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Sirus Live M416 Manual

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Mixer Live M416

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Summary of Contents for Sirus Live M416

  • Page 1 Manual Mixer Live M416...
  • Page 2 2 / 45...

  • Page 3: Table Of Contents

    Table of contents Warranty ............................7 Safety instructions ..........................7 2.1. FOR SAFE AND EFFICIENT OPERATION ................7 2.2. Important mains plug wiring instructions ................. 8 Introduction ............................9 3.1. Foreword ..........................9 View of the mixing console ....................... 9 4.1.
  • Page 4 9.1.3. Line (PAD) ........................19 9.1.4. Gain ..........................19 9.1.5. HPF ..........................20 9.1.6. EQ ..........................20 9.1.7. AUX Sends ........................20 9.1.8. PRE ..........................20 9.1.9. PAN ..........................20 9.1.10. MUTE ..........................21 9.1.11. PFL ..........................21 9.1.12. Meter ..........................21 9.1.13.
  • Page 5 10.1.8. Fader ..........................25 10.2. AUX 5-6 Master, L-R-M-Master ..................... 26 10.2.1. AUX 5 und 6 Master ...................... 26 10.2.2. LR Masters ........................26 10.2.3. Master ..........................26 10.3. 7x4 Matrix ..........................27 10.3.1. EXT IN ........................... 27 10.3.2. GRP 1 (2, 3, 4) ....................... 28 10.3.3.
  • Page 6 11.13.7. Additional monitor mixes ................... 38 11.13.8. Combining two consoles into a single PA ..............38 11.13.9. Create IEM mixes with ambience ................39 11.13.10. Using the matrix to create a recording ..............39 11.14. Recording with the mixing console ..................39 11.15.

  • Page 7: Warranty

    1. Warranty Limited one year warranty This product is warranted to be free from defects in materials or workmanship for a period of one year from the date of purchase. To ensure a high level performance and reliability, for which this equipment has been designed and manufactured, read this user guide before operating.

  • Page 8: Important Mains Plug Wiring Instructions

    If out of work, contact sales agency immediately Any troubles arose, remove the power plug soon, and contact with an engineer for repairing, do not open the cabinet by yourself, it might result a danger of electric shock. Take care with the power cable Never pull the power cable to remove the plug from the receptacle, be sure to hold the plug.

  • Page 9: Introduction

    3. Introduction 3.1. Foreword Welcome to the professional mixing console of the latest generation of the popular series of dual function live sound mixing consoles. We have tried to keep this user guide brief and to the point. Please read it carefully before starting. Included is information on installing, connecting and operating the console, panel drawings, system block diagram and technical specification.

  • Page 10: Introduction To The Mixing Console

    5. Introduction to the mixing console The mixing console is an analogue mixing console designed for professional audio applications. Whether mixing FOH, monitors or both, recording live or in the studio, installed in a busy venue, out on the road touring, or earning its keep in rental stock, the mixing console provides the perfect solution. Engineered to the same standards as our top of the range consoles it ensures the highest reliability and finest sonic performance.

  • Page 11: Installing The Console

    • Mutes on all fader meters • 100mm dust protected faders • Assignable talkback • 1kHz oscillator 7 pink noise generator • 2-Track monitoring and replay to LR • Headphones and local monitor outputs • Dedicated stereo monitor meters • Electronically balanced XLR outputs with +26dBu/+15,5V drive capability •...

  • Page 12: Switching The Console On Or Off

    6.2. Switching the console on or off Turn power amplifiers off before switching the console and any other connected equipment on or off. Note: Turn amplifiers and powered speakers on last and off first! To turn the console on, press the ON/OFF switch next to IEC mains input socket. To turn the console off, press the switch again.
  • Page 13 13 / 45...

  • Page 14: Required Connection Cables

    7.2. Required connection cables The mixing console uses professional grade 3 pin XLR and ¼'' TRS (3 pole) jack sockets. To ensure best performance, we recommend that you use high quality audio cables and connectors, and take time to check reliable and accurate cable assembly. It is well known that most audio system problems are due to faulty or sub standard interconnecting leads.

  • Page 15: Balanced Connections

    7.4. Balanced connections A differentially balanced connection hast two signal wires + (hot) and signal – (cold) and a shield. The signal source generates positive going polarity down the + wire and negative polarity down the – wire. The destination input stage accepts the + signal on its non-inverting (+) input pin but it inverts the – signal, adding it to the + signal.

  • Page 16: Stereo Channel Line In

    8.2.3. STEREO CHANNEL LINE IN Stereo inputs ST1 and ST2 feed channel 15, and ST3 and ST4 feed channel 16 respectively, or can be routed directly to LR. These inputs use TRS jacks. ST1, 3 are unbalanced, ST2, 4 are balanced. Unbalanced inputs automatically connect the TRS ring to ground when working with balanced sources.

  • Page 17: Aux Out 1-6

    Operating modes In the FOH mode, LR feeds the main PA. M sums the L and R post-fade signals to provide an additional feed for a mono fill speaker or zone, or main feed into a mono PA. Groups 1-4 may be used for multitrack recording, zone feed and so on, or simply left unconnected where they are used as subgroups to LR for level masters and/or inserted processing.

  • Page 18: 2-Track In And Out

    8.10. 2-TRACK IN and OUT Unbalanced TRS jack outputs and TRS jack inputs connect to popular recording and playback devices such as CD, Minidiscs, computers and tape machines. Nominal line level is -2dBu/0,62V. The 2-track send always follows the post fade LR mix regardless of mode switch configuration. The 2- track return can be used for monitoring a mono or stereo recording, o as a simple input for playback of walk-in and background music.

  • Page 19: Input Channel

    9. Input channel 9.1. Mono 9.1.1. +48V Switches +48VDC to the channel input XLR to powering microphones or DI boxes that need phantom power. The power is current limited through 6kΩ resistors to pins 2 and 3. Warning: Do not connect unbalanced sources or cables to inputs with phantom power selected.

  • Page 20: Hpf

    gain structure we do not recommend the practice of setting the faders to ‘0’ and mixing using the gain controls. 9.1.5. HPF Switch the channel high pass filter on. This attenuates frequencies below 100Hz by 12dB per octave. The filter is pre-insert, pre-EQ. Select the HPF to reduce low frequency noise such as microphone popping, stage noise and tape transport rumble.

  • Page 21: Mute

    9.1.10. MUTE When pressed, the channel signal is turned off. This affects the feed to LR mix; pre and post fade aux sends and direct output, but does not affect the insert send. The red indicator lights when the channel is muted.

  • Page 22: Stereo

    9.2. Stereo Each stereo channel features a mono microphone preamp as well as two stereo line inputs. These three sources can be used independently or mixed together into channel, so providing a unique flexibility. For example, you could configure a conventional mono microphone channel with the two ‘short return’...

  • Page 23: Aux Sends

    9.2.4. EQ Similar to the mono channel, but the twp peak/dip mid bands are fixed at 250Hz and 2.5 kHz centre frequencies. 9.2.5. AUX Sends These work as described for the mono channel, but the L and R sides of the stereo signal sum together to feed each aux in mono.

  • Page 24: Master Section

    Master section 10.1. Group/Aux Masters 10.1.1. AUX Masters Each aux mix has a master level control that adjusts the output level to match external equipment, or trims the monitor, effect or other send without affecting the mix balance. Up to +10dB boost is available above the normal 0dB position. Note that this becomes the group or master in monitor mode.

  • Page 25: Meter

    Positions the group signals between L and R in the stereo mix when the GRP TO LR switch is pressed. Using pan you can create mono or stereo groups positioned as you require in the main mix. For stereo grouping, set the odd group pan fully to the left, and the even group pan fully to the right. The centre position (mono image) is for quick resetting.

  • Page 26: Aux 5-6 Master, L-R-M-Master

    10.2. AUX 5-6 Master, L-R-M-Master 10.2.1. AUX 5 und 6 Master These functions in the same way as described for auxes 1 to 4. In monitor mode, the recessed REV switch reverses the AUX5 master with L, and AUX6 with R. Here the aux signals are presented to the L and R XLR outputs complete with their inserts.

  • Page 27: 7X4 Matrix

    and SUB) with faders, meters, MUTE and AFL. Using these faders you can adjust the level of the main PA without losing the balance between the tops and subs. The signal is not affected by the AUX6 rotary master. However, the rotary output can still provide another sub feed with its own independent master control.

  • Page 28: Grp 1 (2, 3, 4)

    10.3.2. GRP 1 (2, 3, 4) Mixes in the post-fader, post-mute group mix. The rotary provides +6dB boost. 10.3.3. L (R) Mixes in the post-fader, post mute main LR mix. The rotary provides +6dB boost. Turn up both L and R to create a mono sum from the stereo LR mix.

  • Page 29: Monitor, Talkback Und Signal Generator

    10.4. Monitor, Talkback und Signal Generator 10.4.1. Monitor Comprehensive engineer’s headphone and local monitoring is provided. Select either LR 2-track return as the default source using the L-R/2-TRK switch. Pressing PFL or AFL elsewhere on the console automatically overrides the current monitor source with the signal from the channel or master section.

  • Page 30: Signal Generator/Pink Noise

    10.4.3. Signal Generator/Pink Noise Press to select either pink noise (up position) or a 1 kHz sine wave tone as the test source. Start with the trim control turned fully down. The generator ON switch is recessed to prevent accidental operation.

  • Page 31: Using The Oscillator/Noise Generator

    (typically clipping at greater than +20dBu/7.74V). With a channel routed at unity gain from preamp input to main output, the mixing console boasts a massive 116dB dynamic range. The signal can pass through many stages which affect its level within the console, the channel, its EQ, fader, pan, a group mix and its fader, on to the main LR mix with its master fader, through the matrix, and of course any inserted equipment.

  • Page 32: Mixing With Faders Or Gain Controls

    Use the Pink noise generator to check the signal routing and loudspeaker response. ‘Pink noise’ is a random signal that contains all audio frequencies and is therefore a very good test source. Unlike with ‘white noise’ which has an equal energy per HZ and sounds like system or inter-band tuner hiss, pink noise has equal energy per octave, a response that matches the logarithmic way our ears perceive sound.

  • Page 33: Decibel

    The input channels provide PFL (pre-fads listen) so that each source can be checked using the meters and headphones before you bring the fader up. You can even use PFL while the channel is muted to prevent the signal reaching the house and monitor speakers until you have checked it and are ready. All the main, aux and matrix outputs provide AFL (after-fade listen) so that you can check the exact level leaving the console.

  • Page 34: Using Inserts

    dB Tech Talk = Input signal power = Output signal power dB = 10*log(P ) = 10*log[(V )/(V ²/R If input and output impedances R and R are the same, then: dB = 20*log*(V dBm is defined as 1mW into 600Ω...

  • Page 35: Zero The Console

    Because a console provides an L and R output does not mean you have to mix in stereo. It is often convenient to have a separate fader control, processor inserts, and outputs to drive two mono speaker stacks in an FOH system. How much stereo you introduce into your mix depends on where you position the pan controls.
  • Page 36 FOH. In either mode, no part of the console is redundant. Every control and socket can be used for an associated function. Protected To prevent accidental operation during the show, the configuration mode switches are safely recessed under the panel. AUX Reverse In FOH mode the groups and LR are the main outputs while in monitor mode the aux mixes become the main outputs.

  • Page 37: Applications For The Matrix

    Monitor Recording LR +M 10 Monitors Stereo/Mono Aux-fed Subs 6 Aux (Wedge) 2-Track Aux-fed C 4 Matrix (IEM) 4 Groups 4 Groups Engineer’s Wedge 4 Matrix 6 Auxes Ambience Direct Outputs 4 Matrix Talkback Ambience 11.13. Applications for the Matrix The matrix is a ‘mixer within a mixer‘, a versatile toolbox of outputs you can use to satisfy a host of applications.

  • Page 38: Zone Feeds

    11.13.4. Zone feeds Send independent relay feeds to additional locations such as the foyer, dressing rooms, cry room, balcony and so on. You can use the groups to adjust the balance to suit the destination, for example to boost the orchestra against the vocals. Feed the output through an EQ to tune the speaker for acoustics.

  • Page 39: Create Iem Mixes With Ambience

    11.13.9. Create IEM mixes with ambience In Monitor mode the matrix continues to be fed with the 4 groups; L and R mixes. You can use these to create additional independent monitor mixes. Together with the auxes these give you as many as 10 mixes.

  • Page 40: Aux-Fed Subs

    channel fader becomes the source master to all monitors. In this case start with all channel faders set to ‘0’. 11.16. Aux-Fed Subs Driving the PA system sub bass speakers with their own mix has two main advantages. First, the mix is much cleaner because only sources that generate the low frequencies, e.g.

  • Page 41: Other M Output Applications

    the sum of L and R to the M output (mode switch up), or an independent AUX6 mix to M (mode switch pressed). 11.18. Other M output applications Apart from the aux-fed subs and C mix described above, other examples include L+R sum mono fill, additional mono zone feed, mono recording, mono PA with LR providing two subgroups to M or a stereo recording…and more.

  • Page 42: Technical Data

    Technical Data 12.1. Performance Maximum input level +34dBu/38.82V (inc pad) CH Line +34dBu/38.82V Other Line +20dBu/38.82V Maximum output level +26dBu/15.46V Jack +20dBu/15.46V Internal headroom Channels +20dB/7.75V +22dB/9.75V Meters 3 color LED Sensitivity +4dBu/1.23V Master meters 12 segment -30 to +16dB Channel meters 4 segment -12, 0, +6, +16dB...

  • Page 43: Connections

    12.2. Connections Mono channel XLR balanced Pin 2 = hot Sensitivity -60 to +14dBu TRS balanced, tip hot Sensitivity -40 to +14dBu PAD out (MIC) 2kΩ PAD in (MIC or Line) > 10kΩ, -20dB attenuation Max input level +34dBu XLR phantom power +48V on/off Stereo channel ST1, 3 TRS unbalanced...

  • Page 44: Circuit Diagram

    Circuit diagram 44 / 45...
  • Page 45 Importer: B & K Braun GmbH Industriestraße 2 D-76307 Karlsbad www.bkbraun.com info@bkbraun.com 45 / 45...

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