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™
S-24
Mixing Console Operating Guide
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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. C CA AU UT TI IO ON N: : Risk of electrical shock — DO NOT OPEN! C CA AU UT TI IO ON N: : To reduce the risk of electric shock, do not remove cover. No
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I IM MP PO OR RT TA AN NT T S SA AF FE ET TY Y I IN NS ST TR RU UC CT TI IO ON NS S W WA AR RN NI IN NG G: : 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.
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ENGLISH ™ S-24 Mixing Console Description The S-24 Sanctuary Series is a 21 channel mixing console specifically designed to meet the needs of churches, schools and public venues. The challenge of these applications is to provide high quality sound where the experience of the operator ranges from novice to experienced. In many cases, these sound systems are used without an operator. The S-24 mixing system meets these challenges by incorporating a unique set of features which not only make it easi
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™ The headphone amplifier with headphone/meter selector switch is another important tool for setting and operating the S-24 . The user can listen to and observe the level of the main L/R output, hear the mix and monitor the level to Monitor outputs 1 and 2 or listen to the stereo channels to cue tapes or CDs without sending the signal to the house or monitor amplifiers. Note: As with all professional audio products, the performance is only as good as the installation allows. Please take the time
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1. COMPRESSOR THRESHOLD: The first four channels have auto-mixing and compressor capabilities when assigned to the pulpit or wireless group. These soft-knee compressors are designed to keep levels from getting out of hand. The threshold control sets the level at which compression begins. The CMP LED located beside the channel’s fader lights indicate that compression is taking place. To set it, start with the control fully clockwise and turn it down to the point that the LED lights only on the oc
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6. MONITOR SEND (1–2): The monitor sends adjust the level of the channel signal added to the monitor mix. For ™ the Automix channels 1-4, the monitor send is post EQ, post fader, post Automix . On channels 5-24, the monitor sends are post-EQ, pre-fader. The center detent is the unity gain (nominal) position. 7. EFFECTS SEND: This adjusts the level of the channel signal (post EQ, post fader) added to the effects mix. The signal is sent to the internal effects processor and to a master effects s
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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 0 dB. The gain on these channels is best adjusted so that feedback will not occur with the fader set at 0. The fader will then be operated in the black area (0 to -20 dB). On the remaining channels the fader scale is from off to +10 dB of gain. The optimum setting for these channels is the 0 (unity gai
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Master Functions: 17. PHANTOM POWER: Applies +48 VDC voltage to the input XLR connectors to power microphones requiring it. If phantom power is used, do not connect unbalanced dynamic microphones or other devices to the XLR inputs that cannot handle this voltage. An LED indicates when phantom power is on. 18. EFFECTS SELECT: There are four pre-programmed reverbs built into the console ranging from small to large. Use this switch to select the reverb that best fits the style of music being perfor
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26 25 27 25. OFF-LEVEL THRESHOLD: The solo and the choir groups have adjustable threshold downward expanders that reduce noise by lowering the signal when the level drops beneath a set point. This not only cleans up background noise, but also reduces feedback problems by attenuating mics assigned to this group when there is no activity. An LED indicates that the group is being attenuated. To disable noise reduction, set the control to minimum (off). 26. COMPRESSION THRESHOLD: In addition to nois
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they be at 0 when channel gains are set; however, they can be used to lower the overall sound level if needed. 32. CONFIGURATION: The main outputs can be configured as full stereo or as a mono sum of the left and right signals. When in dual- mono mode, the left and right outputs become individual outputs with 33 their levels set independently by their master faders. 33. HEADPHONE OUTPUT: This stereo jack (TRS) provides drive for the headphones. The level is set by the headphone level control. 3
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INPUTS & OUTPUTS 41 39 38 40 Input and Output Jacks: 38. 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 +22 dBu can be accommodated. 39. LINE INPUT: 1⁄4" balanced (TRS) 10 K 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
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45. AMBIENCE MIC GAIN CONTROL: This control sets the amount of ambient sound from the room that goes to the Record and Remote outputs. It can be set by listening to the headphone output on the recorder. 46. EFFECTS SEND: An unbalanced output of the dry signal that is also sent to the internal effects processor. It can be used to drive an external effects unit or as an additional monitor output (Monitor 3). If used as an additional output, be sure to mute the internal effects processor 47. AUX O
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INSTALLATION ™ The S-24 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
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Planning the installation: ™ The different inputs on the S-24 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-24 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 sys
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™ The S-24 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. IMPORTANT ➧ Inputs 19/20, 21/22 and 23/24 are designed for line-level signals only. Use these inputs to connect CD players, tape player
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➧ Start with a good mix on the main sound system and add only the mics that are needed to the monitors. ➧ Try to keep the levels low. OTHER OUTPUTS: Aux Out Other outputs REC Out 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. Auxiliary (AUX) output. This output can be used for sending audio to other places, such as the narthex, cry room, nursery etc. or it
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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. When you release the button, Ferret Off 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. Compression Setting the mixer to amplifier system gain Off This adjustment is an important part of op
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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
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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 be sent to monitor system 1. Monitor 1 & 2 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 le
