S-24™ Mixing Console Operating Guide For more information on other great Peavey products, go to your local Peavey dealer or online at www.peavey.
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.
IMPORTANT SAFETY INSTRUCTIONS WARNING: When using electrical products, basic cautions should always be followed, including the following: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any of the ventilation openings. Install in accordance with manufacturer’s instructions.
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 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.
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.
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.
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 gain) position.
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 performed. 19.
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.
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 dualmono mode, the left and right outputs become individual outputs with 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.
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.
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.
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.
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.
IMPORTANT ➧ 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. Inputs 19/20, 21/22 and 23/24 are designed for line-level signals only.
➧ 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 REC Out Other outputs 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.
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, the LED should be off. Ferret Off l. If any of the microphones used with the system will require +48V phantom power, turn it on at this time.
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 procedure. Start with all Automix channels muted. Priority/Group 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.
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 level.
Final setup and adjustment Most of the setup work is now complete. It is now time to make the final adjustments that will prepare the S-24 for use.
e. Re-adjust the channel gain control so that when the channel fader is at 0 (full up)‚ the level from the mic is loud or until a ringing sound is heard on the end of words. Decrease the gain until ringing is no longer heard. f. Adjust the compressor threshold, if desired, so that the red CMP LED lights only during loud speech. It should NOT light at normal speech levels. This feature will help control the volume of loud speech. g.
to turn it off when they are finished. If more than one speaking mic is in use, turn the mics on and let the Automix™ do the work. Inputs 1–4 are automatic mix channels intended for spoken word. The S-24™ will take care of most of the mixing for these channels but if someone is difficult to hear or just too loud, you may need to adjust the level of their mic. If you have different soloists or small groups of singers or instruments, you will likely need to set the mics to meet their unique requirements. a.
To Set: We will use choir microphones for an example. With the choir mics on and while someone is speaking into one of the automix mics, turn the threshold control clockwise until the Off LED comes on. Turn it a slightly further and stop. Make sure that the Off Turn Off Level LED goes out when the choir mics are used. control slowly clockwise until the Off Light comes on.
Music Style/Tempo Contemporary/quick tempo Contemporary/Traditional/Medium Traditional /Slow Very Slow/Special Vocal Room Size Small to Medium Medium Large Cathedral Reverb Reverb 1 Reverb 2 Reverb 3 Reverb 4 Set Level Select Reverb Type Setting the levels: On the channels that you want to add reverb, turn the EFX knob to the 0 position. This will send a signal from that channel to the reverb unit. In the master section of the S-24 the effects level control mixes the reverberated signal to the outputs.
HEADPHONE CONTROLS
GLOSSARY Gain ➧ Amplification of an audio signal. A negative gain (in dB) is an attenuation or reduction of level of the signal. Ringing ➧ The resonance (“ringing”) sounds heard (often at the end of words) when the sound system is close to acoustic feedback. Gain before feedback ➧ How much you can increase the gain of a mic (turn it up) before feedback occurs. You have sufficient “gain before feedback” if you can turn up the gain on a mic and get acceptable volume with getting feedback or ringing.
S-24™ Block Diagram 28
S - 2 4™ Console SPECIFICATIONS Input Specifications Function Min. Input Z (Ohms) Input Gain Settings Input Levels Min.* Nominal** Max. Bal./Unbal. 2.2 k Max. 57 dB 67 dBu 57 dBu 35 dBu Bal. Min. 0 dB 10 dBu 0 dBu +22 dBu Max. 37 dB 47 dBu 37 dBu 15 dBu Min. -20 dB 30 dBu 20 dBu +35 dBu XLR (150 Ohms) Line Input 10 k (10 k Ohms) Connector XLR: Pin 1 Gnd. Pin 2 (+) Pin 3 (-) Bal. ⁄4" TRS: Tip (+) 1 Ring (-) Sleeve Gnd.
Hum & Noise Output Residual Noise S/N Ratio (Ref. +4 dBu) Master L/R -100 dBu 104 dB All faders down Mono -85 dBu 89 dB Master fader nominal, All channels muted -80 dBu 84 dBu All controls nominal‚ mic gain min. -100 dBu 104 dB All faders down -85 dBu -80 dBu 89 dB 84 dBu Master Fader Nominal‚ Ch. Faders Down‚ Ch. Muted All controls nominal‚ mic gain min.
PEAVEY ELECTRONICS CORPORATION LIMITED WARRANTY Effective Date: July 1, 1998 What This Warranty Covers Your Peavey Warranty covers defects in material and workmanship in Peavey products purchased and serviced in the U.S.A. and Canada.
Features and specifications subject to change without notice. Peavey Electronics Corporation • 711 A Street • Meridian • MS • 39301 (601) 483-5365 • FAX (601) 486-1278 • www.sanctuary-series.com 80305111 ©2004 Printed in the U.S.A.
