Korg Soundlink MW-1608 User Manual

Hybrid analog/digital mixers

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SOUNDLINK

MW-1608

USER

MANUAL

HYBRID ANALOG/DIGITAL MIXERS

MW-2408

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Summary of Contents for Korg Soundlink MW-1608

Page 1 SOUNDLINK MW-1608 USER MANUAL HYBRID ANALOG/DIGITAL MIXERS MW-2408...
Page 2 Responsible Party: a circuit diﬀerent from that to which the or electric shock, do not expose this dropped. KORG USA INC receiver is connected. apparatus to rain or moisture. 12. WARNING: The apparatus must be 5. Do not use this apparatus near water.
Page 3 Eight mono/four stereo individual output recording out and backing tracks in by KORG. It gives you analog’s instant control He moved to the USA to join Mackie buses (true 8-bus design) Designs, staying for 7 years as VP of...
Page 4 IMPORTANT! First set correct input levels Level Setting Procedure… You will need: Connect monitor speakers ten simple steps. Your new mixer to the SoundLink mixer Sound sources such as a rear panel MAIN OUT (1a) This procedure is so important microphone, guitar, drum kit, jacks, or MONITOR OUT (1b)
Page 5 Ten Steps to Level Setting This is the While watching Plug a micro- desired range the Main Level phone or other Display at audio source into the right of the mixer, the ﬁrst channel’s turn Channel 1’s GAIN rear panel MIC IN knob clockwise until socket.
Page 6 Click to Table of Contents navigate to these sections. Same as Mono Channels ...... 24 A few words from Greg Mackie....3 Digital Effects (DFX)......37 If you’re a beginner… PFL switch / indicator........24 Selecting the DFX type ........37 Why do we start with the back Source Mic / Line (stereo channels).
Page 8 Hooking up your SoundLink mixer. connections are identical. All the We’ll start with a guided tour of First things ﬁrst. Why do we start with the drawings and photos in this man- the SoundLink back panel; then back of the mixer? The only diﬀerence between ual are of the MW-1608 because some sample hook-ups for vari-...
Page 9 Hooking up your SoundLink Power input connector Mono input channels. When turning phantom Connect the included power The balanced mono XLR power on, make sure cord here. First connect the pow- jacks (round ones with three that no elctronic external device is connected to a er cord to your SoundLink, and pins in them) are for hooking up...
Page 10 Hooking up your SoundLink Balanced versus unbalanced: what’s the deal here? When you’re just getting standard RCA cable used for into pro sound, you hear these many audio/video components phrases batted around a lot. such as DVD players. They represent the two kinds An unbalanced cable does of audio connectors and cables a decent job of rejecting noise...
Page 11 (e.g., iPhone/iPad) We recommend a wiring for microphones, and a laptop, tablet or cell phone. is with a USB 2.0 connection. KORG PS-1 or PS-3 foot switch. the interconnect cables be- output to the connected device. ® ®...
Page 12 Hooking up your SoundLink to simultaneously move three faders in unison. Instead, you can route the singer channels to a sub Monitor Main group titled “Back Out. Out. Up” by selecting one Connect These are of Bus Assign these to your your Sound- buttons next studio monitor (or amps pow-...
Page 13 Hooking up your SoundLink In review, to build a Sub Group: If you want to add the Sub Group to your main L/R Use the small buttons to the mix, press one of Sub Group right of the channel faders Assign to L/R buttons.
Page 14 Hooking up your SoundLink TYPICAL BAND If the phrase “Your results may vary” ever ﬁt somewhere, it’s here. These four hook-up examples are just that: examples. They are intended to show various options that are possible with Sound-Link Chances are you won't use every input and output like we have...
Page 15 Hooking up your SoundLink SMALL to MEDIUM CHURCH or LARGE CHURCH ACTIVITY HALL...
Page 16 Hooking up your SoundLink CORPORATE PRESENTATION or EVENT CENTER...
Page 17 Hooking up your SoundLink 8-CHANNEL RECORDING...
Page 18 Hooking up your SoundLink ZOMBIE APOCALYPSE...
Page 19 Analog Controls the sound check when you do All have to do with cutting Comp (Compressor) the all-important Level Setting out “rumble”. Rumble happens and indicator. procedure.) through bad mic handling, reso- Think of the nance from a ﬂimsy stage, trucks Gain Control.
Page 20 Analog Controls the mumbled syllables come more closely — an automatic vol- EQ (Equalization), though, the rest of the vocal ume control. Mono Channels will be overwhelming. No single A similar trick works for vo- Equalization is another name for fader setting gives a good balance calists who have a consistent “tone control”.
Page 21 Analog Controls approach to equalization is Bass guitar, kick drums, etc. cov- to listen carefully to the so- er the low end. Vocals sit in the loed track and come up with midrange. The cymbals of a drum MIDRANGE a list of things you might kit will carry the high-end sizzle.
Page 22 Analog Controls sockets to ﬂoor AUX OUT post-fader for on-air monitors or in-ears. broadcasts, assisted listen- 1 and 2 are “pre-fad- ing, church crying rooms er”. A pre-fader send and foyers, club and restau- routes the signal out of the rant lobbies and restrooms, mixer BEFORE it passes and stereo recording devic-...
Page 23 Analog Controls —20 (Signal present) LED. explanation of this Mute button/ extremely useful indicator. When this LED ﬂashes or lights function continuously, the channel is re- Enables/disables the chan- ceiving a signal of at least -20 dB. OL (Overload) nel’s mute function. In It's a good way to see if whatever LED.
Page 24 Analog Controls PFL switch / Source Mic / Stereo Channels • Same and Different indicator Line (stereo channels). Enables ( ) or Stereo channels have a few dif- disables ( ) the Switches the ferent controls and many identi- (pre-fader listen) function. channel setting cal ones.
Page 25 Analog Controls Stereo Channel Midrange Equalization A few more tips on equalization. Almost everything can be improved with equaliza- MIDRANGE tion. At least TRY various settings. Mono Channel Midrange Equalization Equalize with your ears. Don't stare at the EQ knob: close your eyes and listen.
Page 26 Analog Controls the AUX MASTER (1–4) knobs can be monitored via MONITOR Master. or PHONES. As we noted When AFL is enabled, the earlier, the orange LED lights up. buses are like four separate additional mixers. sends on each channel strip Master Control Section determine This seemingly complicated...
Page 27 Analog Controls A better way. Talkback. Inject a little bit of L/R But what happens if the per- signal to create L/R ambi- This knob adjusts the volume former wants more of the main ance using the and selects the destination of INJECT L/R mix in their monitor mix? That controls.
Page 28 Analog Controls Meter section. STEREO IN knob FX Master Section. Level meter indicates the Adjusts the vol- signal level of the monitor ume of the front Adjusts the eﬀect bus. Be careful that L/R out- panel STEREO IN volume and put only momentarily goes jack.
Page 29 Analog Controls to the jack and to the BREAK button/indicator PHONES MONITOR OUT output jacks. MUTE for all input If this is enabled, the indicator is channels (Chan- lit. nel 1–24 on the MAIN MIX (L/R) fader. MW-2408; Chan- nel 1–16 on the MW-1608) in a Adjusts the level of the MAIN MIX single action.
Page 30 MUTE GROUPS Analog Controls Channel mutes are found on How the band is set up on the mixer. most every analog and digital mixer. Press the Mute button and the channel becomes silent Easy peasey. But SoundLink mixers make it easier.
Page 31 Analog Controls Mute Groups The vocalist, acoustic guitar and brushes on the snare makes for a pleasant, slower interlude in the band's otherwise intense set. It ends. You quickly press NINE MUTE buttons again, UN-muting the channels so you're ready for the whole band to play the next song Eighteen button pushes in rapid Un-doing the...
Page 32 Analog Controls Mute Groups Program a Mute Group… Each muted channel but- ton/indicator will turn orange. You're "telling" Mute A which channels to Group include. Press the blinking MUTE button. You have GROUP A just created a genuine Cer- tiﬁed Mute Group. Mute Group A is now stored for the duration of the session.
Page 33 Analog Controls Mute Groups snare example. Creating a Mute Group. The Mute Group is now ready. In a business presentation, you Press and hold a MUTE might have one person giving a GROUP button (A through speech, and then three micro- D) until it starts blinking.
Page 34 Analog Controls Mute Groups Adding to or subtracting The channels in the Mute channels from a Mute Group will all blink orange. Group. Press and hold the pre-pro- grammed MUTE GROUP button (C in our example below) until it starts blink- ing.
Page 35 Analog Controls Mute Groups Combining Hard Mutes Select channels for your and Mute Groups. Mute Group. They will blink orange. In our example below, we have "hard"muted some channels. Their indicators glow red. Now we're simply going to create a Mute Group: Press and hold a MUTE Press the...
Page 36 It has more direct, hands- When you turn on your Sound- on buttons and controls than Link mixer you get a KORG most mixers so that you can logo, splash screen and then this quickly assign and adjust more "home"...
Page 37 L L IBA AND D IGITA L PAR AGRA PHIC P16: Delay SDD3000 Adds a delayed sound. This produces a clear Feedback delay sound modeled on the Korg SDD3000 digital delay. DYNAMICS DYNA A MICS AMICS EQUALIZER QUAL LIZER MAIN...
Page 38 Digital Controls Digital Effects Applying a Digital Effect Channel strip FX Sends Function Buttons Make sure that the FX indicator is oﬀ MUTE (dark). Raise the FX RETURN fader Select an eﬀect type. to the "0" position. Use each channel's FX SEND DFX SELect knob to adjust the level sent...
Page 39 Digital Controls Digital Effects Saving a Digital Effects Using the TAP button to If you press the RESET On-screen you will see Save setting. set the delay time. button, the currently- User Type and Erase User edited parameter returns You can edit an eﬀect and save Type options.
Page 40 Digital Controls Digital Effects The screen will query you as Recalling a DFX preset. Gee, they don't sound like Scroll through them with to whether you want to save the effects! Here's how to recall DFX settings the arrow buttons or en- setting.
Page 41 Digital Controls Each of these dynamics types is Suppressors at your service, as- SoundLink Signal 9 / 31-band EQ Narrow simultaneously available on L/R, signable to Main L/R, Aux 1 and Main L/R Processing* Aux 1 and Aux 2. That's more AUX 1 Aux 2, and that's a good thing.
Page 42 Digital Controls Dynamics Dynamics HYBRID HYBRID ANALOG/DIGITAL MIXER ANALOG/DIGITAL MIXER Press the white button un- der the word on the TYPE Our example task is to put a LCD screen. Limiter on Aux 1. HYBRID ANALOG/DIGITAL MIXER Press the DYNAMICS AUX MULTIBAND DIGITAL PARAGRAPHIC EQ AND D IGITA...
Page 43 Digital Controls Dynamics If you press the red INFOVIEW To change a parameter, How do you cancel a HYBRID ANALOG/DIGITAL MIXER OVERVIEW button, the display press one of the two but- dynamic processor? Press will return to Status Overview tons under either Attack or the active (designated and you will see that iter on...
Page 44 Digital Controls Dynamics Use the button under Select to Saving a Dynamics Recalling a Dynamics Press Save and you have pick Save as User Type. setting. preset. now captured a Dynamics preset. To recall saved dynamics set- HYBRID After you have made your ANALOG/DIGITAL MIXER tings, select the number of the adjustment to dynamics...
Page 45 Digital Controls Graphic EQ 31 / 9-band Graphic AIR & WEIGHT WARMTH KNOCK BITE CLARITY Digital Equalization SPARKLE — Narrow. This unique SoundLink feature lets Main L/R, Aux 1 and Aux 2 can you choose nine 1/3-oc- have your choice of two diﬀerent tave bands.
Page 46 Digital Controls Graphic EQ Selecting Narrow or Wide HYBRID HYBRID ANALOG/DIGITAL MIXER ANALOG/DIGITAL MIXER 9-band equalization. The 9-band equalization mode has two diﬀerent bandwidths (wide forvoicing and tonality and narrow for poblem solving), MULTIBAND DIGITAL PARAGRAPHIC EQ L L IBA AND D IGITA L PAR...
Page 47 Digital Controls Graphic EQ Adjusting 9-band EQ HYBRID HYBRID HYBRID ANALOG/DIGITAL MIXER ANALOG/DIGITAL MIXER ANALOG/DIGITAL MIXER (Wide Mode). Select one of the EQ desti- nations: Main L/R Aux 1 Aux 2 MULTIBAND DIGITAL PARAGRAPHIC EQ IGITA AGRA PHIC MULTIBAND DIGITAL PARAGRAPHIC EQ AND D IGITA AGRA...
Page 48 Digital Controls Graphic EQ That will return you to the screen Adjusting EQ Narrow Push down on the encoder Twist the encoder knob to shown below: The 9-band equal- Mode EQ (31 /9-band). knob to change the screen select a 1/3-octave frequen- izer display appears, except that to 31 / 9 (Narrow) EQ cy band within the selected...
Page 49 Digital Controls Graphic EQ Adjusting (Narrow Mode) Shows there the EQ is assigned (Main L/R, Aux 1 or Aux 2) Press down on the encoder Amount of boost or cut Continued knob to return to the 31 / 9 (Narrow) EQ mode and Push down on the encoder Band view the results of your...
Page 50 Digital Controls Graphic EQ If you select a number that is Saving Equalizer Recalling an Equalizer You can also select and already used… settings. Setting. conﬁrm menu items by using "▲," "▼," and the You can save and recall up to 6 If you've gone to the trouble function button indicated EQ settings as User Types...
Page 51 Digital Controls Digital Controls Digital Controls Graphic EQ Graphic EQ Graphic EQ Recalling an Equalizer Turn the encoder knob to HYBRID HYBRID ANALOG/DIGITAL MIXER ANALOG/DIGITAL MIXER Setting (continued) select "Load User Setting," and then press down on the In the section, EQUALIZER kn0b.
Page 52 SELECT this case, you can use the RESET GLOBAL of natural feedback suppression, NARROW BAND equalizer MENU EXIT KORG has gone far beyond our in conjunction with this P01 -02 : REV HALL P07-08 : REV STAGE P13-16 : DELAY...
Page 53 Digital Controls Feedback Suppressor Locking the state of the Next, specify the bus that feedback suppressor uses the feedback suppres- sor by pressing the FEED- Although the feedback suppres- BACK section's button. sor is constantly monitoring The feedback suppressor's the sound and dealing with setting screen appears.
Page 54 : REV SPRING P21-24 : TEST SOUND System Update Executes a system update for this unit. The update can be downloaded from the KORG website. For details on the update procedure, refer to the documents that are included with the update.
Page 55 Digital Controls Global Menu Other GLOBAL options. A scrolling menu of Select an un-used slot While you'll probably use "Save GLOBAL options will Scene", "Load Scene" and "Erase appear. Scene" the most, the scrolling Select "Save Scene" by GLOBAL menu gives you access scrolling with to many other options.
Page 56 Digital Controls Other Global Options LCD Contrast is more useful Peak just shows the than you might think — espe- highest level at any cially if you do gigs in daylight moment. This can be hours…or VERY dark clubs. handy when you have a lot of other things to Now we're in the "Danger! look at.
Page 57 Digital Controls Other Global Options Notes from the KORG website. For details on the update procedure, refer to the documents that are included with the update. More on Factory Reset (restoring the factory default settings). You can also return this unit...
Page 58 MAIN MIX (L/R) fader to is a problem not listed here, disconnect the power cord from the elec- adjust the levels. trical outlet and contact KORG customer service. The output level of an external device Adjust the output level of the external connected to this unit is not appropriate.
Page 59 31-band rack-mounted EQ. Feedback: P15: Delay Standard Adds a delayed sound. Amount of repeated delay sounds P16: Delay SDD3000 Adds a delayed sound. This produces a clear delay sound modeled on the Korg SDD3000 digital delay.
Page 60 Digital Effects Memory Settings Type Details Parameter / effect Section Memory number Type P17: Chorus Adds pitch-modulated sound to the original DYN (DYNAMICS) U01–U10 User type sound, creating greater depth. (common to MAIN, AUX1, and AUX2) Speed: A slow "Speed" creates a unison (duet) effect, Speed of modulation GEQ (Graphic EQ) U01–U06...
Page 61 Block Diagram " $ % & ' ( " 2$(/ " 2$(/ " 2$(/...
Page 62 Speciﬁcations Frequency response 20 Hz – 20 kHz +0.5/-1.5 dB Nominal output, 1 kHz reference Analog output Impedance Output level Connector speciﬁcations speciﬁcations Total harmonic distortion (THD MAIN OUT 0.004 % 1 kHz +24 dBu, GAIN=minimum + N) Output Rated im- Nominal Maximum pedance...
Page 63 Speciﬁcations Master functions, System functions Audio channels Signal Level meter 2-row x 12-point LE, peak hold function Channels Monaural strips 8 (8 ch) Input monitor Levels: OL, 15, 12, 9, 6, 3, 0, -3, -6, -9, -12, -15 Stereo strips MW-2408: 8 (16 ch) ANALYZER 24-band spectrum analyzer, peak hold function...
Page 64 W480 mm x H187 mm x D530 mm * Unit width excluding side panels is 440 mm * Excluding made by KORG (sold separately only for use with the MW-2408) protrusions MW-1608 W396 mm x H187 mm x D530 mm Install the unit in a standard EIA-speciﬁcation 19-inch rack.
Page 65 Bracket (right) Install the unit in the rack. © 2020 KORG, All Rights Reserved. All other trademarks are property of their respective holders. IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used.

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