Power Dynamic 171.142 PDM-S803 Stage Mixer User Manual

Power Dynamic 171.142 PDM-S803 Stage Mixer User Manual

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 first.
• Keep the packaging so that you can transport the unit in its original packaging in order to avoid damage
• For indoor use only.
• Prior to the first use, have the unit checked by a qualified person
• The unit contains voltage carrying parts. DO NOT open the housing.
• When you unplug the unit from the mains always pull the plug, never the lead.
• Do not plug/unplug the unit with wet hands.
• If the plug and/or lead are damaged, they need to be replaced by a technician.
• 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 dealer.
• Connect the unit only to an (earthed) 220-240Vac/50Hz mains outlet protected by a 10-16A fuse.
• Do not place the unit near heat sources such as radiators, or water such as a swimming pool, wet basement etc.
• During a thunderstorm or if the unit will not be used for a longer period of time, unplug it from the mains.
• 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 first.
• Objects may not fall on, and liquids may not be spilled into the unit. Do not expose to rain.
• 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 flow.
• 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 unit.
• 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 clip.
• Avoid clipping of the amplifier. This happens if the clip Lad’s, mostly mounted on the front panel of the amplifier light up. Set the volume to a sufficiently low level.
• Make sure that the mains voltage is switched off before you make connections or changes.
• Use the appropriate connection leads for the specific signals.
• 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 overdrive.
• Excessive force will cause damage to the unit.
• 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 technicians.
• Repairs must always be carried out by an agreed technical service.
• 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, and so the more appropriate “decibel” 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 -20 dBu 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 to raise that level to 0 dBu (0.775 V} in the mixer’s preamp stage requires that the signal be amplified by 1 00 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 better definition. Bad EO-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 about 300 Hz to about 3,000 Hz. The frequency of a standard pitchfork used to 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 up-tempo 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 this trap 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 flanging 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 “tame” 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.

1. MIC Input jacks
   These are balanced XLR-type microphone input jacks. (1 :Ground; 2: Hot; 3: Cold)

2. 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.

3. 3.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.

4. 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 indicator9 lights only occasionally and briefly on the highest input transients. The -60 to +1 O scale is the MIC input adjustment range. The 40 to +10 scale is the LINE input adjustment range.

5. LOW OUT SWITCH
   This switch toggles the HPF on or off. To turn the HPF on, The HPF cuts frequencies below75 Hz.

6. Equalizer(HIGH. MID and 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. Taming the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band.

7. 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 amplification of unto +15dB.

8. 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.

9. 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.

10. MUTE Switch
    Turn this switch on to send the signal to the buses. the switch lights orange when on.

11. MUTE LED
    The MU E LED i11dicates a muted cha1111el.

12. CLIP LED
    The PEAK-LED Piths up when the input signal is driven too high. If this happens. back the TRltv1 control and. if necessary. check the setting of the channel EO.

13. SOLO SWITCH
    The SOLO switch is used to route the channel signal to the solo bus Solo In Place or to the PFL bus ( Pre Fader Listen) This enables u to listen to a channel signal without affecting the main signal. e signal you hear is taken either before the pan co11trol (PFL. mono) or after the pan and channel fader (Solo. stereo

14. SUB Switch
    This switch alliins the channel.

15. MAIN Switch
    This switch allies the channel sig.

16. CHANNEL FADER
    Adjusts the level If the channel signal. Use these faders to adjust the balance between the various channels.

17. 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.

18. 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.

19. MON Jack
    The MON jack carries the master aux mix(from the channel’s AUX MON controls).

20. 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 an multi-track recorder, external mixer, or other such device.

21. 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.

22. 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.

23. 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.

24. PHONES Jack
    Connect a pair of headphones to this TRS phone-type output jack.

25. FX FOOTSW Jacks
    Connect a standard foot switch to the foot switch jack and use this to switch the effects processor on and off. A Light at the bottom of the display indicates wheatear the effects processor has been muted by the foot switch.

26. 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.

27. 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 -1 O dBV) and/or a line GAIN control. Both jack inputs will also accept unbalanced connectors.

28. 9-BAND STEREO GRAPHIC EQUALIZER!
    The graphic stereo equalizer allows you to tailor the sound to the room acoustics.

29. FBQ FEEDBACK DETECTION SWITCH
    The switch turns on the FBQ Feedback Detection System. It uses the LEDs in the frequency bane faders to indicate 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.

30. EQ IN SWITCH
    Use this switch to activate the graphic equalizer.

31. MP3 PLAYEQ
    The two-band equalize adjusts the level if the two bands Mp3 player.

32. MP3 PLAY window
    Show the tv1p3 planning time. song name and other play instruction.

33. MP3 switch
    STOP. stop play PLAY. play music PREV. last song  EXT: next so g REP.single or cycle play PROGRAM Dial You can select the M preset turning the PROGRAM control. The display flashes vat the number of the current preset To recall the selected preset. press on the button· the flashing stops

34. MP3 player jack
    USB: can be play through U-DISK

35. AUX SEND2(FX) Control
    The AUX SEND (FX) jack carries the master aux mix (from The channel’s FX controls). You can connect this to an external effects device to process the FX bus. The processed signal can then be brought from the effects device back into the STEREO AUX RETURN jacks.

36. EFFECTOR LEVEL LIGHT
    EFFECTOR DISPLAY
    Show the effect level stronger Show the kind of effector

37. PROGRAM Dial
    You can select the effect preset by turning the PROGRAM control. The display flashes with the number of the current preset. To recall the selected preset, press on the button; the flashing stops. You can also recall the selected preset with the foot switch.

38. MON SEND Control
    Use this fader can control the MON output jack

39. 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 L/R bus.

40. CD/TPE RET Control
    Adjusts the level of the signal sent from the CD IN jacks.

41. FX SEND Fader
    Control effect input signal level & SEND FX jack input.

42. MP3 VOL Fader
    Change VOL button can be control the VOL of Mp3.

43. SUB1-2 FADER
    You use the high-precision quality faders to control the output level of the subgroups.

44. MAIN MIX FADER
    You use the high-precision quality faders to control the output level of the main mix.

45. 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

46. POWER Indicator
    This indicator lights when the mixer’s power is ON.

47. 48V Indicator
    The red i48V LED lights up when phantom power is switched on. Phantom power is required to operate condenser microphones.

48. Level Meter
    Show the level signals strong
    NOTE: Thei0isegment corresponds to the nominal output level. The PEAK indicator lighter when the output reaches the clipping level ..

49. MIX/SUB Switch
    This switch assigns the Phones signal to the SUB/MIX bus.

50. PHONES/CTRL ROOM ONLY Control
    Use this control to adjust the control room output level and the headphones volume.

51. PFL indicator
    when open the monitor, PEL is lighting.

52. SUB TO MAIN Switch
    If this switch is on, the mixer sends the signals processed BY the SUB faders onto the stereo bus.

53. FUSE HOLDER/IEC 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.

54. POWER Switch
    Use !he POWER switch lo !urn on !he console. The Paver switch should be in !he “Off” position when you are about to connect unit to them ns. To  connect the unit from the mains. pullet the main plug Vehm the product. ensure that the plug feasible. I ng n a rack. sure 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 panels 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

Balanced

Stereo

MICROPHONE INPUTS(XENYXMIC PREAMP

FADE-OUT ATTENUATION¹ (CROSSTALKATTENUATION)

FREQUENCY RESPONSE

DSP

MAIN MIX SYSTEM DATA²

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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Copyright © 2020 by Tronios The Netherlands

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