Power Dynamics PDM-S803 8-Channels Stage Mixers User Manual
- June 6, 2024
- Power Dynamics
Table of Contents
Power Dynamics PDM-S803 8-Channels Stage Mixers
Congratulations to the purchase of our mixer (amplified=171.150 and 171.151). Please read the manual thoroughly prior to using the unit.
WARNINGS
Read the manual prior to using the unit
- Keep the manual so that any other user can read it
- Keep the packaging so that you can transport the unit in its original packaging in order to avoid damage
- For indoor use
- Prior to the first use, have the unit checked by a qualified person
- The unit contains voltage-carrying parts. DO NOT open the
- When you unplug the unit from the mains always pull the plug, never the
- Do not plug/unplug the unit with wet
- If the plug and/or lead are damaged, they need to be replaced by a
- If the unit is damaged to an extent that internal parts are visible, DO NOT connect the unit to the mains and DO NOT switch it on. Contact your
- Connect the unit only to an (earthed) 220-240Vac/50Hz mains outlet protected by a 10-16A
- Do not place the unit near heat sources such as radiators, or water such as a swimming pool, wet basement
- During a thunderstorm or if the unit will not be used for a longer period of time, unplug it from the
- If the unit has not been used for an extended period of time, condensation may occur inside the unit. Let the unit reach room temperature
- Objects may not fall on, and liquids may not be spilled into the unit. Do not expose to
- The unit should be installed so that its location or position does not interfere with its proper ventilation. It should not be situated on a place that may block the ventilation openings, or in a built-in situation that may impede the air
- To avoid accidents in public premises, you need to adhere to the applicable rules and follow the indications/instructions
- Keep out of the reach of children
- Do not use cleaning sprays to clean the slider controls. They leave residues that cause dust and smear deposits inside the controls. In case of malfunction, ask a qualified technician for advice. Don’t use benzene, thinner or other solvents for cleaning the
- Make sure that all channel slider controls and the master volume control are set to the minimum prior to switching the unit on.Handle the channel faders with care. Quick variations can damage the speakers as the amplifier might
- Avoid clipping of the amplifier. This happens if the clip Led’s, mostly mounted on the front panel of the amplifier light up. Set the volume to a sufficiently low
- Make sure that the mains voltage is switched off before you make connections or
- Use the appropriate connection leads for the specific
- The power cord should be routed so that it is not likely to be walked on or pinched (esp. near the plug or exit from the unit).
- Always switch on the amplifier at latest and switch it off at first. This prevents damage to your equipment in case of
- Excessive force will cause damage to the
- Do not place the device on an unstable bracket, stand, table etc. Do not mount on a wall if you are not able to calculate the forces. Pls follow the instructions of the manufacturer or qualified
- Repairs must always be carried out by an agreed technical
- Avoid excessive mechanical charges of the parts. If the LED vu-meter is continuously in the red area, the output signal is too strong. This results in distortion. Lower the master volume to an acceptable level in order to prevent damage to your equipment further to overdriving.
Do not attempt to make any repairs yourself. This would invalid your warranty. Do not make any changes to the unit. This would also invalid your warranty. The warranty is not applicable in case of accidents or damages caused by inappropriate use or disrespect of the warnings contained in this manual. Tronios BV cannot be held responsible for personal injuries caused by a disrespect of the safety recommendations and warnings. This is also applicable to all damages in whatever form.
Balanced, Unbalanced-What’s the Difference?
In a word: “noise.” The whole point of balanced lines is noise rejection, and it’s something they’re very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation we’re constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more noise it is likely to pick up. That’s why balanced lines are the best choice for long cable runs. If your “studio” is basically confined to your desktop and all connections are no more than a meter or two in length, then unbalanced lines are fine-unless you’re surrounded by extremely high levels of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be amplified to an alarming degree in the mixer’s high-gain head amplifier.
Signal Levels and the Decibel
Let’s take a look at one of the most commonly used units in audio: the decibel (dB). If the smallest sound that can be heard by the human ear is given an arbitrary value of 1, then the loudest sound that can be heard is approximately 1,000,000 (one million) times louder. That’s too many digits to deal with for practical calculations, so the more appropriate” decibel” (dB) unit was created for sound-related measurements.In this system the difference between the softest and loudest sounds that can be heard is 120 dB. This is a non-linear scale, and a difference of 3 dB actually results in a doubling or halving of the loudness.
You might encounter a number of different varieties of the dB: dBu, dBV, dBm, and others, but the dBu is the basic decibel unit. In the case of dBu, “0 dBu” is specified as a signal level of 0.775 volts. For example, if a microphone’s output level is -40 dBu (0.00775 V), then raising that level to 0 dBu (0. 775 V) in the mixer’s preamp stage requires that the signal be amplified by 100 times.
A mixer may be required to handle signals at a wide range of levels, and it is necessary match input and output levels as closely as possible. In most cases the “nominal” level for a mixer’s input and outputs is marked on the panel or listed in the owner’s manual.
To EQ or Not to EQ
In general: less is better. There are many situations in which you’ll need to cut certain frequency ranges, but use boost sparingly and with caution. Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound a better definition. Bad EQ-and most commonly bad boost-just sounds terrible.
Cut for a Cleaner Mix
For example cymbals have a lot of energy in the mid and low frequency ranges
that you don’t really perceive as musical sound, but which can interfere with
the clarity of other instruments in these ranges. You can basically turn the
low EQ on cymbal channels all the way down without changing the way they sound
in the mix. You’ll hear the difference, however, in the way the mix sounds
more “spacious,” and instruments in the lower ranges will have better
definition. Surprisingly enough, piano also has an incredibly powerful low end
that can benefit from a bit of low-frequency roll-off to let other
instruments-notably drums and bass-do their jobs more effectively. Naturally
you won’t want to do this if the piano is playing solo.
The reverse applies to kick drums and bass guitars: you can often roll off the
high end to create more space in the mix without compromising the character of
the instruments.
You’ll have to use your ears, though, because each instrument is different and
sometimes you’ll want the “snap” of a bass guitar, for example, to come
through.
Some Frequency Facts
The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz and 20,000 Hz, respectively. Average conversation occurs in the range from aboul 300 Hz to about 3,000 Hz. The frequency of a standard pitchfork used lo tune guitars and other instruments is 440 Hz (this corresponds to the “A3” key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i.e. “A4” on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce “A2” an octave lower.
Boost with Caution
If you’re trying to create special or unusual effects, go ahead and boost away
as much as you like.
But if you’re just trying to achieve a good-sounding mix, boost only in very
small increments. A tiny boost in the midrange can give vocals more presence,
or a touch of high boost can give certain instruments more “air.” Listen, and
if things don’t sound clear and clean try using cut to remove frequencies that
are cluttering up the mix rather than trying to boost the mix into clarity.
One of the biggest problems with too much boost is that it adds gain to the
signal, increasing noise and potentially overloading the subsequent circuitry.
Ambience
Your mixes can be further refined by adding ambience effects such as reverb or
delay. The GS-12 FX ‘s internal effects can be used to add reverb or delay to
individual channels in the same way as external effects processors. (Refer to
page 15),
Reverb and Delay Time
The optimum reverb time for a piece of music will depend on the music’s tempo
and density, but as a general rule longer reverb times are good for ballads,
while shorter reverb times are more suited to uptempo tunes. Delay times can
be adjusted to create a wide variety of “grooves”. When adding delay to a
vocal, for example, try setting the delay time to dotted eighth notes
corresponding to the tune’s tempo.
Reverb Tone
Different reverb programs will have different “reverb tone” due to differences
in the reverb time of the high or low frequencies. Too much reverb,
particularly in the high frequencies, can result in unnatural sound and
interfere with the high frequencies in other parts of the mix. It’s always a
good idea to choose a reverb program that gives you the depth you want without
detracting from the clarity of the mix.
Reverb Level
It’s amazing how quickly your ears can lose perspective and fool you into
believing that a totally washed• out mix sounds perfectly fine. To avoid
falling into thistrap start with reverb level all the way down, then gradually
bring the reverb into the mix until you can just hear the difference. Any more
than this normally becomes a “special effect.”
The Modulation Effects:
Phasing, Chorus, and Flanging
All of these effects work on basically the same principle: a portion of the
audio signal is “time-shifted” and then mixed back with the direct signal. The
amount of time shift is controlled, or “modulated”, by an LFO (Low-frequency
Oscillator).
For phasing effects, the shift is very small. The phase difference between the
modulated and direct signals causes cancellation at some frequencies and
reinforces the signal at others and this causes the shimmering sound we hear.
For chorus and flagging, the signal is delayed by several milliseconds, with
the delay time modulated by an LFO, and recombined with the direct signal. In
addition to the phasing effect described above, the delay modulation causes a
perceived pitch shift which, when mixed with the direct signal, results in a
harmonically rich swirling or swishing sound.
The difference between chorus and flanging effects is primarily in the amount
of delay time and feedback used-flanging uses longer delay times than chorus,
whereas chorus generally uses a more complex delay structure. Chorus is most
often used to thicken the sound of an instrument, while flanging is usually
used as an outright “special effect” to produce otherworldly sonic swoops.
Compression
One form of compression known as “limiting” can, when properly used, produce a
smooth, unified sound with no excessive peaks or distortion. A common example
of the use of compression is to ‘1ame” a vocal that has a wide dynamic range
in order to tighten up the mix. With the right amount of compression you’ll be
able to clearly hear whispered passages while passionate shouts are still well
balanced in the mix. Compression can also be valuable on bass guitar. Too much
compression can be a cause of feedback, however, so use it sparingly.
Most compressors require several critical parameters to be set properly to
achieve the desired sound. The MG compressor makes achieving great sound much
easier: all you need to do is set a single “compression” control and all of
the pertinent parameters are automatically adjusted for you.
-
MIC input jacks
These are balanced XLR-type microphone input jacks. (1 : Ground; 2: Hot; 3: Cold) -
LINE Input Jacks (monaural channels)
These are balanced TRS phone-jack line inputs. (T: Hot; R: Cold; S: Ground).
You can connect either balanced or unbalanced phone plugs to these jacks. -
INSERT Jacks
These jacks can be used to insert an external signal-processing device between the equalizer and fader of the corresponding monaural input channel. The INSERT jacks are ideal for connecting devices such as graphic equalizers,compressors,or noise filters into the corresponding channels. -
TRIM Control
Adjusts the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the gain so that the PEAK indicator 9 l rights only occasionally and briefly on the highest input transients. The -60 to +10 scale is the MIC input adjustment range. The 40 to +10 scale is the LINE input adjustment range. -
LOW OUT SWITCH
This switch toggles the HPF on or off. To turn the HPF on , The HPF cuts frequencies be low75 Hz. -
Equalizer(HIGH.MIDand LOW)3
This three-band equalizer adjusts the channel’s high .mid and low-frequency bands. Setting the knob to the “O” position produces a flat response in the corresponding band. Turning the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band. -
AUX Control
Monitor and effects busses (AUX sends) source their signals via a control from one or more channels and sum these signals to a so-called bus. This bus signal is sent to an aux send connector (for monitoring applications: MON OUT) and then routed, for example, to an active monitor speaker or external effects device. In the latter case, the effects return can then be brought back into the console via the aux return connectors. All monitor and effects busses are mono, are tapped into post EQ and offer amplif ication of upto+15dB. -
FX Control
The aux send marked FX offers a direct route to the built-in effects processor and is, therefore, post-fader and post-mute. -
PAN Control
The PAN control determines the position of the channel signal within the stereo image. When working with subgroups, you can use the PAN control to assign the signal to just one output, which gives you additional flexibility in recording situations. For example, when routing to subgroups 3 and 4 , panning hard left will route the signal to group output 3 only, and panning hard right will route to group output 4 only. -
MUTE Switch
Turn this switch on to send the signal to the buses.the switch lights orange when on. -
MUTE LED
The MUTE LED indicates a muted channel. -
CLIP LED
The PEAK-LED Iights up when the input signal is driven too high. If this happens, back off the TRIM control and, if necessary, check the setting of the channel EQ. -
SOLO SWITCH
The SOLO switch is used to route the channel signal to the solo bus (Solo In Place) orto the PFL bus (Pre Fader Listen). This enables you to listen to a channel signal without affecting the main output signal. The signal you hear is taken either before the pan control (PFL, mono) or after the pan and channel fader (Solo, stereo) -
SUB Switch
This switch alligns the channel. -
MAIN Switch
This switch alligns the channel iS sig . -
CHANNEL FADER
Adjusts the level If the channel signal.Use these faders to adjust the balance between the various channels. -
STEREO AUX RETURNS Jacks
The STEREO AUX RETURN jacks generally serve as the return for the effects mix ( created using the post-fader aux sends ) by connecting the output of an external effects device. If only the left jack is connected, the AUX RETURN is automatically switched to mono. -
AUX SEND1 Jacks
The AUX SEND jack should be used when hooking up a monitor power amp or active monitor speaker system. The relevant aux path should be set pre-fader. -
MON Jack
The MON jack carries the master aux mix(from the channel’s AUX MON controls). -
SUB1 -2 OUT Jacks
These impedance-balanced* TRS phone jacks output the ALT3-4 signals. Use these jacks to connect to the input jacks of a multi-track recorder, external mixer, or other such device. -
CD IN JACKS
These RCA pin jacks input a stereo sound source. Use these jacks when you want to connect a CD player directly to the mixer. -
REC OUT (L, R) Jacks
These RCA pin jacks can be connected to an external recorder such as an MD recorder in order to record the same signal that is being output via the STEREO OUT jacks. -
MAIN OUT (L, R) Jacks
These jacks deliver the mixer’s stereo output. You use these jacks, for example, to connect to the power amplifier driving your main speakers. -
PHONES Jack
Connect a pair of headphones to this TRS phone-type output jack. -
FX FOOTSW Jacks
Connect a standard footswitch to the footswitch jack and use this to switch the effects processor on and off. Alight at the bottom of the display indicates weather the effects processor has been muted by the footswitch . -
CONTROL ROOM OUT Jacks
The control room output is normally connected to the monitoring system in the control room and carries the stereo mix or, when selected, the solo signals. -
STEREO Jacks
Each stereo channel has two balanced line-level inputs on jacks for left and right channels.
If only the left jack (marked “L”) is used, the channel operates in mono. The stereo channels are designed to handle typical line-level signals, and depending on model, have a level switch (+4 dBu or -10 dBV ) and/or a line GAIN control. Both jack inputs will also accept unbalanced connectors. -
9-BAND STEREO GRAPHIC EQUALIZER!
The graphic stereo equalizer allows you to tailor the sound to the room acoustics. -
FBQ FEEDBACK DETECTION SWITCH
The switch turns on the FBQ Feedback Detection System.It uses the LEDs in the frequency bane faders to ind icate the critical frequencies. On a per-need basis, lower the frequency range in question somewhat in order to avoid feedback. The graphic stereo equalizer has to be turned on in order to use this function. -
EQ IN SWITCH
Use this switch to activate the graphic equalizer. -
MP3 PLAY EQ
The two-band equalizer adjusts the level if the two bands Mp3 player. -
MP3 PLAY window
Show the Mp3 planing.time.song name and other play instruction. -
MP3 switch
STOP: stop play PLAY:play music PREV:last song NEXT:next song REP:single orcycle play
PROGRAM Dial
You can select the Mp3preset by turning the PROGRAM control. The display f lashes with the number of the current preset. To recall the selected preset, press on the button ; the flashing stops. -
MP3 player jack
USB:can be play throrgh U-DISK -
AUX SEND2(FX) Control
The AUX SEND (FX) jack carries the master aux mix (from The channel’s FX controls).
You can connect th is to an external effects device to process the FX bus. The processed signal can then be brorght from the effects device back into the STEREO AUX RETURN jacks. -
EFFECTOR LEVEL LIGHT EFFECTOR DISPLAY
Show the effect level stronger Show the kind of effector. -
PROGRAM Dial
You can select the effect preset by turn ing the PROGRAM control. The display flashes with the number of the current preset. To recall the selected preset, press on the button; the f lashing stops. You can also recall the selected preset with the foot switch. -
MON SEND Control
Use th is fader can control the MON output jack -
STEREO AUX RETURN1 Control
Adjusts the level at which the signal received at the RETURN jacks (L (MONO) and R) is sent to the STEREO UR bus. -
CD/TAPE RET Control
Adjusts the level of the signal sent from the CD IN jacks. -
FX SEND Fader
Control effect input signal level & SEND FX jack input. -
MP3 VOL Fader
Change VOL button can be control the VOL of Mp3. -
SUB1-2 FADER
You use the high-precision quality fad ers to control the output level of the subgroups. -
MAIN MIX FADER
You use the high-precision quality faders to control the output level of the main mix. -
PHANTOM +48 V Switch
This switch toggles phantom power on and off. When the switch is on the mixer supplies +48V
phantom power to all channels that have XLR mic input jacks. Turn this switch on -
POWER Indicator
This indicator lights when the mixer’s power is ON. -
48V Indicator
The red i48V LED lights up when phantom power is switched on. Phantom power is required to operate condenser microphones. -
Level Meter
Show the level signal is strong
NOTE: The 0 segment corresponds to the nominal output level.The PEAK indicator lights rd when the output reaches the clipping level. -
MIX/SUB Switch
This switch assigns the Phones signal to the SUB/MIX bus. -
PHONES/CTRL ROOM ONLY Control
Use this control to adjust the control room output level and the headphone volume. -
PFL indicator
when open the monitor.PEL is lighting. -
SUB TO MAIN Switch
If this switch is on, the mixer sends the signals processed BY the SUB faders onto the stereo bus. -
FUSE HOLDER/I EC MAINS RECEPTACLE
The console is connected to the mains via the cable supplied, which meets the required safety standards. Blown fuses must only be replaced by fuses of the same type and rating. The mains connection is made via a cable with IEC mains connector. An appropriate mains cable is supplied with the equipment. -
POWER Switch
Use the POWER switch to turn on the mixing console. The POWER switch should always be in the “Off” position when you are about to connect your unit to the mains. To disconnect the unit from the mains, pull out the main cord plug. When installing the product, ensure that the plug is easily accessible. If mounting in a rack, ensure that
INSTALLATION
Rack mounting
The packaging of your mixing console contains two 19″ rack mounts for
installation on the side panels of the console.
Before you can attach the rack mounts to the mixing console, you need to
remove the screws holding the left and right side panels. Then, use these
screws to fasten the two rack mounts, each specifically to one side. With the
rack mounts installed, you can mount the mixing console in a commercially
available 19′ rack. Be sure to allow for proper air low around the unit, and
do not place the mixing console close to radiators or power amps, so as to
avoid overheating.
Only use the screws holding the mixing console side mpanels to fasten the 19″
rack mounts.
Cable connections
You will need a large number of cables for the various connections of the
console. The illustrations below show the wiring of these cables. Be sure to
use only high-grade cables.
Audio connections
Please use commercial RCA cables to wire the 2-track inputs and outputs.
You can, of course, also connect unbalanced devices to the balanced
input/outputs. Use either mono plugs, or use stereo plugs to link the ring and
shaft (or pins 1 & 3 in the case of XLR connectors).
Mono
Troubleshooting
The products referred to in this manual conform to the European Community Directives to which they are subject:
- Low Voltage (LVD) 2014/35/EU
- Electromagnetic Compatibility (EMC) 2014/30/EU
- Restriction of Hazardous Substances (RoHS) 2011/65/EU
Specifications and design are subject to change without prior notice.
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