Yorkville PGM8 Owner's Manual
OWNER'S MANUAL
MANUEL DE L'UTILISATEUR
TYPE: YS1096
This lightning flash with arrowhead symbol, within
IMPORTANT SAFETY INSTRUCTIONS
safety-4v8 • April 14/2011
an equilateral triangle, is intended to alert the user to
the presence of uninsulated “dangerous voltage”
magnitude to constitute a risk of electric shock to persons.
Ce symbole d’éclair avec tête de flèche dans un triangle
équilatéral est prévu pour alerter l’utilisateur de la présence d’un
« voltage dangereux » non-isolé à proximité de l’enceinte du
produit qui pourrait être d’ampleur suffisante pour présenter
un risque de choque électrique.
within the product’s enclosure that may be of sufficient
FOLLOW ALL INSTRUCTIONS SUIVEZ TOUTES LES INSTRUCTIONS
Instructions pertaining to a risk of fire,
electric shock, or injury to a person
CAUTION: TO REDUCE THE RISK OF ELECTRIC
SHOCK, DO NOT REMOVE COVER (OR BACK).
NO USER SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
THIS DEVICE IS FOR INDOOR USE ONLY!
The exclamation point within an equilatereal triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in
the literature accompanying the appliance.
Le point d’exclamation à l’intérieur d’un triangle équilatéral
est prévu pour alerter l’utilisateur de la présence
d’instructions importantes dans la littérature accompagnant l’appareil en ce qui concerne l’opération et la
maintenance de cet appareil.
S2125A
Instructions relatives au risque de feu,
choc électrique, ou blessures aux personnes
AVIS: AFIN DE REDUIRE LES RISQUE DE CHOC ELECTRIQUE,
N’ENLEVEZ PAS LE COUVERT (OU LE PANNEAU ARRIERE)
NE CONTIENT AUCUNE PIECE REPARABLE PAR L’UTILISATEUR.
CONSULTEZ UN TECHNICIEN QUALIFIE POUR L’ENTRETIENT
CE PRODUIT EST POUR L’USAGE À L’INTÉREUR SEULEMENT
Read Instructions: The Owner’s Manual should be read and understood before operation
of your unit. Please, save these instructions for future reference and heed all warnings.
Clean only with dry cloth.
Packaging: Keep the box and packaging materials, in case the unit needs to be
returned for service.
Warning: To reduce the risk or fire or electric shock, do not expose this apparatus to rain or
moisture. Do not use this apparatus near water!
Warning: When using electric products, basic precautions should always be followed,
including the following:
Power Sources
Your unit should be connected to a power source only of the voltage specified in the
owners manual or as marked on the unit. This unit has a polarized plug. Do not use
with an extension cord or receptacle unless the plug can be fully inserted. Precautions should be taken so that the grounding scheme on the unit is not defeated. An
apparatus with CLASS I construction shall be connected to a Mains socket outlet with
a protective earthing ground. Where the MAINS plug or an appliance coupler is used
as the disconnect device, the disconnect device shall remain readily operable.
Hazards
Do not place this product on an unstable cart, stand, tripod, bracket or table. The
product may fall, causing serious personal injury and serious damage to the product.
Use only with cart, stand, tripod, bracket, or table recommended by the manufacturer
or sold with the product. Follow the manufacturer’s instructions when installing the
product and use mounting accessories recommended by the manufacturer. Only use
attachments/accessories specified by the manufacturer
Note: Prolonged use of headphones at a high volume may cause
health damage on your ears.
The apparatus should not be exposed to dripping or splashing water; no objects
filled with liquids should be placed on the apparatus.
Terminals marked with the “lightning bolt” are hazardous live; the external wiring
connected to these terminals require installation by an instructed person or the use of
ready made leads or cords.
Ensure that proper ventilation is provided around the appliance. Do not install near
any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
No naked flame sources, such as lighted candles, should be placed on the apparatus.
Power Cord
Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug
has two blades with one wider than the other. A grounding type plug has two blades and a
third grounding prong. The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for replacement of the
obsolete outlet. The AC supply cord should be routed so that it is unlikely that it will be
damaged. Protect the power cord from being walked on or pinched particularly at plugs. If
the AC supply cord is damaged DO NOT OPERATE THE UNIT. To completely disconnect
this apparatus from the AC Mains, disconnect the power supply cord plug from the AC
receptacle. The mains plug of the power supply cord shall remain readily operable.
Unplug this apparatus during lightning storms or when unused for long periods of time.
Service
The unit should be serviced only by 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.
Veuillez Lire le Manuel: Il contient des informations qui devraient êtres comprises avant
l’opération de votre appareil. Conservez. Gardez S.V. P. ces instructions pour consultations
ultérieures et observez tous les avertissements.
Nettoyez seulement avec le tissu sec.
Emballage: Conservez la boite au cas ou l’appareil devait être retourner pour réparation.
Avertissement: Pour réduire le risque de feu ou la décharge électrique, n'exposez pas
cet appareil à la pluie ou à l'humidité. N’utilisez pas cet appareil près de l’eau!
Attention: Lors de l’utilisation de produits électrique, assurez-vous d’adhérer à des
précautions de bases incluant celle qui suivent:
Alimentation
L’ appareil ne doit être branché qu’à une source d’alimentation correspondant au
voltage spécifié dans le manuel ou tel qu’indiqué sur l’appareil. Cet appareil est équipé
d’une prise d’alimentation polarisée. Ne pas utiliser cet appareil avec un cordon de
raccordement à moins qu’il soit possible d’insérer complètement les trois lames. Des
précautions doivent êtres prises afin d’eviter que le système de mise à la terre de
l’appareil ne soit désengagé. Un appareil construit selon les normes de CLASS I
devrait être raccordé à une prise murale d’alimentation avec connexion intacte de mise
à la masse. Lorsqu’une prise de branchement ou un coupleur d'appareils est utilisée
comme dispositif de débranchement, ce dispositif de débranchement devra demeurer
pleinement fonctionnel avec raccordement à la masse.
Risque
Ne pas placer cet appareil sur un chariot, un support, un trépied ou une table instables.
L’appareil pourrait tomber et blesser quelqu’un ou subir des dommages importants.
Utiliser seulement un chariot, un support, un trépied ou une table recommandés par le
fabricant ou vendus avec le produit. Suivre les instructions du fabricant pour installer
l’appareil et utiliser les accessoires recommandés par le fabricant. Utilisez seulement
les attachements/accessoires indiqués par le fabricant
Note: L'utilisation prolongée des écouteurs à un volume élevé peut
avoir des conséquences néfastes sur la santé sur vos oreilles. .
Il convient de ne pas placer sur l’appareil de sources de flammes nues, telles que
des bougies allumées.
L’appeil ne doit pas être exposé à des égouttements d’eau ou des éclaboussures
et qu’aucun objet rempli de liquide tel que des vases ne doit être placé sur l’appareil.
Assurez que lappareil est fourni de la propre ventilation. Ne procédez pas à
l’installation près de source de chaleur tels que radiateurs, registre de chaleur, fours
ou autres appareils (incluant les amplificateurs) qui produisent de la chaleur.
Les dispositifs marqués d’une symbole “d’éclair” sont des parties dangereuses
au toucher et que les câblages extérieurs connectés à ces dispositifs de
connection extérieure doivent être effectivés par un opérateur formé ou en utilisant
des cordons déjà préparés.
Cordon d’Alimentation
Ne pas enlever le dispositif de sécurité sur la prise polarisée ou la prise avec tige de
mise à la masse du cordon d’alimentation. Une prise polarisée dispose de deux lames
dont une plus large que l’autre. Une prise avec tige de mise à la masse dispose de
deux lames en plus d’une troisième tige qui connecte à la masse. La lame plus large ou
la tige de mise à la masse est prévu pour votre sécurité. La prise murale est désuète si
elle n’est pas conçue pour accepter ce type de prise avec dispositif de sécurité. Dans
ce cas, contactez un électricien pour faire remplacer la prise murale. Évitez
d’endommager le cordon d’alimentation. Protégez le cordon d’alimentation. Assurezvous qu’on ne marche pas dessus et qu’on ne le pince pas en particulier aux prises.
N’UTILISEZ PAS L’APPAREIL si le cordon d’alimentation est endommagé. Pour
débrancher complètement cet appareil de l’alimentation CA principale, déconnectez le
cordon d’alimentation de la prise d’alimentation murale. Le cordon d’alimentation du
bloc d’alimentation de l’appareil doit demeurer pleinement fonctionnel.
Débranchez cet appareil durant les orages ou si inutilisé pendant de longues périodes.
Service
Consultez un technicien qualifié pour l’entretien de votre appareil. L'entretien est
nécessaire quand l'appareil a été endommagé de quelque façon que se soit. Par exemple
si le cordon d’alimentation ou la prise du cordon sont endommagés, si il y a eu du liquide
qui a été renversé à l’intérieur ou des objets sont tombés dans l'appareil, si l'appareil a été
exposé à la pluie ou à l'humidité, si il ne fonctionne pas normalement, ou a été échappé.
1
Line2Line3Line4Line Line Line
Mic MicMicMicMicMic
5/6
Hi-Z
PGM
8
7/8
1.
Room Reverb
2.
Hall Reverb
3.
Hall Reverb - Vocals
4.
Hall Reverb w/Echo
5.
Plate Reverb
6.
Plate Reverb - Vocals
7.
Plate Reverb w/Echo
8.
Gated Reverb
Effect Presets
9.
Fast Echo
10.
Short Decay Echo
11.
Long Decay Echo
12.
Chorus
13.
14.
15.
16.
Flanger
Rotary Speaker
Acoustic Guitar
Harmonizer
ClipSet Level
ClipSet Level
ClipSet Level
Gain
Gain
Gain
Gain
+35
+35
+35
dB
dB
dB
dB
+40
+40
+20
0
dB
0
dB
0
dB
5
10
10
+30
+10
6
7
91
Clip
Mute
10
+
0
0
-
3
6
12
12
24
24
0
0
0
+20
+20
+10
0
-20
0
-10
-36+45
line
-24 +60
mic
80Hz
High
0
12kHz
dB
-15 +15
Mid
0
2.5kHz
dB
-15 +15
Low
0
80Hz
dB
-15 +15
5
Mon
4
6
3
28
0
10
EFX
10
0
PanPan
Clip
Mute
6
+
-
3
6
0
dB
+40
+20
+30
+10
0
-10
High
12kHz
Mid
2.5kHz
Low
80Hz
Mon
7
91
EFX
Pan
10
6
+
+
0
0
-
-
3
3
6
6
12
12
24
24
0
0
0
0
dB
+20
+20
+20
+10
+10
0
0
+30
+10
+10
-20
-20
0
0
-10
-10
-36+45
-36+45
line
line
-24 +60
-24 +60
mic
80Hz
High
12kHz
Mid
2.5kHz
Low
80Hz
Mon
EFX
Pan
10
6
+
0
-
3
6
12
24
0
0
dB
1
mic
80Hz
High
0
12kHz
dB
-15 +15
-15 +15
Mid
0
2.5kHz
dB
-15 +15
-15 +15
Low
0
80Hz
dB
-15 +15
-15 +15
5
Mon
4
4
6
3
3
7
28
28
91
0
0
10
EFX
10
0
0
Clip
Mute
10
6
+
+
0
0
-
-
3
3
6
6
12
12
24
24
0
0
0
0
dB
2345/6 7/ 8
+10
0
-20
-36+45
-24 +60
80Hz
-15 +15
-15 +15
-15 +15
4
3
28
0
0
+35
line
mic
0
dB
0
dB
0
dB
5
ClipSet Level
+20
6
10
10
Clip
Mute
Set Level
Gain
dB
+40
+20
+30
+10
0
-10
High
12kHz
Mid
2.5kHz
Low
80Hz
Mon
7
91
EFX
Bal
10
6
+
+
0
0
-
-
3
3
6
6
12
12
24
24
0
0
0
0
dB
Clip
+35
+40
+20
+10
0
+30
-20
-36+45
line
-24 +60
mic
80Hz
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
5
4
6
3
7
28
91
0
10
10
0
Clip
Mute
+
0
-
3
6
12
24
0
0
ClipSet Level
Gain
+35
dB
+20
+20
+10
0
+10
-20
0
-10
-36+45
line
-24 +60
mic
80Hz
High
0
12kHz
dB
-15 +15
Mid
0
2.5kHz
dB
-15 +15
Low
0
80Hz
dB
-15 +15
5
Mon
4
3
28
0
10
EFX
10
0
Bal
10
6
+
0
-
3
6
12
24
0
0
dB
+40
+30
6
7
91
Clip
Mute
+
0
-
3
6
12
24
0
0
Mon OutMedia In
Record Out
Media In
Clip
Level
5
4
6
3
7
28
91
0
10
Record
Clip
5
Level
4
6
3
7
28
91
0
10
EFX
Clip
5
4
6
Send
3
7
28
91
0
10
5
EFX to
4
6
MON
3
7
28
91
0
10
Clip Clip Clip
10
10
6
6
+
+
0
0
-
-
3
3
6
6
18
18
30
30
0
0
0
dB
MON
Main EQ
125 250 500 1.0K 2.0K 4.0K 8.0K
+12
+6
0
-6
-12
EFX
24
T
A
E
G
S
E
E
C
T
H
8
A
79
O
L
P
610
511
N
412
O
I
H
T
A
313
A
L
L
L
2 14
U
S
D
O
115
16
M
R
O
O
M
H
R
A
EFX
Return to MAIN Return
10
10
6
6
+
+
0
0
-
-
3
3
6
6
18
18
30
30
0
0
0
0
0
dB
EFX
Return to MAIN Return
EFX
Mute
STEREOMON
10
6
+
0
-
3
6
18
30
0
0
dB
STEREO
MAIN Out Footswitch
Internal EFX
EFX SendStereo Rtn
Phones
Phantom
Power
+12
VU-Meter
+6
+10
+6
0
+3
0
-6
-2
-12
-4
-7
5
6
7
91
10
-9
-18
-24
MUTE all input Channels
Phones
4
3
28
0
BREAK
MAIN
10
10
6
6
+
+
0
0
-
-
3
3
6
9
18
18
30
30
0
0
0
0
dB
MAIN
10
6
+
0
-
3
9
18
30
0
0
Introduction
Welcome to the PGM8. A compact versatile low noise audio mixer designed for use in small
to medium size clubs, churches, corporate events, and in home studios. Ideal for use with
powered loudspeakers, the PGM8 includes these features:
• A Simple soft audio compressor on the mono channels providing a better mix
• Set Level LEDs on channel inputs for easy Channel Gain adjustment
• A switchable hi-impedance guitar input
• 48-volt phantom power
• Onboard 24-bit digital effects with 16 versatile presets
• Audio compression on the internal effects send for cleaner digital effects
• Stereo graphic equalizer
• Break switch mutes all input channels
• Mute switch on all input channels
• Clip LEDs on all critical signal inputs and outputs
• Balanced XLR and T.R.S. phone jack outputs
• Universal switching power supply operates on 100 to 240 volts AC
This manual explains the various functions. Realizing that some PGM8 users may be
unfamiliar with certain features, user tips and additional information is included, appearing separately in the applicable sections.
For general information about mixing and other facets of sound-reinforcement check
out our P.A. User Guide available on the internet... (http://www.yorkville.com).
1
1/4-inch Phone Plug
1/4-inch T.R.S. Phone Plug
XLR Plug
Mic MicMicMicMicMic
1
2
3
4
5/6
7/8
Line
Line
Line
Line Line Line
Hi-Z
Input Channel Features
1. Microphone Inputs
All mono and stereo input channels have microphone XLR inputs. These microphone inputs
are bal anced for maximum noise suppression. The PGM8 active input circuitry accepts micro-
phones with impedances ranging from 50 ohms through 10,000* ohms. All low impedance
microphones are compatible. Phantom power (covered in the Rear Panel section of this manual) is available on all Mic inputs when activated. This feature is for condenser microphones
but you can also connect dynamic microphones without any problems.
*Although it would be customary to plug high impedance microphones into the Line
jacks, most of them will also work in the Mic inputs, provided the microphone’s built-in
XLR connections are wired with the audio signal on pin 2 and pin 3 is connected to pin 1.
2. Balanced Line Inputs
Mono line-level sources, such as guitar amplifier line-level outputs, keyboards, and
hi-impedance microphones, connect to the mono or stereo channels through the line
input jacks. The Left and Right Line inputs on the stereo channels are wired internally
so that a single (mono) signal connected to the L/Mono input will also be patched over
to the Right input (as long as a phone plug is not plugged into the Right jack). This
simplifies connecting a mono source, should the need arise (in the situation where all
the mono channels are taken).
You can connect stereo audio sources such as a digital audio player, CD-player, MP3
player or tape deck to the Line inputs on the stereo channels. Use RCA to phone plug
adapters to connect RCA cables to the Line inputs. It is possible to connect stereo sources to the mono channels, however you will need to plug the L&R signals into separate
channels to avoid the risk of inter-modulation distortion. The inter-modulation distortion
may be caused by using a “Y” connector to combine the left and right signals into a single Line jack. If you connect a stereo source to two mono channels don’t forget to adjust
the Pan controls so that one is set to L and the other is set to R. this will make sure that
the left and right music signals remain separate.
Channel 4 has a very high impedance, unbalanced ¼-inch input which is opti mized
for instruments such as acoustic electric guitars. Push the Hi-Z switch in to change
channel 4 to a high impedance input.
The balanced connector wiring is:
Tip (or XLR pin 2) = hot, in phase;
Ring (or XLR pin 3) = hot, reverse phase;
Sleeve (or XLR pin 1) = ground
You can connect an unbalanced source to the Line inputs with a standard unbalanced
shielded patch cable without any adverse affects.
A slight modification to a balanced patch cable will help achieve noise cancellation
when connecting the PGM8 to an unbalanced unit. Simply modify one end of a balanced patch cord and de-solder the wire from the ring tab, then resolder the wire to the
2
28
Gain
Control
Gain
dB
+10
0
-10
High
12kHz
Mid
2.5kHz
Low
80Hz
Mon
EFX
Pan
+20
80Hz
ClipSet Level
+35
+20
+10
0
-20
-36+45
line
-24 +60
mic
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
5
4
3
0
0
shield tab making sure that it does not touch anything else. Now re-assemble the plug
+40
+30
and mark it with some tape for future reference. This will be the end that you plug into
the unbalanced music source (this will also work with an RCA connector).
For best performance when connecting turntables, a phono RIAA pre-amplifier must
be used to connect to the PGM8 inputs.
Connecting signals to both types of inputs on any one channel (MIC and LINE in) is
NOT recommended. To do so may change the gain of the input circuit.
3. Gain Control
PGM8 features active channel input circuitry with exceptionally high audio headroom. The
Gain control adjusts the input gain level to match it with the input audio signal level.
There are two gradation circles on the gain control. The outer one (-24 dB to +60 dB) is
the gain for the Mic Input, the inner one (-36 dB to +45 dB) is for the Line input. Since
this control has a range of 84 dB, it presents the user with a wide range of gain control.
Here’s a quick way during a sound check to ensure that the Gain is adjusted correctly for
the highest headroom and lowest noise. First turn the Channel Fader to the infinity symbol.
With a music source playing into the mixer’s channel turn the Gain control clockwise until
the Set Level LED begins to flash. Having the Set Level LED flashing shows you that you have
6
10
10
the optimum gain setting for the music level on that channel input. Having the Set Level
LED remain on continuously indicates that you should turn down the Gain control until the
7
Set Level LED is flashing. Having the Set Level LED remain on continuously indicates that the
91
input audio compressor is active. Now turn up the Channel Fader to the desired audio level for
the overall music mix. How to use the input audio compressor is explained below.
The PGM8’s Clip LED will turn on at 3 dB below the onset of actual clipping. It is
acceptable to have this LED flash occasionally during music peaks. You will find that
this or any audio system performs with less distortion and less noise when the gain
controls are all set properly.
Channel
Fader
10
0
12
24
0
dB
1
4. Input Channel Audio Compressor
Clip
Mute
6
+
-
3
6
0
Each of the mono input channels of the PGM8 (channels 1-4) have an internal dualslope soft-knee audio compressor. The PGM8’s compression function is suitable for
bass guitars, percussive sources, and vocals.
A compressor reduces the dynamic range of the music providing a more constant
level. Like having a sound engineer dynamically adjusting the gain of each channel
+
0
-
3
for the optimum audio level.
The PGM8 compressor works automatically in the background. It can reduce clipping of
the audio signal during loud passages in the music, or adjusted by the user providing a
tighter sound typically heard in audio recordings. You can adjust how much compression
you want with the input channel Gain control.
6
12
24
0
0
Here’s how to use the compressor. In automatic mode, set the Gain level so that the
Set Level LED is just blinking to the music. The compressor will remain off until someone
yells into the microphone or there is a loud percussive sound then the compressor will
reduce the gain reducing the possibility of clipping. To adjust for little to no compression, have the music source playing into the input channel. Turn up the input channel
Gain control to the point where the Set Level LED is just blinking with the music. At this
point the full dynamic range of the music source will be experienced. Continuing to turn
the input channel Gain control clockwise, the music will get louder. To maintain the same
audio level turn down the Channel Fader for the channel being adjusted. The further the
input channel Gain control is turned clockwise, or the louder the music source becomes,
the greater the compression will be experienced.
If the Clip LED blinks occasionally then the maximum amount of compression has been
reached. If the Clip LED remains on for longer periods, turn down the Gain level until
the Clip LED blinks occasionally.
3
5. High Pass Filter Button
Situated at the top of the channel strip this switch activates a High-Pass Filter (a bass
roll-off of 18 dB per octave below 80 Hz).
The HPF (High-Pass Filter) is useful for controlling unwanted low-frequency spillover
picked up by microphones located too close to the bass drum, bass amp or the keyboard
amp. It is also effective in optimizing acoustic guitar pickups that sound boomy from
the guitar body resonance (the lowest note on a concert-tuned guitar is 81.2 Hz, so you
aren’t losing anything by rolling off the input response below 80 Hz). Additionally, the
HPF works to reduce breath pops and wind noise from vocal microphones. Any microphone, or pickup, connected to a source that does not go below 80 Hz should have the
HPF activated. This includes most wind instruments, most male voices, nearly all female
voices and all drum microphones except for the kick-drum.
Why roll off the bass on these channels? …Because you will get better sound clarity
and improve the system’s gain before feedback.
6. Channel EQ
The mono and stereo channels feature 3-band Equalization with a control range of
+/-15dB. The High EQ is shelving at 12,500 Hz, Low EQ shelves at 80 Hz, and the Mid
EQ is centered at 2500 Hz. The tone control frequencies were carefully selected to help
achieve the best quality of sound.
It is best to set the channel EQ during a sound check. The less you adjust the EQ controls above (called “boost”) or below (called “cut”) the centre 0 position the better as
+/-15dB represents a considerable level change.
For vocals turning the Low control counterclockwise will reduce the boominess of
male voices. For male or female vocals it will also “clean up” the mix as this channel
will reduce the bass sound from instruments heard by this microphone.
The Mid is a very powerful control because adjusting it will affect any music source. If
a vocal or instrument sounds “honky” you typically “cut,” or turn the Mid control counter
clockwise, to reduce the mid frequencies. This produces a more pleasant sound.
Cymbols can sound hotter, or an instrument can sound brighter, when you boost the
High control. Only add a little boost, as too much boost can be the cause of squealing
feedback. Cutting the High control can reduce the hiss coming from some audio sources,
and can also make some bass instruments sound warmer.
The center position of the tone control reflects a neutral or flat EQ control setting; however, turn ing down EQ settings can be used effectively to reduce feedback and/or distortion).
7. Mon (Monitor)
The Mon (Monitor) is the audio signal for the stage monitors for the musicians. This control adjusts the level of signal from each channel to the MON fader. The signal for the
Mon control is independent of the Channel Fader. Adjusting the Channel Fader will not
affect your monitor mix.
When feedback occurs, the cause is often the music from the stage monitors getting
back to the microphones. When this happens, the first thing to do is turn down the
Mon fader to make sure that the monitors and not the main P.A. is the cause of the
feedback. If the cause is the monitors follow these steps:
i. Turn up the MON fader until feedback is just starting.
ii. Now turn down each channel’s MON control just a little then return the control
back to the original position. Which control reduced the feedback the most?
iii. Take that control and reduce the level to the point of no feedback. By using the
MON control you’ll eliminate the feedback without affecting that channel’s level
through the main P.A.
4
With the PGM8’s independent monitor mix, it can be beneficial to connect a graphic
equalizer between the MON output and the monitor amplifier (external amplifier or
powered speakers, depending on how you have it set up) and use the graphic equalizer to control feedback.
8. Digital Effects (EFX)
The channel EFX control adjusts the level of signal from each channel to the EFX Send
control. The signal for the EFX control comes from the Channel Fader. Adjusting the
Channel Fader will change the level of the dry signal and the EFX signal. The signal from
the EFX Send control continues to the internal effects generator, and to the EFX Send
jack for use with an external effects unit.
Alternatively, if you do not require any effects at all, the signal at the EFX Send jack
can connect to the input of an additional monitor system or another amp/speaker system via the EFX Out jack using a standard balanced patch cord. In this case, the EFX
controls would act as send controls to achieve a semi-separate mix. Remember that
the Channel Fader level controls also affects this signal.
9. Pan Control (Mono Channels)
This controls the post Channel Fader signal routing to the Main fader through the
main bus. In the Pan Control, the signal levels are compensated at the L&R rotation
extremes so that panning during a performance will result in minimal sound level
change in the center-field audience areas.
In audio terminology, a bus is a mix-down channel where all the signals from the input
channels are blended into one signal. The PGM8 has 5 busses: MAIN (left and right),
MONITOR, EFFECTS and RECORD OUT
10. Balance Control (Stereo Channels)
This controls the stereo channel signal routing to the Main Fader. Similar to the Pan Control, the Balance Control can shift the center image between the left and right channels.
11. Mute Switch
Each channel’s Mute Switch mutes that channel’s left, right, and all of its sends signals. The
Mute function is a timesaving feature that enables you to mute channels without turning
down the Channel Fader that you preset during the sound check.
It’s important to mute all unused channels during a performance as open microphones
increase the possibility of feedback, and can made a music mix sound muddy.
12. Clip/Mute LED
The Clip LED turns on at 3 dB below the channel’s actual clipping level and with the
Clip LED threshold set below actual clipping level, it is possible to allow occasional
light activity without worrying about distortion. As a result, you may use the Clip
LED to help you adjust the proper gain with the Channel Fader control. When the Mute
switch is depressed, the Clip LED will illuminate at half–brightness to indicate the mute
condition but will still flicker to indicate clipping.
13. Channel Fader
The Channel Fader control’s taper is expanded in the upper mid-slide area for precise volume adjustments and condensed at the extremes allowing you to increase or
decrease the audio level quickly. The audio out of the Channel Fader goes simultaneously to the channel EFX, and Pan controls.
5
Master Section
1. Media Input
The Media In unbalanced RCA jacks accept signals from computers, CD players, MP3
players, or any other audio playback device. The Media In level control allows you to
adjust the incoming audio level. If the Media In Clip LED illuminates turn the Media In
level control down until the LED is not on.
The audio from the Media In level control goes directly to the Main fader. Pressing the
Break switch will mute all of the input channels except for the Media In so that the
audio passing through the Media Input can play when the band is on “break."
2. Record Outputs
In traditional mixers the record audio signal branches off after the Main fader which
can result in a low level record audio signal. The problem is that the audio level is not
large enough to reach 0 dB on your recording device level meters. Unlike traditional
mixers, the PGM8 has a separate audio buss connecting all of the input channels,
Media In, and the Stereo Return to the Record Level control. Using the Record Level
control you can set the Record Out level for 0 dB on your recording device level meters
for optimum headroom and minimum noise.
Mon OutMedia In
Record Out
MAIN Out Footswitch
Internal EFX
EFX SendStereo Rtn
Phones
3. EFX Send Control
Audio signals from each channel EFX level control arrive at the EFX Send level control.
From the EFX Send control the audio signal arrives at the EFX Send phone jack on the front
panel, and also arrives at the internal digital effects generator.
To get started, figure out which channels you want effects on (e.g. vocals, lead
guitar, brass instruments, and keyboards - most likely not on the drums or the bass
guitar). During a sound check, turn up the EFX Send control to level 5. On the channels that you want effect turn the EFX control up about halfway at first and turn up
the Channel Faders to about 0dB. Now dial in one of the sixteen desired effects – the
menu of presets is located at the top of the mixer.
Next, turn up the EFX Return to MAIN fader (main system) to 0 dB. Now turn up the
MAIN fader to a moderate listening level. You can re-adjust the EFX Return to MAIN control to increase or decrease the effect’s intensity in the main mix. Like the EFX Return to
MAIN control, there is an EFX to MON control to add some effects to the monitor signal.
4. Internal Digital Effects Generator
The PGM8 has an onboard 24-bit digital effects generator with 16 versatile presets.
Use the EFX selection control to choose from the 16 reverbs, echos, chorus, flange,
or rotary speaker. There is even an acoustic guitar effect to enhance the audio from
an acoustic guitar piezo pick-up.
6
1.
Room Reverb
2.
Hall Reverb
3.
Hall Reverb - Vocals
4.
Hall Reverb w/Echo
Effect Presets
5.
Plate Reverb
6.
Plate Reverb - Vocals
7.
Plate Reverb w/Echo
8.
Gated Reverb
9.
Fast Echo
10.
Short Decay Echo
11.
Long Decay Echo
12.
Chorus
13.
Flanger
14.
Rotary Speaker
15.
Acoustic Guitar
16.
Harmonizer
Like the audio compressor on the input channels there is an audio compressor controlling the signal to the internal effects generator. This compressor acts like an automatic
gain circuit making sure that the optimum audio signal enters the internal effects generator. If the EFX Send Clip LED blinks occasionally then you have the maximum amount of
compression. If the Clip LED remains on for longer periods then you should turn down the
EFX Send level until the LED blinks occasionally.
It is possible to use the internal digital effects and an external effects unit at the same
time. You can set one effects unit for reverb, and the other unit for a special effect not
used often like echo. Connect a cable from the EFX Send jack to the input of your effects
unit. Then connect a cable from the output of your effects unit into the Stereo Return
jacks. You will use the Stereo Return fader to control the level of the external effects.
5. Footswitch Jack
Connect a standard footswitch to the Footswitch jack (e.g. Yorkville Apex model AFS-
1) to switch the internal effects on and off. The EFX Mute LED will illuminate when
the internal effects are muted ('off') by the Footswitch.
6. MON Fader
Audio signals from each channel MON level control arrive at the MON fader. The MON
fader adjusts the level of each channel’s signal into the monitor mix. From the MON
fader the audio signal arrives at the MON output phone jack on the front panel. The
shaded area on the MON fader front panel graphic is the fader’s usual operating position. If the MON fader’s knob is up at 10 or down at -18 you may want to check the
position of the channel Gain or Mon controls to be sure that they are not turned to
the extreme of their setting range.
7. MAIN Fader
Audio signals from each
channel Pan level control arrive
at the MAIN fader. The MAIN
fader adjusts the level of each
channel’s signal onto the main
mix. From the MAIN fader the
audio signal passes through
the Main EQ to the MAIN Out
phone jacks on the front panel
and to the MAIN Out XLR jacks
on the rear panel. The shaded
area on the MAIN fader front
panel graphic is the fader’s
usual operating position. If the
MAIN fader’s knob is up at 10
or down at -30 you may want
to check the position of the
channel Gain or Channel Fader
controls to be sure that they
are not turned to the extreme
of their setting range.
To ensure maximum signal head room and clarity, set the channel Gain
and Fader controls first
for a good sig nal without
clipping, then set the
master for the overall
volume desired.
Media In
Level
5
4
6
3
28
0
10
Record
5
Level
4
6
3
28
0
10
EFX
5
4
6
Send
3
28
0
10
5
EFX to
4
6
MON
3
28
0
10
10
6
+
0
-
3
6
18
30
0
0
dB
MON
24
T
A
E
G
8
79
115
16
M
H
R
A
EFX
EFX
Main EQ
E
C
H
O
A
L
U
D
O
M
10
6
+
0
-
3
6
18
30
0
0
N
O
I
T
EFX
Mute
STEREOMON
10
6
+
0
-
3
6
18
30
0
0
dB
STEREO
+12
+6
0
-6
-12
Phones
5
4
6
3
7
28
91
0
10
10
6
+
0
-
3
6
18
30
0
0
Clip
125 250 500 1.0K 2.0K 4.0K 8.0K
7
+12
+6
91
0
Clip
7
-6
91
-12
Clip
EFX
7
S
E
T
A
L
P
610
91
511
412
H
A
313
L
7
L
2 14
S
R
91
O
O
Return to MAIN Return
Clip Clip Clip
10
10
6
6
+
+
0
0
-
-
3
3
6
6
18
18
30
30
0
0
0
0
dB
Return to MAIN Return
Phantom
Power
VU-Meter
+10
+6
+3
0
-2
-4
-7
-9
-18
-24
MUTE all input Channels
BREAK
MAIN
10
6
+
0
-
3
9
18
30
0
0
dB
MAIN
10
6
+
0
-
3
9
18
30
0
0
7
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