PA-CP Series Powered Mixer USER GUIDE Publication AP4956
Limited One Year Warranty This product is warranted to be free from defects in materials or workmanship for period of one year from the date of purchase by the original owner. To ensure a high level of performance and reliability for which this equipment has been designed and manufactured, read this User Guide before operating.
Important Safety Instructions – Read First Read instructions: Retain these safety and operating instructions for future reference. Heed all warnings printed here and on the console. Follow the operating instructions printed in this User Guide. Do not open: There are no user serviceable parts inside. competent technical personnel only. Power sources: Connect the console to mains power only of the type described in this User Guide and marked on the rear panel.
Introduction Welcome to the Allen & Heath PA Series professional audio mixing system. This user guide describes the functions of the powered PA-CP models and also provides tips and reference information to help you get the best from your system. We know you want to get started right away. For this reason we have kept the guide concise and to the point. We recommend you read it through first. However, if even that is too much then at least read the QUICK START page before you plug up and go.
Contents Information Phantom power................................................13 Balanced and unbalanced connections .........13 The mic preamp ...............................................14 The HPF (high pass filter) ................................14 The mono channel equaliser ...........................15 Pre and post-fade aux sends...........................16 Effects sends....................................................16 Foldback sends................................................
Overview PA Series consoles provide all the tools you need to run a small PA system in an easy ‘walk up and go’ format. You simply plug in your microphone and line sources and connect to the speakers. All the control and processing you need to run a small PA system is built into the console. Two powered models are available. The PA12-CP has 8 mono and 2 dual stereo channels. The PA20-CP has 16 mono and 2 dual stereo channels. Both are portable and include protective side trims and front carry handles.
The Range PA20-CP 16 mono MIC/LINE channels 2 dual stereo LINE channels PA12-CP 8 mono MIC/LINE channels 2 dual stereo LINE channels Both Models Accessories LR main output Mono output summed from LR 4 Auxes – 2 pre-fade foldback, 1 post-fade aux, 1 post-fade effects External stereo effects input to sum with internal effects AB amplifiers with slave output and amplifier breakpoint inputs 2-Track input for monitor and BGM replay 2-Track recording with analogue and digital SPDIF outputs Headphones monitor
5 0 20 -5 30 -5 10 0 MIC LINE -10 -5 10 40 50 63 25 -5 10 0 20 -5 30 0 MIC LINE -10 -5 50 63 25 100Hz 12kHz 10 40 1k5 +15 600 3k 0 20 -5 30 0 MIC LINE -10 -5 -10 10 40 -20 50 -30 63 25 100Hz 12kHz -15 -5 10 7k -15 +15 250Hz -15 1k5 +15 600 3k 350Hz 7k -15 +15 1k5 3k 600 -10 60Hz -15 +15 -15 +6 OO PAN = +15 OO +6 -10 +10 -10 +10 parametric output equaliser 500 100 10k 1k5 MIN 20k -10 MAX 1k 1k 5k SPK OFF L FB1 FB1 TMP 7k 2k5 200 +10
Quick Start 1 Ensure your safety First read and understand the Important Safety Instructions printed earlier. Make sure that all your equipment is set for your local mains supply voltage and correctly grounded to ensure your safety. Check that the console rear panel ON/OFF switch is in its out position (off). Plug in the mains power using the power cord supplied with the console. Do not turn anything on until you have checked your wiring and control settings.
Installing the Console The PA Series is portable and designed for stand alone operation. The smaller PA12-CP model can also be 19” rack mounted by replacing the trims with the rack ears provided. Either way, ensure adequate ventilation around the unit and heed all warnings regarding mains power safety and earthing. 1 Carry Handle Metal handle for lifting and carrying the console. The weight is centrally distributed. Lift the console by holding the handle securely in the middle.
Mains Power and Earthing Connecting Mains Power Read the SAFETY INSTRUCTIONS printed at the front of this user guide and on the rear panel. The power supply is wired for the local voltage required. Check that the correct mains lead with moulded plug has been supplied with your console, and that the marked voltage matches your local supply. Ensure that the IEC mains plug is pressed fully into the rear panel socket before switching on.
Cable and Connector Information You are likely to encounter the following audio connector types: The XLR connector is 3 wire balanced. This has 3 connector pins: Pin 1 = ground (screen), Pin 2 = signal hot (+), Pin 3 = signal cold (-). The jack sockets are the 3 pole TRS type. These are wired to work with either the balanced TRS or the unbalanced 2 pole TS type plugs without cable modification.
The MONO Channel 1 MIC INPUT XLR input for connecting microphone level signals in the range -63 to +5dBu. These are balanced and wired pin 2 hot. Use low impedance microphones (less than 600 ohms) and professional grade mic cables (2 core with shield) for best performance. You can also use these inputs with DI boxes and other low level sources. 48V Phantom Power Press this switch if the microphone needs phantom power. Some active DI boxes may also require power.
-5 10 0 20 -5 30 0 MIC LINE -10 -5 GAIN 10 40 50 63 25 100Hz 12kHz -15 Adjusts the sensitivity of the channel preamp to match the connected source to the 0dBu operating level of the console. The control has a very wide range matching mic levels from a low -63dBu (0.5mV) to a high +5dBu (1.5V), and line levels from -25dBu (45mV) to +10dBu (2.5V). 1k5 +15 600 3k 350Hz 7k The mic preamp is probably the most important stage in the console signal path.
BASS TREBLE HF EQ +20 +15 +10 +5 EQUALISER The channel equaliser allows independent adjustment of four frequency bands. This lets you accurately pinpoint the frequencies you want to adjust to deal with problems such as feedback or instrument resonance, or to creatively tailor the sound. HF The high frequency band has a shelving response that cuts or boosts the higher (treble) frequencies by up to 15dB. It has most effect from 12kHz and higher.
AUX SENDS The PA Series has four auxiliary sends. These provide independent mixes from the channels. They have many applications, the most common being foldback monitor and effects sends. They can also be used for additional special feeds such as recording or clean feed. FB1 +6 OO FB1 FB2 +6 OO AUX OO +6 OO +6 PAN L PK ! = R Pre-fade aux send feeding the FB1 foldback monitor output. Turn up the control to send the channel signal to the mix, from fully off to a maximum +6dB boost.
PAN Adjusts the stereo position of the channel signal in the main LR mix. At the centre position equal signal is sent to the L and R outputs. Fully anticlockwise all the signal routes to L and none to R, and fully clockwise the reverse is true. The control has a 3dB attenuation at its centre position. This ensures equal power as the sound is panned from one side through the centre to the other side. It also has a mechanical detent to help you find its default centre position quickly.
The STEREO Channel Dual Stereo Inputs Each stereo channel has two independent stereo inputs, ST1(3) and ST2(4). For convenience, one uses RCA phono connectors, the other uses TRS jacks. The two inputs mix together to feed the channel strip, or ST1(3) can be routed direct to the LR mix instead, leaving ST2(4) to feed the channel. This provides a very flexible arrangement for mixing up to four stereo sources. ST1(3) INPUT RCA phono inputs for connecting line level stereo signals.
EQUALISER The stereo equaliser allows independent adjustment of the low and high frequency bands. 12kHz -15 +15 60Hz -15 +15 OO +6 OO +6 +6 OO +6 OO = L HF The high frequency band has a shelving response that cuts or boosts the higher (treble) frequencies by up to 15dB. It has most effect from 12kHz and higher. LF The low frequency band has a shelving response that cuts or boosts the lower (bass) frequencies by up to 15dB. It has most effect from 60Hz and lower.
The EFFECTS Channel Overview The PA Series features a built-in digital stereo effects unit. Effects such as artificial reverberation, delay, echo and chorus can be selected from the 16 presets. You can independently control how much effect is added to each signal in the mix using the channel FX sends. The overall level of the effects in the LR and foldback mixes is adjusted using the effects channel described here.
EXT FX INPUT TRS jack inputs for connecting the line level stereo output from an external effects processor. The inputs are unbalanced but can also accept balanced sources without modification. The ring connection grounds the –ve (cold) signal to unbalance a connected balanced source. GAIN -10 0 3 OO 10 OO +6 OO +6 Adjusts the sensitivity of the input preamp to match the connected source to the 0dBu operating level of the FX channel.
The 16 Presets The effects presets have been configured to provide a variety of instantly accessible effects types suitable for live sound mixing. Listen to each preset so that you become familiar with how they sound. You may soon identify a few favourites. Power Up Memory The effects processor remembers the last preset selected on power down. It also remembers the last MIDI bypass setting.
PRESET TYPES The following table lists the 16 effects available and their typical application. Try these with different instruments and sounds to create new and interesting effects. HALL1 A bright hall reverb for drums, guitars and vocals. HALL2 A warm hall reverb for acoustic guitars, pianos and vocals.
The MASTER SECTION Controls Master Control For accurate control, the main house and two foldback mixes are controlled using full length faders and include mute and headphone monitoring functions. These faders act as volume controls for the mix. FB1, FB2, LR FADERS 100mm smooth travel faders adjust the overall level of the mixes. Up to +10dB boost is provided above the unity gain ‘0’ position, full shut off when down.
MONO OUT LEVEL This is the master control for the console mono output. The LR mix is summed after the LR faders to produce the mono signal. Use the control to adjust the balance between the LR and MONO feeds. Once set, use the LR fader as the house volume control affecting the LR and MONO outputs. The control ranges from fully off to +6dB boost above its unity gain position. SUB FILTER Press to switch in the 100Hz low pass filter.
The AMPLIFIERS 70 30 500 100 20Hz 200 2k5 200 1k 120Hz 1k 2k 7k 5k 500Hz 2k5 10k 10k 1k5 MAX MIN 20k LIM SIG -10 +10 -10 +10 -10 +10 -10 +10 SPK OFF L FB1 FB1 TMP 70 30 500 100 2k5 200 1k 1k 7k 5k R L+R FB2 SPK OFF 2k5 SIG LIM 20Hz 200 120Hz 2k 500Hz 10k 1k5 20k -10 +10 -10 +10 -10 +10 -10 +10 Overview The two built-in power amplifiers are called Amp A and Amp B. You decide how you want to use them.
SOURCE SELECT Decide how you want to use the amplifiers. Set the two switches according to the A and B sources required. The switches are recessed to prevent accidental operation once set. Use a pen or sharp object to change their settings. L FB1 FB1 R L+R FB2 Front-of-House refers to the audience listening area. It is commonly called FOH or simply ‘house’. The house speakers provide the PA for the audience.
The MASTER Connectors TRS Line Outputs ¼” jack line level outputs which produce 0dBu when the console meters read ‘0’. With a maximum output level of +21dBu there is plenty of headroom available. They are impedance balanced and can be used with balanced or unbalanced equipment. TRS jack refers to the popular 3-pole stereo ¼” phone jack. It is so called because it has three contacts: tip, ring and sleeve.
LR LR MAIN OUT Use these line outputs to drive the main house amplifiers if you are using the console AB amplifiers for the foldback monitors. If the AB amps are powering the house speakers you could also use the LR outputs to feed booster amplifiers for additional speakers in the system. MONO OUT The main L and R outputs are summed together to produce a mono line level output.
2TRK INPUT A pair of RCA phono sockets accepts the input from a stereo playback devices such as a CD, MiniDisc, DAT or tape player. Use it to monitor a stereo recording in the console headphones, or to route a stereo source to the LR mix for background music. The input is unbalanced and has 0dBu line level sensitivity. 2TRK OUT The LR mix is also available at a pair of RCA phono sockets for connection to a 2-track recording device such as MiniDisc, DAT or tape recorder.
AB SPEAKER OUTPUTS The power amplifier outputs are available on Speakon® connectors. These are robust locking connectors designed to handle high power loudspeaker signals. The popular 4-pin NL4 version is used. Two pins carry the speaker signal. Wire the speaker positive (+) cable to pin 1+ and speaker negative (-) to pin 1- as shown. Use heavy duty 2-core speaker cable of at least 16swg (1.5mm2) rating. For long cable runs 14swg (2.5mm2) or heavier is recommended.
Specifications Max output level +21dBu into >2k load Nominal output level 0dBu (0.775 Volts rms) Headroom +21dB Freq response +/-1dB Distortion < 0.
System Block Diagram L R FB1 FB2 AUX FX PFL METERS PP MONO CHANNEL GAIN +48V LINE IN + - + - MUTE 4 BAND EQUALISER INSERT 100Hz PFL/AFL PFL PHONES LR / 2TRK HPF MIC IN PEAK LF LM HM HF PFL PAN L R MONITOR FADER DIR OUT FX AUX SPDIF DIGITAL ADC 2TRK L 2TRK IN R R PRE FB1 2TRK TO LR L INSERT MAIN LR BGM FADERS L GAIN R STEREO CHANNEL LR CHAN LF POST MUTE L + MAIN OUT R MUTE FADER SUM + SUB HF BAL SUM MONO LEV 100Hz MONO OUT + L ST2/4 R INSERT PFL 2
Fitting the PA12-CP Rack Ears A pair of 19” rack ears is provided with the PA12-CP. The ears replace the front and side trims so that the console can be mounted in a rack, plinth or case. Note that the PA12-CP can fit into a standard 19” rack. The ears can fit in one of two positions depending on how you want to mount the console in the rack or other furniture. The top panel assembly needs to be removed from the base to gain access to the screws that hold the trims and ears in place.
PA-CP User Guide 35 -5 10 63 25 PK ! L R OO PK ! L PAN +6 OO PAN OO AUX OO FB2 OO FB1 -15 60Hz -15 250Hz -15 350Hz 600 -15 12kHz -10 -5 +6 +6 +6 +15 -5 10 0 MIC LINE OO AUX OO FB2 OO FB1 -15 60Hz -15 +15 +15 -15 250Hz 7k 3k +15 100Hz 1k5 = 10 40 50 0 20 -5 30 350Hz 600 -15 12kHz -10 -5 0 MIC LINE 63 25 R +6 +6 +6 +6 +15 +15 +15 7k 3k +15 100Hz 1k5 = 10 40 50 0 20 -5 30 -5 10 PK ! L PAN OO OO AUX OO FB2 OO FB1 -15 6
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