JBL EVOi.sys User manual

A Loudspeaker System With Intelligence
EVOi.sys
User’s Guide
Introducing The Next Generation of Installed Sound

CONTENTS
EVOi.sys
Safety Information . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Design Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Hook-Up/Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Mixer Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Input Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Master Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Microphone Operation . . . . . . . . . . . . . . . . . . . . . . 18
EVO Handheld Dynamic Microphone . . . . . . . . . . . 18
EVO Wireless Handheld Dynamic Microphone . . . . 21
EVO Lavaliere Microphone/Bodypack Transmitter . 22
EVO Wireless Receiver System Controller. . . . . . . . 24
Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Technical Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
©2001 JBL Professional Products

2
SAFETY
IMPORTANT SAFETY INFORMATION
This equipment has been tested and found to comply with the following European and international standards for
Electromagnetic Compatibility and Electrical Safety:
Radiated Emmissions (EU): EN55022B (1992)
RF Immunity (EU): IEC801-3 (1994)
Electrostatic Discharge(EU): IEC801-2 (1984)
Fast Transients(EU): IEC801-4 (1988)
Electrical Safety (EU): EN60065 (1994)
Electrical Safety(USA): UL6500/ETL (1996)
Electrical Safety(CAN): CAN/CSA-E65/ETLc (1996)
Before using the apparatus read these instructions, follow all instructions, heed them and keep in a safe place.
Clean only with a damp cloth. Do not block any of the ventilation openings. Install in accordance with the
manufacturer’s instructions.
Do not defeat the safety purpose of the grounding type plug. A grounding plug has two blades and a third grounding prong. The
third prong is provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement
of the obsolete outlet.
Protect the power cord from being walked on or pinched particularly at plugs, convenience recepticals and the point where they
exit from the apparatus.
Only use attachments/accessories specified by the manufacturer.
Unplug this apparatus during lightning storms or when not in use for a long time.
WARNING - TO REDUCE THE RISK OF FIRE OR SHOCK, DO NOT EXPOSE THIS APPARATUS
TO RAIN OR MOISTURE.
DO NOT REMOVE COVERS, NO USER SERVICABLE PARTS INSIDE, REFER SERVICINGTO
QUALIFIED SERVICE PERSONNEL.
THIS EQUIPMENT MUST BE GROUNDED.
IT SHOULD NOT BE NECESSARY TO REMOVE ANY PROTECTIVE GROUND OR SIGNAL CABLE
SHIELD CONNECTIONS TO PREVENT GROUND LOOPS. ANY SUCH DISCONNECTIONS ARE OUTSIDE
THE RECOMMENDED PRACTICE OF JBL PROFESSIONAL AND WILL RENDER ANY EMC OR SAFETY
CERTIFICATION VOID.
For continued compliance with international EMC legislation ensure that all input and output cables are wired with the cable
screen connected to Pin 1 of the XLR connectors.The input XLR Pin 1 is connected to the chassis via a low value capacitor,
providing high immunity from ground loops while ensuring good EMC performance.

3
INTRODUCTION
WELCOME
Welcome to EVO Intelligent Sound Reinforcement Systems.
Thank you for trusting JBL with your sound. It’s an honor we
don’t regard lightly. As a world leader in sound reinforcement,
JBL sound systems are permanently installed in many famous
arenas, concert halls, theaters, theme parks and clubs. In fact,
JBL speakers provide the body, substance and clarity for
today’s hottest music acts, showcase stores and premiere
restaurants you just can’t make a more professional choice.
JBL Professional products are the result of over 50 years of
design and manufacture of sound reinforcement solutions.
From cathedrals to discos, to arenas and small boutiques, JBL
has successfully provided the tools and system resources to
meet and exceed every need. It’s with this experience and suc-
cess that JBL offers EVO, the first fully designed sound rein-
forcement system with built-in intelligence. Congratulations
on your purchase.
USING THIS GUIDE
The majority of content in this Guide is instruction on the
day to day operation of EVOi.sys. EVOi.324 and EVOi.net
are both components of EVOi.sys. It is necessary to retain the
Guides found in the EVOi.324 packaging. Operation of the
EVOi.net is contained in the EVOi.net Users Guide.
A thorough understanding of these Guides is necessary for
correct installation and set-up of EVOi.sys.
As you follow the EVOi.sys Users Guide each reference to
either EVOi.324 or EVOi.net Guide is identified with the
color associated with the product:
EVOi.sys - Blue
EVOi.324 - Yellow
EVOi.net - Green
PACKAGING CONTENTS
2 x EVOi.324 Contents:
EVOi.324 Speaker System
Accessory bag which includes:
1 AC Power Cord, 1 Eyebolt Kit, Two
Small Rubber Feet, 1 Large Rubber Foot,
1 Large Washer
EVOi.324 Users Guide
Tech Note #14 Vol.1
EVOi.sys Mixer Station Contents:
EVO Mixer Station
AC Power Cord
UHF Handheld Transmitter with Dynamic
Microphone Head with Clip
UHF Body Pack Transmitter with Condenser
Lavalier Microphone withTie Clip
Six Handheld Dynamic Microphones with Clips
EVOi.sys Accessories Contents:
JBL Measurement Microphone with Clip
Four Boom Microphone Stands
Six 50 ft XLR Cables
Four 2 ft XLR Cables
Three 100 ft XLR Cables
Mixer Station Dust Cover
EVOi.sys, EVOi.net Users Guides

4
EVOI.SYS
THANK YOU
Thank you for purchasing an EVOi.sys the first Fully
Designed Sound Reinforcement System. You have just taken
delivery of the World’s most comprehensive designed sound
reinforcement system. Everything is supplied to get a profes-
sional sound reinforcement system up and running in the
shortest possible time with the minimum of stress and the
most reliability. For maximum satisfaction and optimum
results please read this guide thoroughly. You will be required
to understand the placement of EVOi.324 loudspeakers and
the operation of EVOi.net and will be directed to the relevant
sections in this guide. However, through the intricate digital
design and integration of sound system technology a large
portion of tedious system installation and configuration has
been eliminated.
DESIGN OVERVIEW
EVOi.sys has been specifically designed to provide all the
elements of a sound reinforcement system in one simple to
order, quick to install, easy to set-up and straight forward to
operate package. The professional nature, performance and
quantity of equipment supplied has been finely tailored to
suit sound reinforcement applications in performing arts,
worship space, educational and civic venues of up to five
hundred seat capacity. For larger venues, provision has been
made such that additional EVO loudspeakers can be added to
the system. For complex productions additional wired and
wireless microphone can be easily added.
FCC STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Parts 74, 15, and
90 of the FCC Rules. These limits are designated to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance
with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception,
which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one
or more of the following measures:
•Reorient or relocate the receiving antenna.
•Increase the separation between the equipment and the receiver.
•Connect the equipment to an outlet on a circuit different from that to which the receiver is connected.
•Consult the dealer or an experienced radio/TV technician for help.
Shielded cables and I/O cards must be used for this equipment to comply with the relevant FCC regulations. Changes or
modifications not expressly approved in writing by AKG may void the user's authority to operate this equipment.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may
not cause harmful interference and (2) this device must accept any interference received, including interference that may cause
undesired operation.

CONNECTING THE POWER
5
HOOK-UP/SETUP
BALANCED UNBALANCED
BALANCED
LINE MIC
POWER
AC/DC 12-16 V
20 mA
Set: XXXX
SNR: XXXXX
For IM-free frequencies
refer to manual
BALANCED UNBALANCED
BALANCED
LINE MIC
POWER
AC/DC 12-16 V
20 mA
Set: XXXX
SNR: XXXXX
For IM-free frequencies
refer to manual
EVOi.sys Rear
(NOTE: For clarity, the Power Supply is shown outside the frame.)
Power Supply
(shown outside of frame)
NOTE: Power Cables Are
Attached Behind The
Power Supply.
IMPORTANT: Make sure POWER is off
before making connections.
To AC Outlet
Power Cord (supplied)

CONNECTING THE NETWORK
6
HOOK-UP/SETUP
BALANCED UNBALANCED
BALANCED
LINE MIC
POWER
AC/DC 12-16 V
20 mA
Set: XXXX
SNR: XXXXX
For IM-free frequencies
refer to manual
BALANCED UNBALANCED
BALANCED
LINE MIC
POWER
AC/DC 12-16 V
20 mA
Set: XXXX
SNR: XXXXX
For IM-free frequencies
refer to manual
EVOi.sys Rear
(NOTE: For clarity, power connections are not shown – see previous page.)
EVOi.324
Input
EVO Measurement
Microphone Output
EVOi.324
Input
EVOi.324
R Rear EVOi.324 L Rear
RL
RL
2' XLR Signal Cables
(supplied)
100' XLR Signal Cables (supplied)
100' XLR Signal Cable
(supplied)
R L
IMPORTANT: Make sure POWER is off
before making connections.

CONNECTING THE MICROPHONES
7
HOOK-UP/SETUP
BALANCED UNBALANCED
BALANCED
LINE MIC
POWER
AC/DC 12-16 V
20 mA
Set: XXXX
SNR: XXXXX
For IM-free frequencies
refer to manual
BALANCED UNBALANCED
BALANCED
LINE MIC
POWER
AC/DC 12-16 V
20 mA
Set: XXXX
SNR: XXXXX
For IM-free frequencies
refer to manual
EVOi.sys Rear
(NOTE: For clarity, power and network connections are not shown –see previous pages.)
1Mic
2' XLR Signal Cables (supplied)
50' XLR Signal Cables
(supplied)
Mic
2
IMPORTANT:
Make sure POWER is off
before making connections.
EVO Dynamic Microphones (supplied)

SETTING UP THE WIRELESS MICROPHONES
8
HOOK-UP/SETUP
GAIN CHANNEL
RF OFF
1.5 V
IEC LR6
CHANNEL
G
A
I
N
P
W
R
1
0
M
I
C1
0
0
1
2
3
4
5
6
7
8
9
A
B
C
D
E
F
EVOi.sys Partial Front
EVO Lavaliere Microphone
(supplied)
EVO Bodypack
Transmitter
(supplied)
EVO Handheld
Microphone
(supplied)
Set To
CH 3
IMPORTANT: Make sure POWER
(on the Power Supply rear) is off
before setting up microphones.
Set To
CH 1
AA
AA
AA AA

SETTING UP THE SYSTEM
Initial Settings
Before powering on the system, set the following controls to
their initial settings:
•On the EVOi.sys Power Supply:
POWER = OFF
•On the EVOi.sys Mixer:
All Faders =∞“all the way down”
All Pan, Send, and Return controls = 0
All MUTE buttons = On
All microphone SENS controls = – 30
MIC 48V (POWER) =OFF
•On the EVOi.sys Receivers, One and Two:
POWER = Off
Power On
1. Verify that the voltage setting and fuse value on the
EVOi.sys (rear) is set for your ac power service (e.g., 115 V).
2. Connect AC MAINS on all EVOi.324s (see page 6
EVOi.sys Users Guide) to active ac outlets. Each power
indicator will turn on.
3. On the EVOi.sys (rear), press POWER to the ON position.
The POWER indicator (on the EVOi.net) will turn on.
Testing The System
Perform the instructions listed in the EVOi.net section,
Installation/Setup – Starting Up starting on page 7 EVOi.net
Users Guide.
Setting Up The Initial Mix
l. Connect other sources (e.g, phantom-powered micro-
phone, keyboard, etc.) to available inputs and release the
MUTE switches on all channels being used. If required,
press MIC 48V to On to supply phantom power. The
POWER LED will turn on.
2. Set the L MIX R and L SUB R faders to 0. On all input
channels with signal, press MIX to route the signal to the
mix buss.
3. On the Master section, select MIX as the monitor source
and select PFL as the listening mode.
4. Press SOLO on Channel 1 while a performer provides a
typical performance-level signal. Observe the level on the
bargraph meters and adjust SENS until the meter display
is in the amber section, with occasional peaks to the first
red LED for a typical maximum source level.This setting
will allow sufficient headroom to accommodate peaks and
establishes the maximum level for normal operation.
NOTE: The SENS setting is only the starting point for your mix.
Remember that many factors affect the sound during a live perfor-
mance, including EQ settings or even audience size.
5. Release SOLO on Channel 1. Repeat steps 4 and 5 for all
other channels as required.
You are now ready to start building the mix and this should
be done progressively, listening carefully for each component
in the mix and watching the meters for any hint of overload.
If this occurs, back off the appropriate Channel fader slightly
until the level being monitored is out of the red segments, or
adjust the faders. This procedure will ensure that the mixer is
set up correctly, with adequate headroom.
Operating The Equipment
To learn more about EVOi.sys, we encourage you to study the
remaining pages in this section to learn how to operate the
controls on the mixer and microphone equipment. If you
encounter any problems, please refer to Troubleshooting at the
end of this manual.
Power Off
Important
Before turning off, make sure L Mix R faders are set to ∞“all
the way down”.
9
HOOK-UP/SETUP

INPUT CHANNEL
MIC Input
The MIC input accepts a male XLR connector and is designed
to suit a wide range of balanced or unbalanced signals. Use pro-
fessional dynamic, condenser, or ribbon microphones, because
their low impedance helps to reduce background noise com-
pared to low-cost high-impedance microphones. If you press
down the MIC 48 V switch (see master section detail) the XLR
receptacle provides a suitable power voltage for professional
condenser microphones (a.k.a., Phantom Power). When using a
MIC input, unplug any signal from the LINE input and adjust
the input level using the SENS control.
IMPORTANT: To prevent damage to the mixer or external
devices, only connect condenser microphones when MIC
48 V is off (i.e., switch up), and only turn it off or on with
all output faders down. When using unbalanced micro-
phones, make sure MIC 48 V is off, since phantom power
supplied on pins 2 and 3 of the XLR connector may damage
the equipment.
LINE Input
Each LINE input accepts a 3-pole A-gauge (TRS) plug. Use this
high impedance input for sources other than microphones,
such as keyboards, drum machines, synthesizers, tape
machines, or guitars. The LINE input is balanced for low noise
and top-quality signal transfer from professional equipment.
To use unbalanced sources, wire the plugs as shown and keep
cable lengths as short as possible. When using a LINE input,
unplug any microphone from the MIC input and adjust the
input level using the SENS control.
SENS (Sensitivity)
This control sets how much of the source signal is sent to the
rest of the mixer. Too high, and the signal will distort as it
overloads the channel.Too low, and the level of any back-
ground hiss will be more noticeable, and you may not be able
to get enough signal level to the output of the mixer.
3
2
1
10
MIXER OPERATION
Phantom Power
(Master Section)
Wiring XLRs
Unbalanced Input
Balanced Input
Wiring Plugs
Unbalanced Input
Balanced Input
Insert
3
15
14
2
1
7
8
10
11
12
13
5
6
4
9
INPUT
CHANNEL
INPUTS
(Rear Panel)

Setting the SENS control to 10 gives approximate unity gain
for the LINE input. Some sound equipment, including home
consumer products, may operate at a lower level (i.e., -10 dBv)
than professional equipment and, therefore, will require setting
SENS to a higher gain to reach the same output level.
See Setting Up the System on page 9 to learn how to set SENS
correctly.
100 Hz Hi-Pass Filter
Pressing this switch activates a steep 18 dB per octave filter
which reduces the level of bass frequencies only. Use this filter
in live PA (public address) situations to clean up the mix,
reducing stage rumble or “popping”from microphones.
Equalizer (EQ)
The 3-band swept equalizer (EQ) allows fine manipulation of
the frequency bands, and is particularly useful for improving
the sound in live PA applications where the original signal is
often far from ideal and where slight boosting or cutting of
particular voice frequencies can dramatically improve clarity.
HF EQ
Turn HF to the right to boost high (treble) frequencies (at
12 kHz and above) up to 15 dB, adding crispness to cymbals,
vocals, and electronic instruments. Turn HF to the left to cut
the same frequencies up to 15 dB, reducing hiss or excessive
sibilance which can occur with certain types of microphone.
When HF is not being used, set it to the center-detent position.
MID EQ
This pair of controls work together to form a mid-frequency EQ
section. The (lower) MID gain control provides 15 dB of boost
or cut, just like the HF control, but the frequency at which this
occurs can be set by the (upper) MID frequency control over a
range of 240 Hz to 6 kHz. This allows some truly creative
improvement of the signal in live situations, because the mid
band covers the range of most vocals. Listen carefully as you use
these controls together to find how particular characteristics of a
signal (i.e., vocal) can be enhanced or reduced. When MID EQ is
not being used, set the (lower) MID gain control to its center-
detent position.
NOTE: The Q is fixed at 1.5.
LF EQ
Turn LF clockwise to boost low (bass) frequencies (at 60 Hz
and below) by up to 15 dB, adding warmth to vocals or extra
punch to synthesizers, guitars, and drums. Turn LF anticlock-
wise to cut low frequencies by up to 15 dB to reduce hum,
stage rumble, or to improve a mushy sound. When LF is not
being used, set it to the center-detent position.
AUX Sends
Use these controls to set up separate mixes for foldback,
effects, or recording.The combination of each AUX Send is
mixed to the respective AUX Output at the rear of the mixer.
For effects work, the signal should be post-fade, so it will fade
up and down with the fader. However, for foldback or monitor
feeds, the signal should be pre-fade, so it is independent of the
fader. AUX 1 is always pre-fade, post-EQ, and would typically be
used as a foldback or monitor feed. AUX 2 and AUX 3 are
normally post-fade, post-EQ for use as effects sends or additional
submixes, but for flexibility AUX 2 may be switched to pre-fade,
post-EQ by pressing the associated PRE switch.
All AUX Sends are muted, along with the other channel outputs,
when the MUTE switch is pressed.
LEX FX
The LEX FX control is identical to the post-fade AUX 3, but the
signal is sent to the internal bus which feeds the input of the
built-in Lexicon Digital Effects Processor. The output of the
Lexicon processor may be added to the mix or AUX 1 or
AUX 2. The more you increase LEX FX, the more channel sig-
nal you send to the Lexicon effects unit.
continued on next page...
7
6
5
4
11
MIXER OPERATION

INPUT CHANNEL
(continued)
PAN
The PAN control sets the amount of the channel signal feed-
ing the Mix L and R or Sub L and R busses (see SUB and
MIX on the next page), allowing you to move the source
smoothly across the stereo image. When the control is turned
fully right or left you are able to route the signal at unity gain
to either left or right outputs individually. A mono sum of the
post-fader channel signal is also fed to the Mono output,
unaffected by the position of the PAN control.
MUTE
All outputs from the channel except inserts and pre-fade
direct outputs are active when the MUTE switch is released
and muted when the switch is down, allowing levels to be pre-
set before the signal is required.
SUB
Pressing SUB routes the channel signal to Sub L and R busses.
The channel signal will be fed proportionately to left or right
depending on the position of the PAN control.
MIX
Pressing MIX routes the channel signal to Mix L and R busses.
The channel signal will be fed proportionately to left or right
depending on the position of the PAN control.
11
10
9
8
12
MIXER OPERATION
Phantom Power
(Master Section)
Wiring XLRs
Unbalanced Input
Balanced Input
Wiring Plugs
Unbalanced Input
Balanced Input
Insert
3
15
14
2
1
7
8
10
11
12
13
5
6
4
9
INPUT
CHANNEL
INPUTS
(Rear Panel)

SOLO/PK
Pressing SOLO routes the pre-fade, post-EQ signal to the
headphones, control room output, and meters, where it
replaces the selected monitor source. The adjacent PK LED
illuminates to identify the selected channel is in solo mode.
This Pre Fader Listen (PFL) feature is a useful way of listening
to any required input signal, without interrupting the main
mix, for making adjustments or tracing problems.
When SOLO is released, the PK LED serves as a peak indicator
of the pre-fade, post-EQ signal and illuminates approximately
4 dB before clipping to give warning of a possible overload.
The signal is sampled both pre-insert and after the HF EQ.
NOTE: It is normal for the PK LED to turn off slowly when SOLO
is released.
Fader
The 100 mm fader allows precise balancing of the various
source signals being mixed to the selected outputs. You get the
most control when the input sensitivity is set up correctly, giv-
ing full travel on the fader. See Setting Up the System on page 9
for help in setting a suitable signal level.
DIR (Direct Output)
Each channel has a dedicated direct output, labeled as DIR,
which allows direct connection to external devices; for example,
to feed a tape machine or effects unit.
The pre-fade direct output level may be monitored by pressing
SOLO on the appropriate channel to feed the pre-fade signal to
the monitors and the bargraph meters.
INS (Insert Point)
The unbalanced, pre-EQ insert point is a break in the channel
signal path, allowing a limiter, compressor, special EQ, or
other signal processing unit to be added in the signal path.
The insert point is a 3-pole ‘A’gauge jack which is normally
bypassed. When a plug is inserted, the signal path is broken,
just before the EQ section. The send may be tapped off as an
alternative pre-fade, pre-EQ direct output if required, using a
plug with tip and ring shorted together so that the signal path
is not interrupted.
Inserts can also be used to send and return from a multitrack
tape machine.
15
14
13
12
13
MIXER OPERATION

MASTER SECTION
AUX OUTPUT MASTERS
Each of the three auxiliary outputs (AUX1 ~ AUX3) has a mas-
ter level control which sets the output level of the combined
auxiliary signals from the channels, and an associated AFL
(After Fader Listen) switch. Just as a channel’s SOLO switch
allows pre-fade listening, you can monitor each auxiliary output
after the level control by pressing the AFL switch to determine
what level is leaving the output connector.This routes the aux-
iliary output signal to the MONITOR or PHONES circuits,
replacing any existing signal which is selected.The console
METERS will also switch from the selected source to display the
PFL/AFL signal and the PFL/AFL LED lights to warn that a
PFL or AFL switch is pressed. When you release the switch the
MONITOR returns back to the previous source.
LEX FX MASTER
The LEX FX master control sets the overall level of the effects
sends from the channels before the input of the Lexicon
Digital Effects Processor. An associated AFL switch allows the
signal to be monitored in the same way as the auxiliary masters
(see above callout).
NOTE: When the LEX FX AFL switch is pressed, the meters become the
Lexicon Input level indicators.
SUB TO MIX
The submaster mix may be used to provide alternative outputs
from the mixer or, by pressing SUB TO MIX, the SUB L and R
master faders may be used as audio subgroups.When SUB TO
MIX is selected, the combined level of input channels are
added to the main mix under the control of a pair of faders.
L SUB R (Master) Faders
The L SUB R (master) faders set the final level of the submaster
L and R outputs. Assuming input SENS settings have been
correctly set, the L SUB R (master) faders should be set close to
the ‘0’mark to provide maximum travel on the faders for
smoothest control.
4
3
2
1
14
MIXER OPERATION
L SUB R L MIX R
1
7
6
2
4
3
5
19
13
12
21
20
8
9
10
15
16
17
18
14

L MIX R (Master) Faders
The L MIX R (master) faders set the final level of the mix L
and R outputs. Assuming input SENS settings have been cor-
rectly set, the L MIX R (master) faders should be set close to
the ‘0’mark to provide maximum travel on the faders for
smoothest control.
RET1~RET4 (Stereo Returns)
Four balanced stereo returns, RET1 through RET4, are avail-
able for use as outputs of effects units or other stereo sources
and are mixed directly to the AUX or MIX/SUB busses at a
level set by the respective controls. The left-hand control sets
the return level to a choice of AUX1 or AUX2 (AUX3 or
Lexicon FX in the case of RET4), depending on the position of
the adjacent switch. The right-hand control sends the return
level to MIX or SUB, depending on the position of the adja-
cent switch (i.e., it is effectively a rotary fader).
If a mono source is used, plugging it into the left jack only
will automatically feed the signal to both left and right busses.
DIGITAL EFFECTS PROCESSOR
The built-in Lexicon Digital Effects Processor provides a wide
range of echo, reverb, and acoustic treatments to add fullness
to sound, complement room acoustics, or for specific effects.
LEXICON RET (Return)
LEXICON RET is similar in operation to the stereo returns,
RET1 through RET4, but instead of taking an external
source, this section is fed from the output of the internal
Lexicon Digital Effects Processor. The left-hand control
sets the return level to a choice of AUX1 or AUX2, depend-
ing on the position of the adjacent switch. The right-hand
control sends the return level to MIX or SUB, depending
on the position of the adjacent switch (i.e., it is effectively a
rotary fader).
PROGRAM SELECT
PROGRAM SELECT is a rotary switch that provides selection
of any one of 16 factory-programmed effect combinations,
as listed on the panel legend below the controls.These fac-
tory presets have been carefully implemented for this mixer
and should be suitable for most applications.
PARAMETER ADJUST
PARAM1/PARAM2
Two pre-programmed effects may be adjusted and saved in
on-board RAM (random access memory) using the PRO-
GRAM ADJUST encoder knob and PARAM1/PARAM2 stor-
age switches. The best settings for a particular application
are found by experimentation and through careful listen-
ing to the final sound.
Adjustments are made by turning PROGRAM ADJUST,
while pressing down on PARAM1 or PARAM2, and listen-
ing to the result. As soon as you release PARAM1 or
PARAM2, the setting will be held in internal RAM. Any
alterations to the pre-programmed settings are retained,
even if the mixer is turned off, and will be recalled the next
time the particular program is selected. If a setting differs
from the original default values, the USER LED will illumi-
nate.
NOTE: To restore a parameter to its factory setting, press down on
both PARAM1 and PARAM2 until the USER LED goes out.
LEXICON MUTE FOOTSWITCH
Lexicon effects may be remotely turned ON or OFF
through the LEXICON MUTE FOOTSWITCH jack (on the
rear panel). Use a standard latching (or non-latching) gui-
tar footswitch, or similar unit that provides an isolated
switch closure, and connect it as shown below.The effect
will be muted when the switch is closed.
continued on next page...
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MIXER OPERATION
NOTE: Do not apply any external
voltage to the plug’s terminals.
Wiring The
Mono
Phone Plug
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open = effect ON
closed = effect OFF
LEXICON MUTE FOOTSWITCH
(Rear Panel)

MASTER SECTION (continued)
POWER Indicator
The POWER LED illuminates to show that power is being
supplied to the console.
MIC 48V (Phantom Power)
Many professional condenser microphones need an external
powering voltage, normally 48 volts dc, also known as
Phantom Power. This method sends a powering voltage down
the same wires as the microphone signal. When needed, press
the MIC 48V switch to supply the 48-volt dc power to all of
the microphone inputs. The adjacent LED illuminates when
power is active.
IMPORTANT: Do not use unbalanced microphones with
MIC 48V switched on as they may be damaged by the
phantom power voltage. Balanced dynamic microphones
and cables can normally be used with MIC 48V switched
on. Contact your microphone manufacturer for guidance.
To avoid damaging external equipment, always set all
output faders set to minimum and then plug in all the
balanced microphones before pressing MIC 48V.
2TK TO MIX
Press 2TK TO MIX to route the stereo signal connected to 2T
RETURN directly into MIX outputs. This is an ideal way of
feeding pre-show music to the main outputs in live applications
without using up valuable input channels.
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MIXER OPERATION
L SUB R L MIX R
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2TK LEVEL
The 2TK LEVEL control sets the level of the 2-Track Tape
input, which is routed to the headphones, monitor outputs,
meters, or mix when 2TK TO MIX is active (see next callout).
Connect the unbalanced RCA L/R inputs, 2T RETURN, to the
tape machine’s unbalanced RCA outputs.
MONITOR Source Select
These switches allow a choice source for the phones, monitor
outputs, and meters. Normally the monitor source is either
MIX or SUB (or both, depending on which of the two right-
hand switches is selected), but pressing the 2TK switch swaps
the monitoring to the 2-track output. When the switch is
released, the normal MIX or SUB selection is restored.
PFL/AFL LED
The PFL/AFL LED illuminates to show that a PFL or AFL is
active and is the source for the monitors and meters. The
LED will normally be off.
Bargraph Meters
Three-color peak-reading bargraph meters are provided to
monitor 2TK, MIX, or SUB signals, giving you a constant
warning of excessive peaks in the signal which might cause
overloading. Aim to keep the signal within the amber seg-
ments at peak levels for best performance.
Similarly, if the output level is too low and hardly registering on
meters, the level of background noise may become significant.
Take care to set up the input levels for best performance.
When any SOLO or AFL switch is pressed, the L and R meters
automatically switch to show the selected PFL or AFL signal on
both meters, in mono.
PHONES
This control sets the level of the monitor signal being sent to
the MONITOR PHONES output.
MONITOR
This control sets the output level being sent to the MONITOR
OUTPUTS L and R(on the rear panel) without affecting the
level to the meters.
MONITOR PHONES
The MONITOR PHONES output appears on a 3-pole 1/4"
phone jack for use with stereo headphones having an
impedance of 200 ohms or higher.
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MIXER OPERATION

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MICROPHONE OPERATION
EVO HANDHELD
DYNAMIC MICROPHONE
Features
•Frequency response tailored to vocalist use.
•Built-in windscreen/pop filter for effective suppression of
pop and breath noise.
•High feedback resistance due to frequency-independent
supercardioid polar response.
Description
The EVO Handheld Dynamic Microphone has a supercar-
dioid polar response and is designed primarily as a vocalist
microphone for rough stage use. Due to its wide frequency
response, which slightly favors the midfrequency and treble
regions, this microphone ensures good intelligibility of speech.
The term supercardioid polar response means that the EVO
Handheld Dynamic Microphone is most sensitive to sound
arriving in the front, less sensitive to sound arriving in the
sides, and even less sensitive to sound arriving in the rear. This
directional characteristic is virtually the same for all frequen-
cies and is, therefore, frequency independent.
Figure 1. The EVO Handheld Dynamic Microphone.
Shock-Absorbing Inner Grille
The EVO Handheld Dynamic Microphone is fitted with a
shock-absorbing inner grille for transducer protection against
damage. The strong die cast housing and the wire-mesh outer
grille provide additional protection for the transducer system.
Effective Windscreen
A very effective windscreen against pop and breath noise and
sibilance is formed by the outer steel wire mesh grille and a
layer of a special textile material.
Gold-plated XLR Connector
The EVO Handheld Dynamic Microphone also has a stan-
dard 3-pin male, gold-plated, XLR-type connector for wired
use. This connector type is internationally standardized so
that you can connect the microphone to the rest of your
equipment by using any commercially-available microphone
cable fitted with a female 3-pin XLR-type connector.
Wiring
The EVO Handheld Dynamic Microphone is a low-imped-
ance microphone with an electrical impedance rated at
200 ohms and has a balanced output (see Figure 2).
Figure 2. Balanced wiring diagram for EVO Handheld Microphone.
In order to prevent interference from stray magnetic fields,
use the supplied two-conductor shielded cable to connect the
microphone to a MIC input on EVOi.sys.
NOTE: Do not use an unbalanced cable, since it may act as an antenna
and pick up stray magnetic fields.
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