Kustom XII SRM User manual
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KUSTOM
WARRANTY
All Kustom amplifiers.
power
units. mixers. and
their
associated components and
parts.
except as specified below,
are
gua
rant
eed, by Kustom Electronics. Inc.• to
the
original purchaser to
be
free
of
defects
in
material
or
workmanship for a
period
of
five (5)
years
from
the
date
of
purchase.
-a
nd-
All Kustom speaker cabinets and
their
associated components and
parts.
except as specified below,
are
guaranteed,
by
KustomElectronics, lnc., to
the
original purchaser
to
be
free
of
any defectsin materials and workmanship for a period
of
one
(1)
year
from
the
date
of purchase. -provided -
(1)
The
original purchaserappliesfor a Kustom
Warranty
Card for
the
guaranteed
product(s) within 10 days of
the
dale
of
purchase; and.
(2)
Within
the
applicable period of this guarantee,
the
original purchaser delivers,
at
his own expense.
the
defective
product(s)
to
an Authorized Kustom Dealer
or
Service
Cente
r for repair; or,
where
no such dealeror service
center
is nearby, obtains
at
his own
expense
from Kustom Electronics. Inc.• an "Authorization Number"
to
return
merchandise and ships,
at
his own expense,
the
defective product(s) to Kustom Electronics Customer Service,
909 W. Cherry, Cha
nute
. Kansas 66720. The repaired product(s) will be returned freight prepaid.
Kustom Electronics. Inc
..
will.
at
its option, repair
or
replace
the
defective part(s)
or
product(s).
Excluded from coverage by this warranty
are
exterior
surfaces and finishes, face panels, grill cloth, covers. knobs.
handles.
casters
and appearance items.
Any modification
of
the
Kustom-manufactured product(s) such as
the
installation of sub
stitute
parts. rewiring
or
other
changes
to
the
system
without
written
authorization from Kustom Electronics. Inc.,
wiU
automatically void this
warranty.
Kustom Electronics. Inc
..
shall not be liable for any direct. special, incidental
or
consequential damages incurred by
reason of a breach of
the
above provisions. except as expressly provided above.
The
provisions
of
this
warranty
shall be covered by
the
local laws of
the
state
where
the
original purchaser shall
purchase products covered
hereby,
and shall
be
enforceable only to the
extent.
and in
the
manner. permitted
under
such
laws.
EXCE
PT
AS HEREIN EXPRESSLY
PROVID
ED,
KUSTOM
ELECTRONICS,
I
NC.
,
MAKE
S NO
WARRA
N
TY
,
EX
PR
ESSED
OR
IMPLIED,
OF
MERCHANTAB
I
LITY
, FITNESS
FOR
A PARTI
CUL
AR PU
RPO
SE,
OR
OTHERW
ISE.
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INTRODUCTION
The Kustom XII SRM is a high-performance, state-
of
-the-art stereo sound reinforcement
mixing console which will provide exceptional performance and reliability when operated
correctly. Thisinstruction manual provides useful information which could prevent problems on a
919.
A
littte time spent reading the manual couldsave a lot
of
time trying
to
find problems that
do
not exist.
GENERAL
The Kustom
XII
SAM is a
12
-inputstereo mixerdesigned
to
drive external power and monitor
amplifier systems. The mixer
is
equipped
with
LED
peak-level indicators instead
of
conventional
VU
meters. These devices allow the operator
to
detect extremely fast transients which would
go
unnoticed by a standard VU meter. The mixer is specifically designed
to
drive the Kustom VIII
SRS (200
,-
watt
RMS bi-amp slave), or the Kustom XII SRS (400-
watt
RMS bi-ampslave), and the
Kustom Ill Monitor, a 125-
watt
RMS monitor power amplifier/ graphic equalizer. Several
loudspeaker systems
are
also available for use
with
these power amplifiers.
INPUTS
The Kustom XII SRM
is
equipped
with
both high and
low
impedance inputs. It should be
noted that only one input is operative at a time. For example, if a
low
impedance microphone
is
in
use and a high impedance unit
is
plugged in, only the high impedance input will function.
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OUTPUTS
The Kustom XII SRM main outputs are
low
impedance type (less than 600 ohms). and will
drive almost any type
of
poweramplifier to full
output
.
At
100% indication on the LED
Peak
Level
Indicators, the
output
levels will be 1.0 volt RMS. ·
The monitor outputs are also
of
the
low
-impedance, line-level type. Like the main outputs,
the 100% indication is 1.0 volt RMS.
CONNECTION
AND
LOCATION
Place the mixerat the desired location and connect the mixer
output
to
the bi-amplifier slaves
or
poweramplifiers using shielded microphonecable. Due
to
the very
low
impedance
output
from
the mixer, this cable may be up
to
200 feet long. Ideally, an operator should adjust the console
during
the
performance. and the console should be located where the operator can hear the
reinforced sound and make adjustments
as
necessary.
If
this is not possible, locate the console
on the stage
with
easy access by the musician/ operator.
It
is
strongly recommended that the
console not
be
placed on
top
of
or
in
front
of
speake'r cabinets (especially bass); this will cause
vibration in the mixer's reverb spring assembly.
If
a monitor system
is
used, plug the
monitor
drive cable into the
MON_ITOR
OUTPUT jack.
This cable may also be up
to
200 feet in length
without
excess high frequency losses.
NOTE
If
excessive 60Hz hum is noted in the main
or
monitor
systems,
it
is
likely
that
the
console and the power amlifiers are plugged into different phases
of
the building AC
distribution system. This is acommon occurrence whenever the console is located some
distance from the power amplifiers and speaker system. To correct this problem use a
line isolation plug (available at any hardware store) on the
power
amplifier
line cord(s).
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OPERATION
If
possible, locate the speaker systems in
front
of
and directed away from
the
microphones,
greatly reducing the possibility
of
feedback. Feedback will occur
with
any type
of
PA system,
regardless
of
size
or
price, whenever the loudness.
is
increased past a critical point determined by
microphone location, speaker placement, and room acoustics. Usually little can be done
to
correct
for
proper room acoustics. However,
with
proper microphone selection and speaker
placement. the possibility
of
feedback can be greatly reduced.
For an initial set up,
it
is suggested that all
low
frequency and high frequency equalization
controlsbe adjusted
to
the ''O"
or
12
o'clock position and the graphic equalizer slides be placed in
the center
of
their operating range. This will place the console in an electrically
"flat"
frequency
response state.
The following procedure
of
professional sound reinforcement techniques should be followed
until you are thoroughly familiar with the mixer and its capabilities:
1. Adjust all equalization controls
for
a
"flat"
response
as
previously described. All input
PAD switches should be in the position
0.
Adjust the HORN LEVEL control
to
the
position
5.
2.
Adjust the
MAIN
LEVEL controls
to
position
5.
3. Set all PAN controls at 12 o'clock (position
0)
.
4.
With
program material
into
the first channel adjust the GAIN control slides for the desired
loudness level.
If
the
LED
PEAK
OVER
LOAD indicator is indicating a preamplifier over-
load condition, either reduce the GAIN slides' position or place the input PAD switch to
the -10dB
or
-20dB position
as
required.
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5.
Adjust the channel equalization controls for the desired amount
of
equalization. Note
the
LED
PEAK LEVEL indicator
as
boosting
of
certain frequencies may have caused
an
overload condition.
6.
Adjust the MASTER
REVERB
control
to
position
5.
7.
Adjust the channel
REVERB
SEND control for the desired amount
of
reverberation.
8. Adjust the PAN control for stereo balance.
9.
Notethe
MAIN
LEVEL
LED
PEAK LEVEL indicators. Under normal operating conditions
(maximum output) the indicators should be indicating 80%
to
100%
with
occasional
peaks in the CLIP region. Adjust the
MAIN
LEVEL and channel GAIN controls for the
desired sound pressure level
without
overloading the mixer. Overloading
or
"clipping"
is
constantly monitored by the channel input
LED
peak overload indicators and the
MAIN
LEVEL
LED
peak level indicators. Adjustthe channel GAIN and
MAIN
LEVEL controls
as
a team for optimum signal-to-noise ratio.
An
indication
of
incorrect operation is when
either the
MAIN
LEVEL
or
the channel GAIN controls
are
at
maximum.
10.
Adjust the total system for the desired sound pressure level
or
until feedback occurs.
11.
If feedback occurs, the graphic equalizers should be used
to
"notch
out"
the feedback
frequency(s). Graphicequalization is a valuable tool if
used
correctly, but a real problem
if
incorrectly used. Professional sound engineers generally agree that the more graphic
equalization used, the worse the overall sound will be. Some use the graphic equalizer
for
"room
equalization". This practice is acceptable
if
the operator remembers that the
room
is
·not really equalized at all locations, just at the point where his ears and the
equalizer
are
located. Rooms contain dead spots
or
locations where some frequencies
disappear entirely; this
is
a normal phenomenon and occurs in every type
of
enclosure
from the smallest night club
to
the most professional recording studio.
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The graphic equalizer
is
a valuable tool
if
used properly. Always use one slide
at
a time,
and
if
the desired resultsare not obtained, return
it
to
the center position and proceed
to
the
next slide.
12
. Readjust
the
HORN LEVEL control (located on the power slave unit)
as
required
for
the
desired bass and treble balance. No amount
of
channel equalization or graphic equaliza-
tion will bring up the
"high
end"
if
the
HORN LEVEL control is turned down
or
off
.
13
.
After
the main system is adjusted and a monitor system is in use, adjust the channel
MONITOR SEND and
MAIN
LEVEL controls
for
the desired
monitor
levels. Observe the
MON LEVEL
LED
peak level indicators
to
prevent overloading
of
the monitor slave units.
The preceeding procedure
is
typical
of
the operation
of
a professional sound reinforcement
system. All operating situations were not covered because every location and type
of
music
is
different.
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GRAPHIC
EQUALIZER
The dual nine-band (frequency) graphic equalizer section
of
your Kustom XII SRM represents
the ultimate in feedback and equalization control flexibility. Nine points (60Hz, 125Hz, 250Hz,
500Hz, 1.0KHz, 2.0KHz, 4.0KHz, 8.0KHz, and 16.0KHz) are provided
to
allow
for
adjustment in
the most critical portion
of
the audio spectrum. A maximum
of
±12.0dB
of
boost and
cut
is
provided at each
of
these frequencies. As a
point
of
interest, each
of
the
frequenci
es
represents
the center point
on
the frequency at
which
maximum control action occurs. The actual control
action at 125Hz, for example, is that the frequencies in the range
of
60Hz
to
200Hz are boosted
or
cut. This allows a smooth response
to
be
obtained over a usable portion
of
the audio spectrum.
It
is
suggested
that
when first setting up a system
for
operation that all
of
the equalizer
controls be adjusted
to
the center or flat position. This will eliminate the possibility
of
feedback,
or
if
all controls are in the
"cut"
position, the apparent loss
of
signal level. Normal operating
procedure is
to
use the individual channel tone controls
to
adjust for the desired sound, and then
use the graphic equalizer
to
compensate for
poor
room acoustics and feedback.
There
is
no simple way
to
"equalize
out"
a room. The quickest (and often the best) method
is
to
carefully listen
to
the
system and make small adjustments
to
achieve the desired sound.
It
should be remembered
that
the sound the operator hears and adjusts
for
is only in the one spot
where he is located.
At
any other point in
the
room
or
club,
the
sound will be slightlydifferent due
to room acoustics (carpeting, reflections
off
walls, and many other factors).
When
using the graphic equalizer
for
feedback control, find the feedback frequency by
adjusting each
of
the equalizer controls. Once the frequency and corresponding control
is
located, adjust the equalizer only to the
point
at
which
the feedback stops. Once this
point
is
reached,
no
further feedback control improvementwill.result, and the overall sound quality will be
degraded.
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MICROPHONES
CARDIOID
MICROPHONE
The pickup pattern
of
a cardioid microphone -relatively dead at the sides and rear -tends
to increase the working distance (the distance between the sound source and the microphone)
beyond which:
1. The sound becomes over-reverberant.
2. The pickup
of
random background noise becomes excessive.
3.
Sound system feedback results.
This increase in working distance is theoretically more than 1.7 to 1. For instance,
if
the
maximum effeqtive working distance
of
an omnidirectional microphone
is
10
inches. then a
cardioid mike can be used
at
17
inches
with
the
same effectiveness!
The feedback-reducing characteristics
of
a cardioid microphone would seem
to
make a
clear-
cut
case for the use
of
a cardioid microphone by professional performers. In marginal
feedback systems, the cardioid will tend
to
produce a higher level in
the
room before system
feedback, especially where high levels
of
direct speaker sound reaches the microphone from the
sides
or
rear. This situation is often encountered in portable PA systems
as
well
as
other systems
employing high-levelstage monitors. Usuallyin such instances, the loudspeakers are closer
to
the
microphones than would be desirable from a sound-system design standpoint.
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OMNIDIRECTIONAL
MICROPHONE
In
many systemswhere loudspeakers are located 20
to
40
feet away from the microphone -
as
at the
top
of
a proscenium arch - a cardioid microphone is likely
to
show only negligible
advantage
with
respect
to
feedback over
an
omnidirectional microphone. This
is
especially true
where extremely close working distances are employed -say 1/8
to
six inches.
The omnidirectional microphone, where
it
can be used, has several advantages in its favo
r:
1.
For a given price,
an
omnidirectional microphone g,enerally has a smoother frequency
response than its cardioid counterpart. Such smoothness
of
response
is
important
because any roughness invites feedback.
2. An omnidirectional microphone
is
significantly
less
susceptible
to
breath pops than its
cardioid counterpart.
3.
An
omnidirectional microphone
is
significantly less sensitive
to
mechanical shock than
it
s
cardioid counterpart.
4.
An
omnidirectional microphone is often more rugged than its cardioid counterpart.
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TECHNICAL
SPECIFICATIONS
Preamplifier gain measured
at
1.0KHz. Equalizer
controls maximum.
Signal-
to
-noise ratio.
Minimum input voltage required
for
rated output.
Equalization controls adjusted
for
12
o'clock
position. Gain controls adjiusted
for
maximum.
Main channel
output
at 100% indication
of
peak
level indicator.
Monitor channel
output
at 100% indication
of
peak level indicator.
Rated minimum load impedance
for
MAIN
and
MONITOR outputs.
Channel equalization
contml
range:
HF Equalization
LF Equalization
Graphic Equalizers
Frequency response measured
with
equalization
controls indicating flat response.
Total harmonic distortion at normal (100% indi-
cation) operating levels.
AC accessory receptacle maximum load.
16.0dB
Gain min. -84.0dB
Gain max. -58.0dB
13mV RMS
1.0V RMS
1.0V RMS
600 ohms
±12.0dB@ 10.0KHz
±1
0.0dB@
50
.0Hz
±12.0dB@ each frequency
±2.0dB, 40Hz-17KHz
0.15%
200
watts
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