Kustom VI User manual
www.SteamPoweredRadio.Com
KUSTOM
WARRANTY
All
Kustom amplifiers, power units, mixers, and
their
associated components and
parts,
except
as
specified below,
are
guaranteed,
by Kustom Electronics,
Inc.,
to
the
original
purchaser
to
be free
of
dP.fects in
material
or
workmanship for a
period
of
five
(5)
years
Crom
the
date
of
purchase.
-and -
All
Kustom
speake
r cabinets and
their
associated components and
parts,
except
as
specified below,
are
guaranteed,
by
KustomElectronics, Inc.,
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)
Theoriginal pur
chaser
applies for a Kustom
Warranty
Card
for
the
guaranteed
product(s) within
10
days
of
the
date
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
Center
for r
epair:
or
,
where
no such dealer
or
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,
Chanute, 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
producl(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
substitute
parts,
rewiring
or
other
changes
to
the
system
without
written
authorization
Crom
Kustom Electronics, Inc., will automatically void this
warranty.
Kuslom 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
wa
r
ranty
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.
EXCEPT
AS
HEREIN EXPRESS
LY
PROVID
ED, KUS
TOM
E
LE
CT
RO
NICS,
INC., MA
KE
S NO WA
RR
ANTY,
EXPRESSEDORIM
PLI
ED,
OF
MERC
HA
N
TABILITY
, FITNESS
FOR
A PA
RTI
CU
LAR PU
RP
OSE,
OR
OTH
ERW
ISE.
www.SteamPoweredRadio.Com
INTRODUCTION
The Kustom
VI
PA is a high performance, reliable sound reinforcement system which will
provide exceptional performance when operated properly. This instruction manual provides
useful information which could prevent problems on a gig. A little time spent reading the manual
could save a lot
of
time trying to find problems that do
not
exist.
GENERAL
The Kustom
VI
PA
is
a six-input
_mixe
r
with
a 200-
watt
RMS bi-amplifier built into the power
unit
for
maximum portability. The standard speaker system consists
of
two
horn-loaded, 15-inch
bass speakers and
two
mid-and high-frequency horn arrays. For additional flexibility, a
monitor
system including
two
monitor
slants and a graphic equalizer/power amplifier may be added.
The Kustom
VI
PA
is
equipped
with
a LED PEAK LEVEL INDICATOR, allowing the operator
to
detect extremely fast transients which
would
be unnoticed by the standard VU meter. The
mixer
output
is
1.0 RMS volts when a 100% indication
is
shown.
Bl-
AMPLIFICATION
Bi
-amplification
is
a relatively
new
term in
the
music market, although thetechnique
has
been
used by the largest groups and large sound reinforcement companies
for
several years. When
referring
to
bi-amplification in this manual,
we
shall be considering its use
for
PA and sound
reinforcement puroses only. However, bi-amp can also be used
for
bass and guitar amplifiers.
www.SteamPoweredRadio.Com
The conventional passive crossover
network
unit
simply splits the signal from the power
amplifier into bands. These bands are considered
as
being above or below the crossover
frequency which is usually 500Hz
or
800Hz, depending upon the speaker system used. The high
band is fed
to
the horn while the
bass
cabinet .receives the
low
band. When the sound level
required
is
relatively
low
and the amplifier
power
,
is
high, this procedure
is
adequate.
In some passive crossover systems, the
power
loss
in
the
network
might
approach 30%. A
greater disadvantage
to
the conventional passive crossover network
is
seen in the following
situation:
At
one time
or
another, nearly everyone
who
has played in a band has plugged a micro-
phone orguitar into a bass amplifier. The sound
is
usually fair until the bass player gets
down
on
thestrings. The bass sounds fine,
but
thevoice
or
guitar sounds like
it
is being
played through six layers
of
waxed paper. The end result
is
that the musicians
"figure
out"
that the speakers are
not
right for PA
or
lead guitar use. This is a partial truth. The
main problem
is
that the power amplifier
just
doesn't
have enough
power
to
achieve the
loudness levels required.
This example vividly demonstrates PA system functions and requirements. For good sound
balance in a PA system, approximately 10 times as much power is needed
to
amplify bass than
is
required
to
amplify lead guitar and voice parts.
A conventional crossover network directs approximately 50%
of
the power from the
power
amplifier
to
the
low
or
bass speaker and theother
50%
of
the power
to
the horn
or
high frequency
speakers. The
"waxed
paper" (or distorted sound) results from the bass notes consuming all the
available power; power left over is used
for
the highs and sent to the horn
or
high frequency
speakers.
www.SteamPoweredRadio.Com
As long
as
the amplifier has sufficient power, the sound will be
good
or excellent
with
a
conventional amplifier-crossover-speaker system when modest sound levels are required.
A bi-amplified system means
it
employs
two
power
amplifiers. A crossover still exists, but
there is no powerloss because
it
is
connected in the circuit before the power amplifiers. The
low
frequency or bass
output
from the crossover is applied
to
one
power
amplifier (with an average
output
of
between 100and 150
watts
RMS) and the high frequency
output
is applied to a second
power amplifier (usually between 25 and 100
watts
RMS).
The difference in
power
requirements for the high and
low
ends results from the fact that the
high frequency speakers are usually much more efficient than the bass speakers and need less
power.
If
the bass amplifier-vocal microphone example was done on a bi-amplified system, the
sound
would
be perfecteven when the total amplifier
output
power
is
unchanged. In a bi-amped
system,
the
bass has 100
watts
available
for
itsspeaker and the vocal has 25 watts available
for
its
more efficient high-end speakers.
The previous explanation
of
bi-amplification is simple. Here's a more technical explanation:
Considering a conventional·crossover network-power amp-speaker system
with
a
power
amplifier which can deliver 225 watts RMS into 8.0 ohms
with
program material which requires
100
watts
RMS or 3.53 amps into the
low
end (28.28 volts into 8.0 ohm) and 25 watts RMS or
1.77 amps into the high end (14.14 volts into 8.0 ohm).
In
this single amplifier, the total current
would
be 1.77A +
3.53A
= 5.30A and must be supplied by the single amplifer (Kirchhoff's
Current Law). Its peak power capability,
P,
must equal 12 R = (5.30)2 • 8 = 225 watts RMS for
the
si
ngle amplifier.
www.SteamPoweredRadio.Com
However, in the bi-amplifier case all the current is suplied by
two
separate power amplifiers.
The peak powercapability, P,
of
the high frequency amplifier need only be = 12 R = (
1.
77)2 • 8 =
25 watts RMS. Similarly,
for
the
low
frequency amplifier, P = (3.53)2 • 8 = 100
watts
RMS.
Therefore,
it
is obvious that
two
small power amplifiers
of
25
watts
and 100 watts will
produce thesame sound pressure levels using the same speaker components on a
225-watt
RMS
amplifier using conventional techniques. The peak power increase
for
a bi-amp system
is
approximately 2
to
1 and this does not include the power loss in the conventional crossover
network.
INPUTS
The Kustom
VI
PA has
two
inputs per channel, one high-impedance
of
approximately 50K
ohms, and one
low
-impedance
of
approximately600ohms. 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.
If
microphone line lengths
of
over 20 feet are
to
be
used,
it
is
recommended that low-impedance microphones and cables be used
to
preve
nt
high
frequency response losses.
OUTPUTS
The Kustom
VI
PA is a state-
of
-the-art device and has outputs
which
are somewhat different
than normally
en
countered in most PA equipment.
Two
outputs are provided
for
connection
of
the bass speaker cabinets (each cabinet is 8.0 ohms) and
two
outputs
for
connection
of
the
high-frequency horn arrays.
www.SteamPoweredRadio.Com
WARNING
Be
very
careful
to
plug
the
speaker
systems
in
the
correct
ja
cks.
While
no
damage
to
the
power
amplifier
will
result,
the
mid
-
and
high-
frequency
horn
array
will
be
permanently
damaged
if
plugged
into
the
bass s
peaker
jack
s.
The minimum load
for
the bass speaker jacks
is
4.0 ohms while
the
minimum load
for
the high
frequency horn jack
is
8.0ohms. The standard Kustom speakersystems are specially designed
for
this application and optimum results will be obtained when they are used. Although the power
amplifier will not be damaged with abnormal loads,
it
is
possible to produce distortion and
over-heating. When the amplifiers overheat, a protective device in the unit will cause the mixer
to
turn
off
for several minutes. Normal operation will resume when the power amplifiers cool to
their rated operating temperatures.
A line
output
level jack is provided for making recordings directly from the console. The
low
-impedance (600 ohms)
output
level
is
sufficient
to
drive almost any type
of
tape recorder.
It
may also
be
used to driveadditional poweramplifiers
or
bi-amp slave units when additional power
and speakers are required.
The monitor
output
jack
is
of
the
low
impedance type and
is
designed
to
drive Kustom Ill
monitor
slave power units and their associated speaker systems.
www.SteamPoweredRadio.Com
CONNECTION
AND
LOCATION
Place the mixer at the desired location. Ideally, the operator should man the console during
the performance
to
make adjustments
as
required.
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
speaker cabinets (especially bass); this will cause vibration in
the mixer's reverb spring assembly.
Connect the speaker cabinets to the CORRECT
output
jacks. Always plug the speaker cable
into the mid-and high-frequency horn array cabinet first, and immediately plug the other end into
the high-frequency horn speaker
output
jack
on
the console. Then the bass cabinets may be
plugged into the console. As previously mentioned, permanent damage
to
the horn array will
result
if
plugged
into
the bass cabinet
output
jack. Always use cables made
of
lamp-cord type
wire#
18
AGW
or larger
for
speaker cables. A shielded microphone cable will melt and short
out
the power amplifier
as
well
as
cause a loss
of
high frequencies.
When connecting a Kustom monitorsystem
to
the console, a shielded microphone-type cord
must be used. The
monitor
output
is very
low
impedance and line lengths
of
up
to
200 feet may
be
used before excessive high frequency losses are noted.
OPERATI
ON
If
possiple, 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
poor room acoustics. However,
with
·proper microphone selection and speaker
placement, the possibility
of
feedback can be reduced.
www.SteamPoweredRadio.Com
For initial set-up,
it
is suggested
that
all
low
frequency and
high
frequency equalization
controls
be
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
the operator is
throughly
familiar
with
the
mixer
and
its
capabilities.
1.
Adjust
all equalization controls
for
a
"flat"
response as previously described.
2.
Adjust
the HORN LEVEL
control
to
position 5.
3.
Adjust
the
MAIN
LEVEL
control
to
position 5.
4.
With
program
material
into
the
first channel, adjust the channel
GAIN
control
slides for
the
desired loudness.
5.
Adjust
the
HORN LEVEL
control
for
the desired balance between the bass speakers and the
mid-and
high
-frequency horn arrays.
6.
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
:
7.
Adjust
the
MASTER
REVERS
control
to
position
5.
8.
Adjust
the Channel REVERS SEND
control
for
the
desired
amount
of
channel reverberation.
Always
use the
MASTER
REVERS
control
and
the
channel REVERS SEND
controls
as a team
for
the
desired
amount
of
reverberation.
Having
one
control
all
the
way
open and the
other
nearly
off
is
an indication
of
incorrect operation.
9.
Adjust
1he total system
for
the
desired
sound
pressure level
or
until
feedback occurs.
Always
use
the
channel
GAIN
controls
and
the
MAIN
LEVEL
control
as a team. Again, having one
control
all the
way
open
and the
other
nearly
off
is
an
indication
of
incorrect
operation.
www.SteamPoweredRadio.Com
10.
If
feedback occurs, the graphic equalizer should be used
to
"notch
out"
the feedback
frequency(s). Graphic equalization
is
a valuable tool
if
used correctly,
but
a
real
problem
if
used incorrectly. Professional sound engineers generally agree
that
the more graphic equali-
zation used, the worse
the
sound will be. Some use the graphic equalizer
for
"room
equaliza-
tion".
This practice
is
acceptable
if
the operator remembers that the
"room''
is
not
equalized
atall locations, just at the point where his ears and the graphic equalizer are located. Rooms
contain dead spots or locations where some frequencies disappear
comp
letely; this
is
a
normal phenomenom and occurs in every type
of
enclosure
from
the
smallest night club
to
the most professional recording studio.
The graphic equalizer
is
a valuable tool
if
used correctly. Always use one slide at a time
and
if
desir~d results are
not
obtained, return
it
to
the center position and proceed
to
the next
slide.
11
. Readjust the HORN LEVEL control
if
required
for
the desired bass and treble balance. No
amount
of
channel equalization or graphic equalization will bring up the
"high
end"
if
the
HORN LEVEL control
is
turned down
or
off.
12.
After
the main system
is
adjusted and a monitor system is in use, adjust the Channel I
MONITOR SEND and MON LEVEL controls
for
the desired monitor levels. Follow the
instructions contained in the Kustom Ill
Monitor
instruction manual when setting up the
monitor system.
The preceeding procedure is typical
of
the operation
of
a professional sound reinforcement
system. All operating situations are
not
covered because every location and type
of
music
is
different.
www.SteamPoweredRadio.Com
GRAPHIC
EQUALIZER
The seven-band (frequency) graphic equalizer section
of
your Kustom
VI
PA represents the
ultimate in feedback and equalization control flexibility. Seven points (125hz, 250Hz, 500Hz,
1.0KHz, 2.0KHz and 8.0KHz) 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 frequencies 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
sy;:;tem
and make small adjustments
to
achieve the desired sound.
It
should be remembered that
the
sound that the operator hears and aqjusts
for
is only in the one
spot where he
is
located.
At
any otherpoint in the raom, 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 improvement will result, and the overall sound quality will be
degraded.
www.SteamPoweredRadio.Com
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 effective working distance
of
an omnidirectional microphone is 10 inches, then a
cardioid microphone 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 per.formers. In marginal
feedback situations, 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 microphones from the
sides
or
rear. This situation
is
often encountered in portable PA systems
as
well
as
other systems
employing high-level stage monitors. Usually in such instances, the loudspeakers are closer
to
the microphones than would be desirable from a sound-system standpoint.
www.SteamPoweredRadio.Com
OMNIDIRECTIONAL
MICROPHONE
In manysystems where 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 employ~d -say 1/8
to
six inches.
The omnidirectional microphone, where
it
can be used, has several advantages in its favor:
1.
For a given price, an omnidirectional microphone generally 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 its
cardioid counterpart.
4.
An
omnidirectional microphone
is
often more rugged than its cardioid counterpart.
www.SteamPoweredRadio.Com
TECHNICAL
SPECIFICATIONS
Preamplifier gain measured at 1.
0~Hz
. Equalizer
controls maximum.
Signal-to-noise ratio.
Nominal input impedance
Low
impedance
High impedance
Minimum
input
voltage required
for
rated output.
Equalization controls adjusted for 12 o'clock
position. Gain controls adjusted
for
maximum.
Channel equalization control range:
HF Equalization
LF
Equalization
Graphic Equalizer
16.0dB
Gain min. -84.0dB
Gain max. -58.0dB
600
ohms
50K ohms
13mV RMS
± 12.0dB @ 10.0KHz
± 10.0dB @ 50Hz
± 12.0dB @ each frequency
www.SteamPoweredRadio.Com
Frequency response measured
with
equalization
controls indicating flat response.
Total
harmonic
distortion
at
norma
l (
100
%
indication) operating levels.
Power
output
(low frequency power amplifier).
Power output (high frequency power amplifier).
Crossover frequency (active).
Absolute minimum speaker load impedance.
Low
frequency
power
amplifier
High frequency
power
amplifier
Line
output
at rated power
Monitor
output
level.
AC accessory recepticle maximum load.
± 2.0dB,
40Hz
-17KHz
0. 15%
135
watts
RMS@ 1.0% THO
75
watts
RMS @1.0% THO
1.0KHz @18dB /octave
3.0 ohms
6.0 ohms
1.0V RMS
1.0V RMS
200
watts
www.SteamPoweredRadio.Com
....
.
""""
....,.
"""'
~
t
[QUA.l
l
l(III
CUtCUITI-
OIITfl'UT
\.(V
Q.
'
\
---
--
--------
-
-·-
-
-----
'r
- -
--~
rr,,
AUon.:tl
~
•-
• • • •
•-•
•
•-
----
- •
--•--
•
•--
• -
••
•-•
• •
••
••••
- - . • • •
--
•-
•
••
--
• - l
f\#rfCTIONAL
8U>CX
OIA
CRAM.
KUSTO
M
VI
PU9UC
A!l)ORESS
,
cou
•uzu1
\\_
~
------
---
-
IICTIVf
C:ltOSSO¥DI ICl'WQlltK
----
,_
___
_,
-....__
1.
0 l(.Kf
tt••fOCTAW:
~
U'lCfl
* -
OUT
12
ew IUtS
'-+-..,,,,
4 0
--
•
=:;.~_,:->
---
--
---
...-
-
--
f~
ll'4l»
S
'-
+-~•
1,0
,.._.
www.SteamPoweredRadio.Com
JI
-
E
I
2
,-
G
-
RI
J2
680
.
r.
J
PIO£
~P2
RED
.
+.±lL
3
NC
7
NC
R2 '
REO
.,,
2 5
6
GRN
.._
BLU
R3
PREAMP
.
15K
PC5126
2
BLK
ORN
I
OLK~
jJ2
- -
REO
GRN
B
•
-
~
jJ2
P/OJ
2
~8
9
~
• BLU
PRE
AMP 2 BLK
PC
5126
8RN
I
REO
J7
RIO
0
680
_p
0 6
GAN
REO
Pl
3
NC
RU
",JS.
3 7 NC
47K 2
.._
___,
~
Rl2
,..
~
BU<'
E
I
2-
3
G
-
,.......
E
I
2
3
>----
G
-I
R4
J4
680
P3
JI
~o E..
~P
•
R£0
-r D
.
~
3
NC
3
HC
RED
·"
' 7
47'
2 5
6
GRN
.._
81.U
R6
PREA
MP
•
leiK
PC5126
2 BLK
ORN
I
8LJ<
PIO
P4
-
REO
'e'
-
GAN
I 9
.
'(_
jJ2
J9
Rl3
680
ID<n
Rl4
BL_!!.
.,.
-
RIO
,,.
.:!.!2.
BUI
E
I
2-
3
G
-
l
OOPS
:r
REO
,;
GRN
~
PIO
;!J_
~pg
PRE
AMP
•
PC
5126
2
I
0
-
r.
0 •
~
3
• 7
2
.._
_,/
SYMBOL
REVER
B
Jl7
JB,J14,Jl~.Jl6,Jl8,Jl9,J20
,J
21
J'2,J4,J6
,
J7,J
9,J)I
JI
,
J3,
J~
0J8,J10,Jt2
J22
T82,T83
CR
l,
CR2
CR!
Tl
52,S3
T8
t
Cl,C2
Rl
9,A20
St
Fl
C3
Rl,R4,A7,AIO,
R1
S)U6
R2,R$,R8,All,Al4,Al7
R3,H
.,R9
.A
l2,
Rl~,Rl8
B
LU
BLK
8RN
REO
GAN
KUSTOM PART
NO
,
031•
0041-00
030-1000-00
030·1001
-
00
030
·1
006
-0 0
0
30
·20
18·
00
030-2066-00
090
·
0072
·
00
007·!13
49
-
00
007
··6018·
00
019
-7017-
00
036-0001-00
090·0093
-
00
09,·00
14
·01
136
·
0000
-l
l
031·0059
·
00
036·0006
·
05
106-
0000
·
02
1
25
·
6810
·01
129·0473
· 1,
130
·
0153·
1,
-=-
E
I
2
3
<----------
G
.._
R7
J6
680
P5 J
PIO~
~P6
-
r.
V
+(
3
3
R8
7
.
,.
2 5
.._ 6
••
PREAMP
•
15K
PC5126
2
I
BLK
RED~
jJ2
--
GRN
I 9
'--
PIOP
12
jJ2
REO
/
,.
GRN
• PIO
J2
~Pl2
~
-
PRE
AMP 4
PC
5126
2
I
J
lt
.
,.
3
NC
680
-?:
0 7 NC
RED
V
~
•
Rt7
~
•
.,, 2 -1--'
-
Rl8
151<
~
8LK
E
I
2
..__
3
G
.._ HEST
REF.
HO'S.
HIG
J22
T83
CR3
C2
Tl
S3
Fl
R20
,l
~
~
Jl3
ORN
6-
vii LINE OUTPUT
•
...!h!L._
-½
8LU .,
2
B•
K 5 BLK
BAN
•
YFI
I
8LU
7 ....Q!!!L_
8
...!hY....
.~
-
~
~
£
~
I
BL<
4
'2
.:'...
-;
__..Q!!!:!_5
7
8LU 2
MASTER
8LU 3
OLK
•
CO
NTRO
L BLK '
RRN
8 PC5151
REO
6
EQUALIZER
81.U
3
GRN
2
PC5144
BLK • 6
NC
•
ORN
~
'--
-
.._
PIO~
l~P1
3
2 -
,~
•
REO
GRN
•
3
8LK
R£0
-
~N
-
,~
R21
150
1ow,%
I I
...!.!!..
Rl9
?-..il. 120
K)W
!)
%
8LU
OLK I "-
•
8RN 7
8LU 2
BL•
ORN
0
8
'--
8LU
3
BLK •
...!!!!!..__9
\..:._ I
N5349
,
CAI
~
~
8LU
8LK
8RN
REO
GAN
TREF
NO
S
NO
USEO
-1
2v
,w
""
1.1..
~
,;_
2-
1· -
o-
.._~
c·:
P/0
r-
P/OJ'
~~f
tl_
: "1
I'
~
I 1 I I
1 , I I
L J
I,
,I
•• }
•.
I I
fl
I
. '
J.,
~I
I
~
--
~
..
: : t
..
R20
12
0
1ow,
-,.
Q
9 CR2
.,
-.
I
N~49
12v,w
~
Jl
4
i
TO
REV FIS
Jl5
i
TO
ECHO
INP'U
T
n;i
MONITOR
.,b
- J l7
i
ECHO
OUTPUT
,.
J
OAN
3
~
12
NC·~
JIB
PO
WER
AMP
r==-i
BASS
OUTPUT
PC5065
Jl9
q
BASS
OUTPUT
~
.e!_
e,u
I
Rffi
3
~
~
MAIN
PEAK
~
2
LEVEL
NC
•
INDICATOR
NC
6
PC5146
'---
-
[
~
POWER
AMP
P
C5
033
J20
.1
r.HORN
OUTPUT
J21
q
HORN
OUTPUT
GAN
REO
CR3
.,..----------,
'
'
' )+r
'
I
'
~./
.;~
I
'
J
oov
'
L
_______
J
_l_
Cl
T
•500
-=-
,ov
l
Tl
~
~
"--'
C3
.l.
.
0221
j
I
:
~
:~I
i~
..
~
,:
.....
-
-
i
._
l.
'-'
---
~
'
'
'
'
'
'
-
s.
---
----
J
~t'b,,.
,
SHAY
r;
:,.
r
··
I
...
1;;
·I
NONE
°' I
ILI
CU
ONICS
,
CIU
,
NVU
. • A
NiAi
fOIHA
NCU
NONE
P21
115
VAC
60H,
J22
O
UTPUT
INC.
..
,..
KVST
OM
I
NTERC
O
,..,..ECT
OIA(.R
AM
VI
PA
-
·-
002·0118-00
REV.
UNIT
DATE
KUSTOM
VI
PUBLIC
ADDRESS
P/ N
006-0103-00
www.SteamPoweredRadio.Com
snm0L.
CR
l,
CR2
II
JI
J2
C4 ,
C8
RS
"
R
l3
•••
•
i CZ
BASS
IJI
+I
ZV
R8 R9 RIO
.
01
15K
tOOK
15K
R4
CRI
33
RI
IN
414& 9 cw
Hl I
NPUT
+
II
Cl2
ov
1501)#
+12V
2200
R2
I I B
13
ca
C9
49.9
K
739
ov .
ot
.
OI
,
...
+12V
8 Cl3
ov
7 -121/
-h
-12
)'
RII
CR2 C5 C7
IOO
K CII .
047
_
r.0
47 .33 .I
·12V
14
6
IN4148 -Cl6
GNO
2
R5
ov .
33
CIO
I
IA
--
C4
1.82K
.
001
739
cw
33
1%
5
~
+ 101/ R7
ov
♦
3 Rl5
R3
l 22
00
33 / cw
4
64
Rl3
-
VOL
Rl6
1% R6A cw Cl5 /
';-
IOO
K
IOK + -
Rl
2
IO
K R
l4
/
Cl /
1
50pt
15
00
TREB
4
700
.0 1 /
REV
cw
/ -
LO
I
NPUT
3
~---
----------------------
✓
VOL
L
PC
51
26
NOTES
:
I.
AL
L RESlSTOflS
ARE
l/2
W,IO
"lli,
,UNLESS NOTED.
2.
ALL
CNW::ITOll
VALUES
ARE
IN
MIC
ROfAAADS, UNLE
SS
IIOTE
D.
3.
VOLTA
GE
ME
ASUAE
lilEN
TS
ARE
WI
TH
POW
ER
ON,
II()
SlGHAL
,
II()
LOAD,
ANO
MEASURED
FROM
Coi.lllON
GROUNO
.
4 . ,011
oo
a - e ,
r,
- o , THI[
cw
SI
DE
o,
-
111Aa1te
■
WILL
■ I
u,
S
ID
I .
ICUSTOlil
-T
IIO.
007-6016-00
007
-
7ot5
-
00
030
-
203
4 -
00
030
-
20
36 -
00
09&-1007•
09
133 -
00"
-
oo
(13
s -
oo
a 1- 0 1
,011
-0 11
133-
0021
-
00
1
33
-
0022
-
00
1
■■
-
oo
es-
00
~
.;
-
~
-
'1
..:.
i ..
..
0 ~
>
-~
....
"'
"'
!
It
"
~
~
• t
...
'-
0
....
-
~
-
t\j
i....
HIGHEST
RE
F.
IIO:S
RI$
Cl$
CR2
I I
J2
-
7
J2
I
5 +12V
8 +12V
6 -1
2v
9 - 121/
2
GHO
3
GND
7 M.C
4
ClJTPUT
REV
OUTPUT
I
_J
REF.
IIO:S
NOT
USED
cs
Cl
4
:l'i,sto,,,.
E
LEC
T
•ONICS
,
INC
.
O
UN
UU . C
AH
i A.t •• 1ao
j
'4
~73
IO
l U.u,tr(U .M ,
UU
l,U
NONE
NOii(
I •j . n;.•.~
.,
-•
•
SC
HEMATIC DIAGRAM-
'l:
PRE-
AM
P
PC!tl2
8
...
, I ~ T
........
.,.
I
002
-
!)
1
26
-
00/
0 1
Table of contents
Other Kustom Mixer manuals
Popular Mixer manuals by other brands
Skymsen
Skymsen MMS-50I-N instruction manual
Moretti Forni
Moretti Forni iM Series instruction manual
Solid State Logic
Solid State Logic X-Panda installation guide
Analog Devices
Analog Devices AD8342 user manual
Ibiza sound
Ibiza sound DJM95USB-REC instruction manual
Circuit Slices
Circuit Slices CS030 user manual
