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®
SRC Series
18, 26 and 34 Channel Stereo Mixing Consoles
®
OWNER’S MANUAL
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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. Re
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® SRC 4018 FC, 4026 FC and 4034 FC ® The SRC 4026 FC, 4034 FC and 4018 FC are versatile four-bus consoles in 18, 26 and 34 channel versions, built into road-worthy cases. Designed for sound reinforcement applications, they can also be used in multitrack recording. The standard channels feature discrete low-noise mic preamps with globally-switched 48V phantom power, low-cut filters, and four-band EQs. There are six auxiliary sends (four dedicated pre-EQ for mon- itor sends, two switchable pre-E
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Channel Functions 1. Line Input 1 1/4" balanced (TRS) high-impedance input for high-level signals. The tip is the positive input, which should also be used for unbalanced inputs. This input is connected through a 10 dB pad to the Mic Input (#2). The two inputs cannot be used simultaneously. 2. Mic Input XLR balanced low-impedance channel input optimized for a microphone or other 2 low-level source. Pin 2 is the positive input. Because of the wide range of gain adjustment, signal levels as
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10 10. AUX 1/AUX 4 Adjusts the level of the channel signal (pre-EQ) that is added to the corresponding AUX mix. These are designed to be used for monitor sends. 11. AUX 5/AUX 6 Adjusts the level of the channel signal that is added to the corresponding AUX mix. These are selectable Pre- or Post-EQ Fader (#12) on all channels, and are configured in stereo (AUX 5=L, AUX 6=R) on the two stereo channels. They can be used as a stereo pair to drive stereo effect units. (See #14) 12. Pre/Post
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21. Pad Attenuates the input signal by 10 dB. This will increase the dynamic range to accommodate a higher input level before clipping which may be necessary when close miking loud guitar amplifiers or drum kits. 22. Polarity Reverses the polarity of the input signal. This will compensate for an out-of-phase input that would otherwise cause frequency cancellations in the mix. (Often needed for drum mics where both sides of the drum head are picked up in multiple microphone situations.) 23
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29. LED Meters 29 Six 12-segment LED arrays monitor the levels of the sub mixes and the main L-R outputs. The 0 dB reference level corresponds to +4 dBu. The L-R meter array is also used for PFL metering. (See #18, 28 and 33) 30. Sub Pan Sets the position of the sub mix in the L-R stereo field. 31. Sub PFL LED Illuminates when the Sub PFL switch (#33) is depressed to indi- cate that this signal has been assigned to the PFL mix. 32. Sub Mute Mutes the sub mix signal to the sub output and t
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39. Tape Out Level Sets the level of the main left and right stereo signal sent to the tape output jack. It is post master fader. 40. Tape Input/Output One half of this stereo RCA phono jack provides a 40 signal for the recording inputs of a stereo tape deck, with an amplitude set by the Tape Output Level 39 control (#39). The other half accepts a stereo input (nominally -10 dBu) from the output of a tape deck or CD player. 41 Caution: The tape output signal includes the tape input si
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53 58 49 50 56 54 51 57 59 52 55 49. AUX Send Output jack of the corresponding AUX mix. It is unbalanced, and can be used to feed an external monitor system or effect unit. The level is set by the AUX Master Level (#26) and the individual channel level control (see #10, 11). 50. Stereo Return High impedance input for line level signals. The left/mono input supplies signal to both the left and right inputs if there is no input connected to the right input jack. 51. Sub Out Output of the c
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61 60 62 60. Power The mixer’s main power switch. The power on LED indicator will light when the unit is powered. 61. AC Mains Input Connect the line cord to this connector to provide power to the unit. Damage to the equipment may result if improper line voltage is used. (See line voltage marking on unit.) Line Cord For your safety, we have incorporated a 3-wire line (mains) cable with proper grounding facilities. It is not advisable to remove the ground pin under any circumstances. If it is
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APPLICATIONS (Cont.) RECORDING: The connections for recording are very similar to those of the sound reinforcement section above with the following differences: 1. For recording tracks, connect the input sources as described above and use the sub mix sends to feed the recorder's inputs. For mixdown, the multitrack recorder's outputs are connected to the line inputs and assigned to the L/R mix. 2. Connect the Sub outputs (the Left and Right outputs are included in this group if they are not in
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L R OUT R L TAPE PLAYER MONO IN L STEREO OUT R MONITOR 1 5 5 5 5 5 5 5 5 5 5 5 5 5 5 OUT EFFECTS DEVICE SPEAKER CD PLAYER R L R L OUT IN SECTIONED AREA OF SRC MIXER STEREO POWER AMP SPEAKER R L R L STEREO IN STEREO OUT MONITOR 2 5 5 5 5 5 5 5 5 5 5 5 5 5 5 EFFECTS DEVICE AUX SEND/RETURN APPLICATION MULTI TRACK RECORDER INPUTS IN OUT 5 5 5 5 5 5 5 5 5 5 5 5 IN OUT EQUALIZER COMPRESSOR /GATE MULTI TRACK/SUB APPLICATION Page 12
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MONO OUT SYNTHESIZER TO OTHER CHANNEL INPUTS OUT MULTI TRACK RECORDER (ACTIVE ELECTRONICS) MICROPHONE IN OUT 5 5 5 5 5 5 5 5 5 5 5 5 CHANNEL INPUT/EFFECTS APPLICATION COMPRESSOR /GATE NOTE: Mic inputs and line inputs of the same channel cannot be used simultaneously. The IN OUT diagram above shows various output devices which can be connected. EQUALIZER R L STEREO OUT SYNTHESIZER L R OUT L CD PLAYER R OUT STEREO CHANNEL TAPE PLAYER STEREO CHANNEL STEREO CHANNEL INPUT APPLICATION Page 13
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® SRC 4018, 4026 and 4034 Sound Reinforcement Mixer Specifications: Input Specifications: Function Input Z Input Input Levels Balanced/ Connector (ohms) Gain Unbalanced Min Setting Min** Nominal* Max Microphone 5K Max gain -72 dBu -52 dBu -34 dBu Balanced XLR Pin 1 Gnd, (150 ohms) (56 dB) Pin 2 (+), Min gain -26 dBu -6 dBu +10 dBu Pin 3 (-) (10 dB) Line 10K Max gain -62 dBu -42 dBu -24 dBu Balanced 1/4" TRS; Tip (+), (10K ohms) (46 dB) Ring (-), Sleeve Min gain -16 dBu +4 dBu +20 dBu Ground
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Output Specifications: Function Minimum Output Input Levels Balanced/ Connector Load Z Unbalanced (ohms) Nominal* Max Main L/R 600 +4 dBu -34 dBu Both 1/4" Phono (Unbal), +20 XLR Pin 1 Gnd, +26 +10 dBu Pin 2 (+), Pin 3 (-) (Bal) 600 Mono +4 dBu +20 dBu Balanced XLR Pin 1 Gnd, Pin 2 (+), Pin 3 (-) Sub Master 600 +4 dBu +20 dBu Unbalanced 1/4" Phono +4 dBu Aux Send 600 +20 dBu Unbalanced 1/4" Phono Channel 600 +4 dBu +20 dBu Unbalanced 1/4" TRS: Tip Send, Insert Send Ring Return, Sleeve Ground S
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Hum and Noise: Output Residue Noise S/N Ratio Test Conditions Ref: 0 dBu Ref: Nom output level Master L/R -97 dBu 101 dB All Faders Down Master Fader Nominal, -92 dBu 96 dB Channel Faders Down, All Channels Assigned Submaster -97 dBu 101 dB All Faders Down -92 dBu 96 dB Master Fader Nominal, Channel Faders Down, All Channels Assigned Hum and Noise Measurements: 22 Hz to 22 kHz BW Equivalent Input Noise (EIN): -128 dBu (Input terminated with 150 ohms) Crosstalk: >80 dB Adjacent Input
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Page 17
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Page 18 8 7 6 5 4 3 2 1 ASSIGN PHANTOM PWR L/R STATUS S 4 BAND EQ LOW CUT FADER PAN +48V MUTE 1/2 SUB METERS 75HZ (GLOBAL) LEVEL PFL 1 2 3 4 AUX SEND LOW LMID HMID HIGH 3/4 PFL MIC - D PHASE PATCH D AUX SEND (1-6) PAD 3 + AUX1 * 1 2 STATUS AUX2 GAIN LINE * AUX3 . . AUX4 . . CHANNEL INPUTS AUX5 1 OF 22 (30) NOTE: LAST TWO CHANNELS HAVE PHASE REVERSE AND 10DB PAD AUX6 * PRE/POST SWITCHES. THESE CHANNELS DO NOT HAVE A LINE INPUT. FADER PATCH MUTE S OUT ASSIGN PFL L/MONO MUTE L/R FADER PFL PAN 4 BAN
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Page 19 ® SRC LEVELS Diagram
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SPANISH ® Las consolas SRC 4018 FC y 4026 FC y 4034 FC son unidades mezcladoras versátiles de cuatro buses. Se ofrecen en versiones de 26 y 34 canales y sus gabinetes son aptos para el transporte. Fueron diseñadas para aplicaciones de refuerzo de sonido, pero también pueden utilizarse en grabaciones multipista. Los canales estándar cuentan con preamplificadores discretos para micrófonos de bajo ruido, con ali- mentación fantasma de 48 V conmutada globalmente, filtros de corte de bajas frecuencia
