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™ ™
S-14 /S-14P
Mixing Console Operating Guide
NOTICE!
THIS IS A TEMPORARY COPY
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STANDARD MANUAL NOT AVAILABLE AT
TIME OF PRODUCT RELEASE
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Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. CAUTION: Risk of electrical shock — DO NOT OPEN! CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. R
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IMPORTANT SAFETY INSTRUCTIONS WARNING: When using electrical products, basic cautions should always be followed, including the following: 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with a dry cloth. 7. Do not block any of the ventilation openings. Install in accordance with manufacturer’s instructions. 8. Do not install near any heat sources such as radiators, heat registers,
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ENGLISH S14/S14P Mixing Console Description The S-14 is a twelve channel, rack mountable, mixing console specifically designed to meet the needs of churches, schools, and small public venues. The challenge of these applications is to provide high quality sound where the experience of the operator ranges from novice to experienced. In many cases, these sound systems are used without an operator. The S-14 Sanctuary Series mixing system meets these challenges by incorporating a unique set of featur
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The headphone amplifier with headphone/meter selector switch is another important tool for setting and operating the S-14. The user can listen to and observe the level of the main L/R output, hear the mix and monitor the level to Monitor outputs 1 and 2, or listen to the stereo channels to cue tapes or CDs without sending the signal to the house or monitor amplifiers. The S-14P has all of the above features and includes a dual 500 Watt power amplifier. The back panel power amplifier mode switch
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1. COMPRESSOR THRESHOLD: The first four channels have auto-mixing and compressor capabilities when assigned to the pulpit or wireless group. These soft-knee are compressors designed to keep levels from getting out of hand. The threshold control sets the level at which compression begins. The CMP LED located beside the channel’s fader lights to indicate that compression is taking place. To set it, start with the control fully clockwise and turn it down to the point that the LED lights only on the
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6. MONITOR SEND (1–2): The monitor sends adjust the level of the channel signal added to the monitor mix. They are post-EQ, post-fader, and follow the channel’s level. The center detent is the unity gain (nominal) position. 7. EFFECTS SEND: This adjusts the level of the channel signal (post-EQ, post-fader) added to the effects mix. The signal is sent to the internal effects processor and to a master effects send output jack on the rear panel. If the internal effects are not needed, this send ca
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11. FADER: This is the channel output-level control. This control works somewhat differently on the automix channels 1–4 and the remaining inputs. On channels 1–4, the fader scale is from off to 0dB. The gain on these channels is best adjusted so that feedback will not occur with the fader set at 0. The fader will then be operated in the black area (0 to ±20dB). On the remaining channels the fader scale is from off to +10dB of gain. The optimum setting for these channels is the 0 (unity gain) po
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Master Functions: 17. PHANTOM POWER: Applies +48VDC voltage to the input XLR connectors to power microphones requiring it. If phantom power is used, do not connect unbalanced dynamic microphones or other devices to the XLR inputs that cannot handle this voltage. An LED indicates when phantom power is on. 18. EFFECTS SELECT: There are four pre-programmed reverbs built into the console ranging from small to large. Use this switch to select the reverb that best fits the style of music being perform
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23 24 25 26. VOCAL ENHANCE: The circuitry of the vocal enhance has been designed to improve clarity and definition. The frequencies have been chosen to work well with speech and singing. The amount is determined by a concealed preset switch (MIN up, MAX down). 27. MONITOR CLIP/MUTE: Mutes the monitor output. The indicator will light when it is muted. The light also cautions that the monitor signal is within 2 dB of clipping, and channel send levels or the master monitor fader level should be re
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31. HEADPHONE OUTPUT: This stereo jack (TRS) provides drive for 31 the headphones. The level is set by the headphone level control. Tip = Left, Ring = Right, Shield = Ground. 32. HEADPHONE LEVEL: This control sets the volume of the headphones. 32 33. HEADPHONE/METER SOURCE: Selects the signal(s) sent to the headphone amplifier and to the output meter array. Options include the main L/R outputs, monitor1, monitor2, or a cue mix of channel 33 11/12 and 13/14 pre-fader signals. This last position
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INPUTS & OUTPUTS Input and Output Jacks: 35. MIC INPUT: XLR balanced input optimized for a microphone or other low impedance source. Pin 2 is the positive input. Because of the wide range of gain adjustment, signal levels up to +22dBu can be accommodated. 1 36. LINE INPUT: ⁄4” balanced (TRS) 10K ohm impedance input. The tip is the positive input, which should be used for unbalanced inputs. It has 20 dB less gain than the XLR input and does not have phantom power available. The Mic and Line input
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1 1 41. MONITOR OUT (XLR and ⁄4"): ⁄4" unbalanced and XLR balanced outputs of the monitor mix designed to feed an external monitor amplifier (Pin 2 is positive). The output level (nominal +4 dBu) is set by the individual channel, monitor-send controls and by the master monitor fader. 1 1 42. MAIN OUTPUTS (XLR and ⁄4"): ⁄4" unbalanced and XLR balanced outputs of the Left and Right mixes. The output level is set by the master Left and Right faders. The nominal levels are +4dBu. 43. AC MAINS INPUT
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INSTALLATION The S-14 has an extensive and impressive list of features and functions designed to make achieving good sound for worship as easy as possible. To reach this goal, please carefully read and follow the planning and setup procedure described below even if you are experienced with sound system setup. It will take a bit of time to complete the full procedure but you will be rewarded with better sound and easier operation. As you go through this procedure, you will notice that you will be
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Planning the installation: The different inputs on the S-14 are designed for different functions. Before starting the installation, it is important to plan what will be connected to each input and output. NOTE: Many of the benefits that the S-14 offers require careful initial setup. This can all be quickly undone by curious fingers on a panel full of neat looking knobs and switches. When you plan and install this product, make sure that it is installed where the operator can hear the sound syste
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The S-14 has two additional buses that allow mics to be grouped for noise reduction and compression. Try to group mics together on adjacent inputs that will be used together. Singing mics, particularly hand held mics, should be assigned to the SOLO group since it has a filter to reduce rumble and handling noise. Instruments are best routed to the CHOIR group. Input channel 10 can be assigned to the choir group or REC. When set to REC, it will go to the IMPORTANT ➧ Record and Auxiliary outputs on
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Other outputs Record (REC) output. This output is a stereo output intended for recording or broadcast. A switch is provided to engage the AUTO-LEVEL circuit to reduce the dynamic range of the recording. OTHER OUTPUTS: Auxiliary (AUX) output. This output can be used for sending audio to other places, Aux Out such as the narthex, cry room, nursery etc. or it can be used as a broadcast feed. A REC Out switch is provided to engage the AUTO-LEVEL circuit to reduce dynamic range. NOTE: AUTO-LEVEL redu
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i. Solo and Choir Compression controls set full clockwise. (Master Section) j. Vocal enhance inactive (LED off) k. Turn off the Feedback Ferret by pressing and holding the Feedback Ferret button until the Blue LED blinks twice. Ferret Off When you release the button, the LED should be off. l. If any of the microphones used with the system will require +48V phantom power, turn it on at this time. Setting the mixer to amplifier system gain This adjustment is an important part of optimizing the per
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Setting Automatic mix inputs 1–4 Initial Adjustment of the automix inputs 1–4. Each of these inputs will be adjusted one at a time using the same Priority/Group procedure. Start with all automix channels muted. a. Begin by setting the channel Priority or Group Assign switch. (Pulpit: normal automix; Wireless: Priority automix). b. Set the channel Compressor threshold (CMP THRESH) fully clockwise (Off). c. Set the Main Master faders(s) to -10. d. Gain control Full counter-clockwise. Main Master e
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Initial Adjustment of the Monitor 1 system a. Set MON 1 and MON 2 master faders to 10. b. Set the MAIN master fader off. c. Un-mute the microphones in the main system that will Monitor 1 & 2 be sent to monitor system 1. Faders set to 10 d. Increase the “MAIN” master fader until the microphones are at a desirable level in the room but do not ring. Adjust individual mics if necessary using their channel Gain control. e. Now, set the Monitor Send controls for each of these mics to the required leve
