Peavey S-14P manual

S-14 ™ /S-14P ™ Mixing Console Operating Guide NOTICE! THIS IS A TEMPORARY COPY OF THE OWNER’S MANUAL ST ANDARD MANUAL NOT A V AILABLE A T TIME OF PRODUCT RELEASE PLEASE CONTACT PEAVEY DEALER OR PEAVEY INTERNATIONAL SERVICE CENTER (601) 483-5365 TO RECEIVE YOUR FREE, PRINTED VERSION OF THIS MANUAL[...]

2 Intended to alert the user to the presence of uninsulated “danger ous voltage” within the pr oduct’ 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 impor tant operating and maintenance (servicing) instructions in the literature accompanying the [...]

3 IMPORTANT SAFETY INSTRUCTIONS WARNING: When using electrical pr oducts, basic cautions should always be followed, including the following: 1. Read these instructions. 2. K eep these instructions. 3. Heed all warnings. 4. Follo w all instructions. 5. Do not use this apparatus near water . 6. Clean only with a dry cloth. 7. Do not block any of the [...]

4 S14/S14P Mixing Console Description The S-14 is a twelve channel, rack mountable, mixing console specifically designed to meet the needs of churches, schools, and small 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 so[...]

5 CHANNEL & MASTER FUNCTIONS The headphone amplifier with headphone/meter selector switch is another important tool for setting and operating the S-14. 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 s[...]

6 1. COMPRESSOR THRESHOLD: The first four channels have auto-mixing and compressor capabilities when assigned to the pulpit or wireless group. These soft-knee are compressors 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 to [...]

7 6 7 6. MONITOR SEND (1–2): The monitor sends adjust the level of the channel signal added to the monitor mix. They are post-EQ, post-fader , and follow the channel’s level. 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. The s[...]

8 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 0dB. 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 bla[...]

9 Master Functions: 17. PHANTOM POWER: Applies +48VDC 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-pr[...]

10 23 26. VOCAL ENHANCE: The circuitry of the vocal enhance has been designed to improve clarity and definition. The frequencies have been chosen to work well with speech and singing. The amount is determined by a concealed preset switch (MIN up, MAX down). 27. MONITOR CLIP/MUTE: Mutes the monitor output. The indicator will light when it is muted. [...]

11 31 32 33 34 31. HEADPHONE OUTPUT : This stereo jack (TRS) provides drive for the headphones. The level is set by the headphone level control. Tip = Left, Ring = Right, Shield = Ground. 32. HEADPHONE LEVEL: This control sets the volume of the headphones. 33. HEADPHONE/METER SOURCE: Selects the signal(s) sent to the headphone amplifier and to the [...]

12 Input and Output Jacks: 35. 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 +22dBu can be accommodated. 36. LINE INPUT : 1 ⁄ 4 ” balanced (TRS) 10K ohm impedance input. The tip is the positive input, which s[...]

13 38 42 41 39 40 41. MONITOR OUT (XLR and 1 ⁄ 4 "): 1 ⁄ 4 " unbalanced and XLR balanced outputs of the monitor mix designed to feed an external monitor amplifier (Pin 2 is positive). The output level (nominal +4 dBu) is set by the individual channel, monitor -send controls and by the master monitor fader . 42. MAIN OUTPUTS (XLR and 1[...]

14 The S-14 has an extensive and impressive list of features and functions designed to make achieving good sound for worship as easy as possible. T o 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 [...]

15 Planning the installation: The different inputs on the S-14 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-14 offers require careful initial setup. This can all be quickly undone by curious fingers on a panel fu[...]

16 The S-14 has two additional buses that allow mics to be grouped for noise reduction and compression. T ry to group mics together on adjacent inputs that will be used together . Singing mics, particularly hand held mics, should be assigned to the SOL O group since it has a filter to reduce rumble and handling noise. Instruments are best routed to[...]

17 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. or it can be used[...]

18 i. Solo and Choir Compression controls set full clockwise. (Master Section) j. V ocal enhance inactive (LED off) k. T urn 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 . l. If any of the microphones used with the system will require +[...]

19 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 Main Master Faders set to -10 a. Begin by setting the channel Priority or Group Assign switch. (Pulpit: normal automix; Wireless: Pr[...]

20 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. d. Increase the “MAIN” master fader until the microphones are at a desirable level in the room but do not ring. Adjust individual mics i[...]

21 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-14 for use. When the following steps are completed, we will have: ➧ Set the Channel gain controls so the “Normal” position faders on the Choir and Solo mics is 0 ➧ Set the Automix channel gain controls s[...]

22 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 [...]

23 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-14 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[...]

24 Adjusting the Group Compression Controls The Group Compressors work on the opposite end of the volume spectrum from the Auto- Off (Expansion) circuitry . The compressor circuit works to control how loud the group signal gets. Like the Off Level control, the compressor control on the S-14 is also a threshold control. This time the compressor star[...]

25 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-14 the effects level control mixes the reverberated signal to the outputs. The 0 position on the EFX send is just a starting recommendation. This contro[...]

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27 GL OSSARY 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 [...]

28 EQ LO MID HI EQ LO MID HI EQ LO MID HI HI PASS +48V +48V +48V + - + - + - + - EQ LO MID HI EQ LO MID HI EQ LO MID HI +48V HI PASS HI PASS ASSIGN MON1 FX CHOIR MUTE/CLIP EXPAND COMP EXPAND OL/CLIP MUTE L-ST-R FADER MUTE GAIN LINE MIC MUTE OL/CLIP FX MON2 MON1 OL/CLIP MUTE MIC LINE GAIN MUTE COMP THRESH OL/CLIP MUTE MIC LINE GAIN FADER AUTOMATIC M[...]

S14 Console · S14P Powered Console SPECIFICATIONS 29 Input Specifications Function Min. Input Z Input Gain Settings Input Levels Bal./Unbal. Connector (ohms) Min.* Nominal** Max. XLR 2.2 k Max. 57 dB 67 dBu 57 dBu 35 dBu Bal. XLR: Pin 1 Gnd. (150 ohms) Min. 0 dB 10 dBu 0 dBu +22 dBu Pin 2 (+) Pin 3 (-) Line Input 10 k Max. 37 dB 47 dBu 37 dBu 15 d[...]

30 Hum & Noise Output Residual Noise S/N Ratio (Ref. +4 dBu) Test Conditions 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. Left/Right -100 dBu 104 dB A ll faders down -85 dBu 89 dB Master Fader Nominal‚ Ch. F aders Down‚ Ch. Muted -[...]

31 PEA VEY E L ECTRONICS CO RPORA T ION LIM ITED WARRANTY Effective Date: July 1, 1998 What This Warranty Covers Y our Peavey W arranty covers defects in material and workmanship in P eavey products purchased and serviced in the U.S.A. and Canada. What This Warranty Does Not Cover The W arranty does not cov er: (1) damage caused by accident, misuse[...]

Features and specifications subject to change without notice. P eavey Electronics Corporation • 711 A Street • Meridian • MS • 39301 (601) 483-5365 • F AX (601) 486-1278 • www .peavey .com ©2004 Printed in the U.S.A. 1/04 80305106[...]