noise (MAIN OUT)

Crosstalk at 1kHz

60 dB at 1 kHz, adjacent channel inputs.

60 dB at 1 kHz, Input to Output.

Equalization Mono Channel CH 1 - CH 4 & CH 5 - CH 8 CH 1 - CH 6

High ± 15 dB 12KHz Shelving 12KHz Shelving 12K Hz Shelving

Mid

± 12 dB

Hi Mid

100Hz-8K Hz Sweep

Peaking

3KHz Peaking

100Hz-8K Hz Sweep

Peaking

Low Mid 800Hz Peaking

Low ± 15dB 80Hz Shelving 80Hz Shelving 80Hz Shelving

Equalization Stereo Channel CH 9.10 - CH 11.12 CH 7.8 - CH 9.10

High ± 15 dB 12KHz Shelving 12KHz Shelving

Mid ± 12dB 2.5KHz Peaking 2.5KHz Peaking

Low ± 15dB 80Hz Shelving 80Hz Shelving

Low Cut Filter

18 dB / Oct 75 Hz

CH 1, 2, 3, 4

18 dB / Oct 75 Hz

CH 1, 2, 3

Graphic Equalization

± 12 dB maximum boost or cut in stereo 5 bands.

60, 250, 1k, 3.5K,12kHz : peaking.

Protection circuit

Short circuit current limit, Thermal protection

DC protection at speaker output,

Power ON/OFF transient, AC line fuse.

Indicators

12 digit level meter(mix out level)

Protect (Red)

Power (Green)

Phantom (Yellow)

CH peak, Solo Active, DSP On, 8 Program Indicator of DDR Effect

DC offset voltage

≥DC10 mV

27

■

DIGI EFFECT PROCESSOR section

28

9.

Specications

Specications subject to change without notice.NOTES :

■

General Specications

Model SM-16SDDR VM-16SDDR VM-14SDDR

Dimension (W×D×H)

470×415×151 mm 470×415×151 mm 42 0×415×151 mm

Weight/ Unit

14.10 Kg 21.44 Kg 19.4 4Kg

Power Consumption 1/3 power

850 VA 500 VA 500 VA

Fuse Type/ Rating

120V: 30A/250V

220-240V: 15A/250V

120V: 20A/250V

220-240V: 10A/250V

120V: 20A/250V

220-240V: 10A/250V

Digital Effect Programs

Delay Program Selects

1) Delay 50msec-1000msec.

2) Delay 3 Tap Pan. 50msec-1000msec

3) Delay Cross Feedback. 50msec- 1000msec

4) Delay One Short 50msec-1000msec.

Delay Repeat control

Feedback amount : 0-90% for all delay programs.

Reverb Program Selects

1) Reverb Hall 50msec-10sec

2) Reverb Room. 50msec-10sec

3) Reverb Plate 50msec-10sec

4) Reverb Ambinet 50msec-10sec

Dealy + Reverb Mixing Level

Mixing amount : Variable 0 to 100% of either Delay or

Reverb from the DSP

Digital PROCESSOR FEATURES

•

Real 2 stereo-Effect preset available devided into Each

4 single effect sound.

•

An integrated E2-ROM watchdog is bypassing the

storage device.

•

Easy program selection methods by 2 key which can

preset up and down.

•

The once choose preset effect is automatically stored by

on board E2-PROM.

•

easy level control ,time and repeat adjust by potentio

Meter at reveb and delay mode.

•

Automatic input audio signal "overshooting" indication

circuit on-board.

•

Usage of a 1M byte SRAM for superior quality stereo

reverb and delay sound.

•

Usage of the famous ASAHIKASEI 24bit DSP with

built in 20 bit AD/DA stereo converter.

•

20bit delta sigma 64 x oversampling AD converter.

•

20bit delta sigma 128 x oversampling AD converter.

•

64 x oversampling ADC digital lter.

•

128 x oversampling DAC digital lter.

•

CD-quality professional sound a reality.

APPLICATIONS

•

Longtime delay and repeat for moslem church.

•

Very clean and bright echo feedback and delay for

european karaoke vocal sound.

29

9.

Specications

(1) Sensitivity is the lowest level that will produce a full power output, or the nominal output level when the unit is set to

maximum gain.

(2) XLR connectors are balanced. Phone jacks are unbalanced

(1) All connectors are unbalanced.
(2) In these specications, when dBu represents a specic voltage, 0 dBu is referenced to 0.775 Vrms.

NOTES :

NOTES :

♪

Input specications

♪

Output specications

Input terminals

Actual load

Impedance

For use with

nominal

Input level

Connector in

mixer

Sensitivity Nominal

Max. before

clip

Mic In

4

㏀

50-600Ω mic

-60 dBu

(0.77mV)

-55 dBm

(1.38mV)

-25 dBu

(43.7mV)

XLR Jack

Line In

10

㏀

600 Ω lines

-40 dBu

(7.75 mV )

-35 dBu

(13.8mV )

0 dBu

(0.77 V)

Phone Jack

Stereo In

10

㏀

600 Ω lines

0 dBu

(775 mV )

0 dBu

(775 mV)

+15 dBu

(4.36 V)

Phone Jack

Aux Returns 1,2/

ST Sub In (1,2)

10

㏀

600 Ω lines

-16 dBu

(1 2 3mV )

-10 dBu

(245 mV )

+10 dBu

(2.45 V)

Phone Jack

Tape In (L, R)

10

㏀

600 Ω lines

-16 dBu

(123 mV)

-10 dBu

(245 mV )

+15 dBu

(4.36 V)

RCA Jack

CH Insert In (5,6,7,8)

10

㏀

600 Ω lines

+4 dBu
(1.23V)

+4 dBu
(1.23V)

+15 dB

(4.36 V)

Phone Jack

Amp In (L, R)

10

㏀

600 Ω lines

+4 dBu
(1.23V)

+4 dBu
(1.23V)

+4 dBu

(1.23V)

Phone Jack

Output terminals

Actual load

Impedance

For use with

nominal

Input level

Connector in

mixer

Nominal Max. before clip

Main Out (L, R)

150 Ω 600 Ω lines +4dBu (1.23V) +20 dBu (7.75V) Phone Jack

Mono Out

(Sub Woofer)

150 Ω 600 Ω lines +4dBu (1.23V) +20 dBu (7.75V) Phone Jack

Aux Send 1,2

150 Ω 600 Ω lines +4dBu (1.23V) +20 dBu (7.75V) Phone Jack

Monitor Out

150 Ω 600 Ω lines +4dBu (1,23V) +20 dBu (7.75V) Phone Jack

Tape Out (L, R)

600 Ω 600 Ω lines -10dBu (245mV ) +20 dBu (7.75V) RCA Jack

Headphone Out (L, R)

200 Ω 40 Ω Phones 180mW+18 0mW 180 mW+180mW Phone Jack

30

Ⅰ

Introduction l

제품 소개

10.

Rack Bracket Mounting

INSTRUCTION

• Remove the mains and all other connections before starting.

• Remove the AC power cord cable.

• Unscrew the fourteen retaining screw on the left, right and front.(see Figure a)

• Remove L,R wood side board and front arm and store it in a safe place

• Check to correct Hole position, and temporarily attach the front rack bracket rstly with specied screws, also tighten other
remaining 3 of screws(②) on the top of front (see Figure b) .

• And then also temporarily attach the left and right rack brackets with specied screws. (see Figure b)

• Check to good match up each rack bracket and then tighten all the screws.

Figure a

TH(+)M4 X 25

TH(+)M4 X 25

TH(+)M4 X 25

TH(+)M4 X 25

TH(+)M4 X 25

TH(+)M4 X 25

TH(+)M4 X 25

PH(+)M3 X 6

PH(+)M3 X 6

PH(+)M3 X 6

PH(+)M3 X 6

Ⅰ

Introduction l

제품 소개

31

10.

Rack Bracket Mounting

설치 방법

•

시작하기 전에 모든 연결을 해제해 주세요.

•

AC 전원 코드를 해제해 주세요.

•

프론트와 좌, 우측의 스크류 14 개를 풀어내세요

•

좌, 우 사이드 보드와(스크류포함) 프론트 암을 떼어내 안전한 곳에 보관합니다(그림 a 참조).

•

올바른 홀 위치 확인 후, 지정된 스크류를 사용해서 프론트 랙 브라켓을 임시로 고정시켜 주시고 풀어낸 나머지 3 개의

(②)

스크류도

전면상측부위의 제자리에 조여주세요(그림 b 참조)

•

다음으로 좌, 우측의 랙 부라켓을 지정된 스크류를 사용해서 임시로 고정합니다(그림 b 참조).

•

3 개의 랙 부라켓이 보기 좋게 부착되었는지 확인 후 모든 스크류를 완전히 조여주십시오.

BH(+)M4 X 8

BH(+)M4 X 8

BH(+)M4 X 8

BH(+)M4 X 8

BH(+)M4 X 8

BH(+)M4 X 8

BH(+)M4 X 8

BH(+)M4 X 8

PH(+)M3 X 6

PH(+)M3 X 6

PH(+)M3 X 6

PH(+)M3 X 6

Figure b

Owner's Manual for The STK Professional Console Powered Mixer

STK Professional Audio

MAY. 2 0 13

Printed In Korea