Peavey SRC Series User manual

®
OWNER’SMANUAL
SRC®Series
18, 26 and 34 Channel Stereo Mixing Consoles
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SRC®4018 FC, 4026 FC and 4034 FC
The SRC®4026 FC, 4034 FC and 4018 FC are versatile four bus consoles in 18, 26 and 34 channel
versions, built into road worthy cases. Designed for sound reinforcement applications, they can also
be used in multitrack recording.
The standard channels feature discrete low noise mic preamps with globally switched 48V phantom
power, low cut filters, and four band EQs. There are six auxiliary sends (four dedicated pre EQ for mon
itor sends, two switchable pre EQ/post fader for monitor or effect sends), as well as bus assign (L/R,
1/2, 3/4), mute and PFL switches. The PFL logic automatically shifts the L/R meters to the PFL signal
when any PFL button is pressed to assist in input gain adjustment and operates even when the channel
is muted. The mute circuitry squelches all sends from the channel, including all auxiliary sends and bus
sends.
Two “super” mic channels also have pad and polarity switches for those applications that require it, as
well as the standard channel functions. There are no line inputs on these channels. In addition to the
mic channels, there are two stereo (line level) channels for tape, CD or synth inputs. These have all the
standard channel functions except low cut filters. AUX 5 and AUX 6 on these channels are
configured for stereo (AUX 5 is Left, AUX 6 is Right) and are pre EQ/post fader switchable.
There are four fully assignable stereo returns with PFL and mute, two of which have treble and bass
controls. They can be used for effect returns or for additional stereo inputs. A dual function
headphone/control room level control sets the volume of the headphones and the output level at the
control room output jacks. RCA type stereo tape inputs and outputs are provided, with sends to the
main L/R mix and the AUX 1 and 2 (monitor) mixes. A talkback mic input can be also be assigned to the
main mix or to AUX 1 4 for announcements or stage communication.
All bus summing amps are designed with discrete transistor circuitry for low noise operation. A unique
gain structure gives an additional 6 dB channel fader and summing amp headroom over other designs.
The Left, Right, and four sub mix master outputs each have LED meters. They are calibrated for a 0 dB
reading at a +4 dBu output level. A balanced mono output (derived from the post fader Left and Right
outputs) has its own level control. Each channel, stereo return, and master AUX send has an overload
LED indicator that illuminates when the signal level is within 2 dB of clipping or when the PFL switch is
activated. Electronic muting of the AUX and the Left and Right outputs greatly reduce any turn on and
turn off transients.
Two lamp connectors are provided for Peavey ML™2 or ML™3 flexible lamps to illuminate the console
in dark environments.
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5. Low Cu
This is a low cut filter with a corner frequency of 75 Hz used to filter out rumble,
wind noise, breath thumps, stage noise and other low frequency components
that rob power from the amplifiers and muddy the signal. The pre EQ signals sent
to the AUX sends are picked up after this switch so that the monitors can also
benefit from this filter.
6. Hi EQ
A shelving type of active tone control that varies the treble frequency levels
±15 dB at 12 kHz. It is designed to remove noise or to add brilliance to the signal,
depending on the quality of the source.
7. Hi/Mid EQ
A bandpass (peak/notch) type of active tone control that varies the upper mid
range frequency levels ±15 dB at 3.1 kHz. This frequency is optimum for bringing
out the clarity of a vocal mic without adding harshness or grit, or can reduce high
frequency feedback.
8. Low/Mid EQ
A bandpass (peak/notch) type of active tone control that varies the lower mid
range frequency levels ±15 dB at 250 Hz. A slight cut in this frequency will usually
help a mic that has a proximity effect to become more intelligible in close talking
situations. It will also be useful to solve common feedback problems.
9. Low EQ
A shelving type of active tone control that varies the bass frequency levels ±15 dB
at 70 Hz. It will add depth to thin signals or clean up muddy ones.
Channel Func ions
1. Line Inpu
1/4" balanced (TRS) high impedance input for high level signals. The tip is the
positive input, which should also be used for unbalanced inputs. This input is
connected through a 10 dB pad to the Mic Input (#2). The two inputs cannot
be used simultaneously.
2. Mic Inpu
XLR balanced low impedance channel input optimized for a microphone or other
low level source. Pin 2 is the positive input. Because of the wide range of gain
adjustment, signal levels as high as +10 dBu (2.45 V RMS) can be accommodated.
This connector has 48V on pins 2 and 3 (pin 1 is the ground reference) when
the phantom power is enabled. (See note on #23.)
3. Inser
1/4" stereo (TRS) jack allows an external device to be inserted into the signal
path before the EQ. The tip has the send signal, the ring is the return input. A
switch in the jack normally connects the send to the return until a plug is inserted.
4. Gain
Varies the input gain to allow for a wide dynamic range. Proper adjustment of the
input gain will maximize the signal to noise ratio. It should be set by depressing
the PFL switch (#18) and adjusting for a 0 dB (+4 dBu) level at the L R meters.
1
2
3
4
5
6
7
8
9
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10. AUX 1/AUX 4
Adjusts the level of the channel signal (pre EQ) that is added to
the corresponding AUX mix. These are designed to be used for
monitor sends.
11. AUX 5/AUX 6
Adjusts the level of the channel signal that is added to the
corresponding AUX mix. These are selectable Pre or Post EQ
Fader (#12) on all channels, and are configured in stereo
(AUX 5=L, AUX 6=R) on the two stereo channels. They can be
used as a stereo pair to drive stereo effect units. (See #14)
12. Pre/Pos Fader
Establishes which signal will be present on the AUX 5 and
AUX6 sends (#11). The out position picks up the signal after the
low cut filter, but before the four band EQ. The depressed position
picks up the signal after the Channel Fader (#20).
13. Pan
Sets the channel’s position in one or more stereo fields
determined by the selection of the Assignment Switches (#19).
14. S ereo Channel AUX Sends
AUX 1 AUX 4 sends are a mono mix of the left and right signals.
AUX 5 and AUX 6 are configured for stereo operation
(AUX 5=L, AUX 6=R) on these channels.
15. Balance
Adjusts the balance of the stereo signal that is sent to the
assignment select switches. Functions as a pan control for
mono signals. (See #24)
16. PFL/Clip LED
A dual function LED that illuminates when the signal level is nearing the over
load point, or if the PFL switch is engaged. This circuit monitors the input gain,
EQ and post fader stages for overload. It illuminates at +19 dBu and signals
that gain or EQ boost should be reduced. (There is roughly 2 dB of headroom
remaining when it lights.) When the PFL switch (#18) is depressed, it lights
continuously to indicate that this channel has been assigned to the PFL mix.
17. Mu e
Mutes the entire channel (all bus assignments and all AUX sends). The PFL
signal is not affected, and can be used to adjust the channel’s level while muted.
18. PFL
Connects the channel’s pre fader signal to the PFL mix and switches the
headphone/control room source from the L R mix to the PFL mix. It also connects
the PFL signal to the L R meters to aid in the setting the input gain (#4). The
PFL/Clip LED (#16) will light when this switch is pressed to identify the PFL
source.
19. Assignmen Swi ches
Selects the channel’s bus assignments (L R, 1 2, 3 4) in pairs. The stereo
postion of the signal in the selected pair is determined by the Pan control (#13).
20. Channel Fader
Channel output level control. Sets the level sent to the Assign Switches (#19).
The optimum setting for this control is the “0” (unity gain) position.
10
11
12
13
14
15
16
17
18
19
20
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23. Phan om power
Applies 48V DC voltage to all input XLR con
nectors to power microphones that require it.
If phantom power is used, do not connect
unbalanced dynamic microphones or other
devices to the XLR inputs that cannot handle
this voltage. (Some wireless receivers may
be damaged, consult their manuals.) The
Line Input jacks (#1) are not connected to the
48V supply, and are safe for all inputs (balanced
or unbalanced). An unbalanced to balanced
impedance converter such as the Peavey 5116
or 7201 (female XLR), or a Peavey 1:1 interface
adapter can also be used to isolate the mic input from 48V. Phantom
power is not available at the talk back mic connector.
24. S ereo Inpu
High impedance input for line level signals. The left/mono input
supplies signal to both the left and right inputs if there is nothing
inserted to the right input jack.
21. Pad
Attenuates the input signal by 10 dB. This will increase the dynamic range to
accommodate a higher input level before clipping which may be necessary when
close miking loud guitar amplifiers or drum kits.
22. Polari y
Reverses the polarity of the input signal. This will compensate for an out of phase
input that would otherwise cause frequency cancellations in the mix. (Often needed
for drum mics where both sides of the drum head are picked up in multiple microphone
situations.)
25. Trim
Varies the gain of the stereo input to optimize the signal to noise ratio.
The adjustment range is unity to +20 dB. Proper adjustment will
maximize the signal to noise ratio, and can be set using the PFL
switch. (See #4)
Mas er Func ions
26. AUX Mas er Level
Sets the overall level of the AUX signal that is sent to the output jack. (See #49)
27. AUX PFL/Clip
A dual function LED that illuminates when the signal level is nearing the over
load point, or if the PFL switch is engaged. It illuminates at +19 dBu. (There
is roughly 2 dB of headroom remaining when it lights.) When the AUX PFL
switch (#28) is depressed, it lights continuously to indicate that this AUX has
been assigned to the PFL mix.
28. AUX PFL
Connects the AUX signal (pre master level) to the PFL mix and switches the
headphone/control room source from the L R mix to the PFL mix. It also
connects the PFL signal to the L R meters to aid in monitoring the output level.
21
22
23
24
25
26 27
28
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29. LED Me ers
Six 12 segment LED arrays monitor the levels of the sub mixes
and the main L R outputs. The 0 dB reference level corresponds
to +4 dBu. The L R meter array is also used for PFL metering.
(See #18, 28 and 33)
30. Sub Pan
Sets the position of the sub mix in the L R stereo field.
31. Sub PFL LED
Illuminates when the Sub PFL switch (#33) is depressed to indi
cate that this signal has been assigned to the PFL mix.
32. Sub Mu e
Mutes the sub mix signal to the sub output and to the L R mix. It
does not affect the PFL signal, which can be used to check the
levels when the sub mix is muted.
33. Sub PFL
Connects the sub signal (pre master level) to the PFL mix and
switches the headphone/control room source from the L R mix
to the PFL mix. It also connects the PFL mix signal to the L R
meters. (See #32.)
34. Sub L-R assign
Assigns the sub mix to the L R mix with its stereo position deter
mined by the Sub Pan control (#30).
35. Sub Fader
Sub mix output level control. Sets the level sent to the output
jack and the L R assign switch (#34). The optimum setting for
this control is the “0” (unity gain) position.
36. Mas er Lef and Righ Faders
These are the main faders that set the level of the left and right
mix (both balanced and unbalanced). The output levels are
monitored by the left and right meters. The optimum setting for
these controls is the “0” (unity gain) position.
29
30
31
32
33
34
35 36
36
37. S ereo Re urns 1 & 2
These are basic stereo input channels with level, pan, mute,
PFL, and assignment switches. An LED that indicates both
clipping and PFL is the same as that on the input channels.
These inputs are line level and can be used for effect returns,
tape inputs, or for slave mixer inputs.
38. S ereo Re urns 3 & 4
Similar to the Stereo Returns 1 & 2, these two returns have
treble and bass controls in addition to mono sends to the AUX 1
and AUX 2 mixes. These returns can be used as additional
stereo input channels. (See #37.)
37 38
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39. Tape Ou Level
Sets the level of the main left and right stereo signal
sent to the tape output jack. It is post master fader.
40. Tape Inpu /Ou pu
One half of this stereo RCA phono jack provides a
signal for the recording inputs of a stereo tape deck,
with an amplitude set by the Tape Output Level
control (#39). The other half accepts a stereo input
(nominally 10 dBu) from the output of a tape deck or
CD player.
Cau ion: The tape output signal includes the tape input
signal, which can cause feedback if the Tape Input
Level (#41) is turned up while recording on a single
machine that is connected to both the tape output
and tape input jacks.
41. Tape Inpu Level
Adjusts the level of the tape signal (#40) supplied to
the L R mix and to the AUX 1 & 2 buses.
42. Tape Assign
Adds a mono sum of the tape signal to the AUX 1 &
2 mixes. This can be used to send the tape signal to
monitors for soundtrack monitoring. The tape signal
is always assigned to the L R mix, regardless of this
switch’s position.
43. Talkback Assign
Selects which outputs will have the talkback mic
signal (L R or AUX 1 4) for house or monitor feeds.
44. Talkback Enable
Press and hold to engage the talkback mic. The out
put is directed according to the assignment selection.
(See #43.)
45. Talkback Level
Adjusts the level of the talkback mic. This affects the feed to the L R and AUX 1 4.
46. PFL Mas er Level
Sets the level of the PFL mix that is sent to the headphone/control room level control. Functions
only when PFL is active. (See #47.)
47. PFL Ac ive
This LED illuminates when the PFL is active and its signal is overriding the standard L R mix in
the headphone and control room outputs and at the L R meters. The signals that are present in
the PFL mix can be seen by the individual LEDs lit.
48. Headphone/Con rol Room Level
Adjusts the volume of the headphone and control room outputs. The output changes from the
L R mix (post fader) to the PFL mix whenever the PFL is active.
39
40
41
42
43
44 45
46
47
48
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Page 9
49. AUX Send
Output jack of the corresponding AUX mix. It is unbalanced, and can be used to feed an external
monitor system or effect unit. The level is set by the AUX Master Level (#26) and the individual
channel level control (see #10, 11).
50. S ereo Re urn
High impedance input for line level signals. The left/mono input supplies signal to both the left and
right inputs if there is no input connected to the right input jack.
51. Sub Ou
Output of the corresponding sub mix. It is unbalanced, with its output level set by the sub fader (#35).
52. Sub Inser
1/4" stereo (TRS) jack which allows an external device to be inserted into the signal path before the
sub fader. The tip has the send signal, the ring is the return input. A switch in the jack normally connects
the send to the return until a plug is inserted. The nominal level is 2 dBu.
53. Talkback Mic Inpu
Input connector for a low impedance, balanced microphone used for house or stage communication.
Pin 2 is the positive input. Phantom power is not available at this connector.
54. Headphone Ou pu
This stereo jack (TRS) provides the signal to drive stereo headphones. It changes from the L R mix
to the PFL mix when the PFL is active. The level is set by the Headphone/Control Room Level Control
(#48). Tip=Left, Ring=Right, Shield=Ground.
55. Con rol Room Ou pu
1/4" left and right unbalanced outputs of the headphone mix to feed the control room monitor amps.
The signal is exactly the same as that in the headphones.
56. Main Ou pu
1/4" unbalanced and XLR balanced outputs of the Left and Right mixes. The level is set by the
master left and right right faders (#36).
57. Main Inser
1/4" stereo (TRS) jack which allows an external device to be inserted into the signal path before the
Master L/R Fader. The tip has the send signal, the ring is the return input. A switch in the jack normally
connects the send to the return until a plug is inserted. The nominal level is 2 dBu.
58. Balanced Mono Ou pu
An XLR balanced output of the mono mix. The level is set by the Mono Level control (#59). Pin 2 is
the positive output.
59. Mono Level
Adjusts the level of the Balanced Mono Output (#58). The signal is a post fader sum of the left and right
output signals. The center position is the unity gain setting; 7 dB of gain boost is available.
49 50
51
52
53
54
55
56
57
58
59
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60. Power
The mixer’s main power switch. The power on LED indicator will light when the unit is powered.
61. AC Mains Inpu
Connect the line cord to this connector to provide power to the unit. Damage to the equipment may result if
improper line voltage is used. (See line voltage marking on unit.)
Line Cord
For your safety, we have incorporated a 3 wire line (mains) cable with proper grounding facilities. It is not
advisable to remove the ground pin under any circumstances. If it is necessary to use the equipment without
proper grounding facilities, suitable grounding adaptors should be used. Less noise and greatly reduced
shock hazard exists when the unit is operated with the proper grounded receptacles.
62. Lamp Connec or
Two XLR connectors are provided for low voltage lamps (such as the Peavey ML™2 or ML™3) to illuminate the
console in poorly lit environments. Each connector supplies 12V AC at 200ma between pins 1 and 2. The total
maximum load should not exceed 400ma. These connectors are short circuit protected, with automatic reset
when a short is removed.
APPLICATIONS
The SRC®series of mixers were primarily designed for sound reinforcement applications, but are very
capable recording mixers as well. Here are some typical methods of hook up:
SOUND REINFORCEMENT:
1. Microphones and other low impedance sources are connected to the XLR mic inputs; high level line inputs
such as electronic musical instruments are connected to the line inputs. If problems arise because a micro
phone either picks up an out of phase signal (as when using multiple drum microphones), or a very loud signal
causes clipping even at a minimum gain setting (as when close miking an amplifier or a drum head), it should
be connected to a channel with pad and polarity switches. Stereo line level sources (synth, tape, CD, etc.)
should be connected to one of the stereo channels, or to two of the mono line inputs (one panned left, the other
panned right), or to a Return input that is not used for effects.
2. The house power amplifier inputs should be connected to the main Left and Right outputs, or to the Mono out
put. The Mono output is a blend of the Left and Right output signals (post master fader) and has its own level
control. It can be used to drive an additional amplifier that needs an independently set volume.
3. Connect the monitor power amplifier input to the AUX 1, 2, 3 or 4 output. Four monitors are supported, with two
additional available, if AUX 5 and 6 are also used for monitors (Pre) and not for effect sends (Post).
4. If an effect device is used, connect its input to the AUX 5 or 6 output. These outputs can also be configured as
a stereo pair (AUX 5 is the left, AUX 6 is the right) in the two stereo channels, and can be set up to feed a true
stereo effects processor.
5. The effect device outputs are connected to the Return 1, 2, 3 or 4 inputs.
6. Connect a tape recorder to the Tape input and Tape output jacks. Care should be taken not to record on a deck
that has its outputs connected to the tape input jacks and have the tape input level control turned up, or nasty
feedback will result. If four band equalization or a more specialized monitor send is needed, a stereo line
channel can be used for tape input (see #1 and #24). Alternatively, a stereo return can be used for tape input.
Both Return 3 and 4 have two band EQ as well as monitor sends (to AUX 1 and 2) and full bus assignment
capability.
60
62 61
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APPLICATIONS (Con .)
RECORDING:
The connections for recording are very similar to those of the sound reinforcement section above with
the following differences:
1. For recording tracks, connect the input sources as described above and use the sub mix sends to
feed the recorder's inputs. For mixdown, the multitrack recorder's outputs are connected to the line
inputs and assigned to the L/R mix.
2. Connect the Sub outputs (the Left and Right outputs are included in this group if they are not in use) to
the tape recorder inputs. The inserts can be used to patch compressors or EQ into the path. If
effects are not being used, AUX 5 and 6 can also be used as sub mixes. If even more outputs are
needed, the individual channel's insert jack can be used for a direct output. It is pre EQ, pre fader.
3. Connect the Left and Right outputs to the two track mixdown deck inputs. If a graphic EQ,
compressor/limiter, or enhancer is used, connect it to the Left and Right Insert Jacks.
4. The control room monitor amplifiers are connected to the Control Room Outputs. This is the same
signal that is in the headphone output.
5. Effect device inputs are connected to AUX 5 or 6 outputs. If a stereo send is required, use AUX 5 for
left and AUX 6 for right.
6. Effect device outputs are connected to Returns 1, 2, 3, 4 or any unused channel inputs (mono or
stereo). If a channel input is used, make sure that the AUX send being used to feed the effects device
is not turned up for that channel or it will output into its own input and awesome feedback will occur.
TALK BACK
MIC
STEREO
HEADPHONES
IN
POWER AMP (STEREO)
55 55 55 55 55 55
COMPRESSOR / LIMITER
CONTROL
ROOM
MONITORS
LEFT
RIGHT
OUT
POWER AMP (STEREO) POWER AMP (MONO)
2 TRACK MIX DOWN DECK
IN
IN
OUT OUT
IN
IN OUT IN OUT
EQUALIZER
LEFT
HOUSE
SPEAKERS HOUSE MONO
SPEAKERS
RIGHT
L
R
L R
DIAGRAM
SECTION OF
SRC MIXER
LR
L
R
IN IN
OUT
OUT
Page 11
STUDIO/LIVE RECORDING CONFIGURATION
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SECTIONED AREA OF
SRC MIXER
SPEAKER
OUT IN
STEREO POWER AMP
55 55 55 55 55 55
MONO IN STEREO OUT
55
55 55 55 55 55 55
STEREO IN STEREO OUT
55
CD PLAYER
OUT
TAPE PLAYER
OUT
L
RRL
L
R
L
R
L
R
RL
R
L
MONITOR 2
MONITOR 1
SPEAKER
EFFECTS DEVICE
EFFECTS DEVICE
INPUTS
MULTI TRACK
RECORDER
55 55 55 55 55 55
IN OUT
COMPRESSOR /GATE EQUALIZER
IN OUT
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AUX SEND/RETURN APPLICATION
MULTI TRACK/SUB APPLICATION
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MONO OUT
OUT
TO OTHER
CHANNEL INPUTS
MICROPHONE
(ACTIVE
ELECTRONICS)
COMPRESSOR /GATE
EQUALIZER
IN OUT
MULTI TRACK
RECORDER
55 55 55 55 55 55
IN OUT
SYNTHESIZER
STEREO OUT SYNTHESIZER
OUT
OUT
L
R
L
R
R
L
CD PLAYER
TAPE PLAYER
STEREO
CHANNEL
Page 13
CHANNEL INPUT/EFFECTS APPLICATION
NOTE: Mic inputs and line inputs of the same
channel cannot be used simultaneously. The
diagram above shows various output devices
which can be connected.
STEREO
CHANNEL
STEREO CHANNEL INPUT APPLICATION
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Function Input Z
(ohms)
Min
Input
Gain
Setting
Input Levels
Min** Nominal* Max
Balanced/
Unbalanced
Connector
Microphone
(150 ohms) 5K Max gain (56 dB)
Min gain
(10 dB)
-72 dBu
-26 dBu
-52 dBu
-6 dBu
-34 dBu
+10 dBu
Balanced XLR Pin 1 Gnd,
Pin 2 (+),
Pin 3 (-)
Line
(10K ohms) 10K Max gain (46 dB)
Min gain
(0 dB)
Insert
Return 22K N/A (0 dB)
Stereo
Line
Input
20K Max gain
(20 dB)
Min gain
(0 dB)
Aux
Return 22K N/A (0 dB)
Tape 10K N/A
(14 dB)
-62 dBu
-16 dBu
-42 dBu
+4 dBu
-24 dBu
+20 dBu
-16 dBu +4 dBu +20 dBu
-36 dBu
-16 dBu
-16 dBu
+4 dBu
0 dBu
+20 dBu
-12 dBu +4 dBu +20 dBu
-26 dBu -10 dBu +6 dBu
Balanced
Unbalanced
Unbalanced
Unbalanced
Unbalanced
1/4" TRS; Tip (+),
Ring (-), Sleeve
Ground
1/4" TRS; Tip Send,
Ring Return,
Sleeve Ground
1/4" Phono
1/4" Phono
RCA Jacks
0 dBu = 0.775V (RMS)
** Min input level (Sensitivity) is the smallest signal that will produce nominal output (+4 dBu) with sub and master controls
set for maximum gain.
* Nominal settings are defined as all controls set at 0 dB (or 50% rotation for rotary pots) except the gain adjustment pot,
which is as specified.
SRC®4018, 4026 and 4034
Sound Reinforcemen Mixer Specifica ions:
Inpu Specifica ions:
Page 14
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Ou pu Specifica ions:
Gain:
Mic Input Gain Adj Range: 10 dB to 56 dB
Mic Input to Sub Output 76 dB (Max Gain)
Mic Input to longest path 93 dB (Max Gain)
Line Input Gain Adj Range: 0 dB to 46 dB
Line Input to Sub Output 66 dB (Max Gain)
Line Input to longest path 83 dB (Max Gain)
Stereo Line Input Gain Adj Range 0 dB to 20 dB
Stereo Line Input to Sub Output 40 dB (Max Gain)
AUX Stereo Line Input longest path 57 dB (Max Gain)
AUX Return to Sub Output 16 dB (Max Gain)
AUX Return longest path 33 dB (Max Gain)
Frequency Response:
Mic Input to L R Output 20 Hz to 30kHz +0 dB / 1 dB
Stereo Input to L R Output 20 Hz to 30k Hz +0 dB / 1 dB
To al Harmonic Dis or ion (THD):
<0.007% 20 Hz to 20 k Hz Mic to L R output at Nominal Level (20 Hz to 80 kHz BW)
Page 15
Function Minimum
(ohms)
Input Levels
Nominal* Max
Balanced/
Unbalanced
Connector
Main L/R 600 +4 dBu -34 dBu
+10 dBu
Both 1/4" Phono (Unbal),
XLR Pin 1 Gnd,
Pin 2 (+),
Pin 3 (-) (Bal)
Mono
Sub Master
Aux Send
Channel
Insert Send
Sub
Insert Send
+4 dBu +20 dBu
+4 dBu +20 dBu
Balanced
Unbalanced
Unbalanced
Unbalanced
Unbalanced
1/4" Phono
1/4" Phono
1/4" TRS: Tip Send,
Ring Return,
Sleeve Ground
0 dBu = 0.775V (RMS)
Load Z
Control
Room
Headphone
Tape
600
600
600
600
600
600
8
10K
+4 dBu
+4 dBu
+4 dBu
+4 dBu
+4 dBu
(no load)
-2 dBu
+20 dBu
+20 dBu
+20 dBu
+20 dBu
+20 dBu
Unbalanced
Unbalanced
Unbalanced
XLR Pin 1 Gnd,
Pin 2 (+),
Pin 3 (-)
1/4" TRS: Tip Send,
Ring Return,
Sleeve Ground
1/4" Phono
1/4" TRS: Tip Left,
Ring Right,
Sleeve Ground
RCA Jack+20 dBu
Output
+20
+26
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All Faders own
Master Fader Nominal,
Channel Faders own,
All Channels Assigned
Output Residue Noise
Ref: 0 dBu S/N Ratio Ref: Nom output level Test Conditions
Master L/R -97 dBu 101 dB
Submaster -97 dBu
-92 dBu
101 dB
96 dB
All Faders own
Master Fader Nominal,
Channel Faders own,
All Channels Assigned
Hum and Noise Measurements: 22 Hz to 22 kHz BW
Hum and Noise:
Equivalen Inpu Noise (EIN):
128 dBu (Input terminated with 150 ohms)
Cross alk:
>80 dB Adjacent Input Channels (20 Hz 20kHz)
>74 dB Left to Right Outputs (20 Hz 20 kHz)
Common Mode Rejec ion Ra io (Mic Inpu ):
50 dB min (20 Hz to 20 kHz)
70 dB typ @ 1 kHz
Me ers:L/R Master and all Submasters = 12 segment, peak reading.
(0 dB= +4 dBu)
Signal/Overload Indica ors:
Red LED lights 2 dB below clipping.
Lamp Power :
12V AC @200ma per connector, or 12V AC @400ma total maximum load. Power is available
between pins 1 and 2 and is electrically isolated from ground.
Power requiremen s:
DOM: 120V AC 60 Hz 50 watts nominal, 18 channel
55 watts nominal, 26 channel
60 watts nominal, 34 channel
EXP: 230V AC 50/60 Hz 50 watts nominal, 18 channel
55 watts nominal, 26 channel
60 watts nominal, 34 channel
Page 16
-92 dBu 96 dB
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Page 17
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1OF1SHEET5-FEB-96DATE:
FILE: U4BLK
AD XXXXXXXX
REV:NUMBER:SIZE:
XXXXXXXXMRP:XXXXXXXXPROJECT:
U4026/U4032 BLOCK DIAGRAM
21 MOMENTARY TITLE:
3+Meridian, Mississippi 39301
711 A STREET
MIC PEAVEY ELECTRONICS CORP.
A B C D
12345678
D C B A
8 7 6 5 4 3 2 1
TALKBACKLEVEL
L-R/AUX1-4
ASSIGN
TALKBACK
A1-A2RIGHT ASSIGN
LEFT
LEVEL
TAPE
RETURNS 3,4
AUX2
AUX1
STATUS PFL
3/4
RIGHT
BASSTREB
1/2
L/MONO
PANSTEREO EQ MUTE L/R
LEVEL
ASSIGN
HEADPHONES
CONTROL LOGIC
S
RETURNS 1,2
PFL ACTIVE CONTROL ROOM R
CONTROL ROOM L
S
PFL
3/4
LEVELRIGHT CONTROL LEVEL
PFL HP/CR HP/CR
1/2
LR
L/MONO
PANMUTE LEFT/RIGHT
L/RLEVEL CONTROL
METER
STATUS
ASSIGN OUT
12 R
3
+
BAL OUT
S
PRE/POST
-PATCH FADER
RIGHT TAPE OUTL
1OF2
AUX6
STEREO CHANNEL INPUTS
LEFT
AUX5
LEVEL RL
AUX4 L/R METERS
AUX3
STATUS
AUX2
12
AUX1
3
+MONO OUT -
LEVEL
PFL
3/4
RIGHT
HIGHHMIDLMIDLOW SUB MIX (1-4)
1/2
GAIN L/R
PAN
4 BAND STEREO EQ PAN PFLFADER
L/RMUTE
L/MONO PFL
ASSIGN
OUT
MUTE
S
PATCH FADER
SWITCHES. THESE CHANNELS DO NOT HAVE A LINE INPUT. PRE/POST
AUX6NOTE: LAST TWO CHANNELS HAVE PHASE REVERSE AND 10DB PAD
*
AUX5
1 OF 22 (30)
.. CHANNEL INPUTS
AUX4
..
AUX3
LINE GAIN
*
AUX2
STATUS
21
AUX1
*
3+
PAD AUX SEND (1-6)
PHASE PATCH
-MIC
.
.
PFL 3/4
.
.
HIGHHMIDLMIDLOW
AUX SEND 4321
PFL LEVEL
(GLOBAL) 75HZ SUB METERS1/2
MUTE
+48V PAN
FADERLOW CUT 4 BAND EQ S
STATUS
L/R
PHANTOM PWR
ASSIGN
PFL
CNTL
AUX6
AUX5
AUX4
AUX3
AUX2
AUX1
4BUS
3BUS
2BUS
1BUS
LEFT
RIGHT
Page 18
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Page 19
SRC®LEVELS Diagram
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SPANISH
Las consolas SRC®4018 FC y 4026 FC y 4034 FC son unidades mezcladoras versátiles de cuatro buses. Se
ofrecen en versiones de 26 y 34 canales y sus gabinetes son aptos para el transporte. Fueron diseñadas para
aplicaciones de refuerzo de sonido, pero también pueden utilizarse en grabaciones multipista.
Los canales estándar cuentan con preamplificadores discretos para micrófonos de bajo ruido, con ali
mentación fantasma de 48 V conmutada globalmente, filtros de corte de bajas frecuencias y ecualizadores de
cuatro bandas. Posee seis señales de muestra auxiliares (cuatro dedicadas preecualizador para monitoreo y
dos conmutables entre preecualizador/postatenuador para monitoreo o efectos), así como asignación de
buses izquierdo/derecho (L/R, 1/2, 3/4), interruptores de apagado de sonido y de PFL. La lógica de PFL hace
que, al oprimir cualquier botón de PFL, conmuta automáticamente los medidores izquierdo/derecho a la señal
de PFL para asistir en el ajuste de ganancia de entrada, e incluso funciona cuando el canal está apagado. El
circuito de apagado de sonido silencia todas las señales de muestra enviadas a los canales, incluidas las
señales auxiliares y las señales del bus.
Dos “supercanales” para micrófono también tienen interruptores de atenuador fijo y de inversión de fase para
las aplicaciones que así lo exijan. No hay entrada de línea en estos canales. Además de los canales de micró
fonos, hay dos canales estereofónicos (nivel de línea) para entradas de cinta, disco compacto o sintetizador.
Estos poseen todas las funciones de los canales estándar excepto las de filtros de corte de baja frecuencia.
En estos canales, las salidas AUX 5 y AUX 6 están configuradas para el modo estereofónico (AUX 5 es el
canal izquierdo y AUX 6 el canal derecho) y son conmutables entre preecualizador/postatenuador.
Hay cuatro retornos de señal estereofónicos completamente asignables con PFL y apagado de sonido, dos
de los cuales poseen controles de graves y agudos. Los retornos se pueden utilizar como para efectos o
como entradas estereofónicas adicionales. Un control de nivel de doble función de audífonos/sala de control
establece el volumen de los audífonos y el nivel de salida en los enchufes hembra de la sala de control. Se
proporcionan entradas y salidas de cinta estereofónica tipo RCA, con señales de muestra al mezclador princi
pal izquierdo/derecho y a los mezcladores AUX 1 y 2 (monitor). Una entrada de micrófono de intercomuni
cación, para hacer anuncios o comunicarse con el intérprete, también se puede asignar al mezclador principal
o a las salidas AUX 1 4.
Todos los amplificadores sumadores de bus están equipados con circuitos discretos de transistores para ase
gurar un funcionamiento de bajo ruido. Una estructura de ganancia exclusiva confiere 6 dB adicionales al
atenuador del canal y agrega una mayor tolerancia de máximo nivel de señal respecto a otros diseños. Cada
una de las salidas (izquierda, derecha y las cuatro de la submezcla del control maestro) tiene un medidor de
LED calibrado para una lectura de 0 dB a un nivel de salida de +4 dBu. La salida monoaural equilibrada
(derivada de las salidas izquierda y derecha postatenuador) tiene su propio control de nivel. Cada canal,
retorno estereofónico y señal de muestra AUX del control maestro tiene un indicador LED de sobrecarga que
se ilumina cuando el nivel de la señal está dentro de los 2 dB de distorsión por sobrecarga (recorte de señal)
o cuando el interruptor de PFL está activado. Los apagados de sonido electrónicos de las salidas AUX,
izquierda y derecha reducen considerablemente los efectos transitorios del encendido y el apagado.
Se proporcionan dos conectores para lámparas flexibles Peavey ML™2 o ML™3, que permiten iluminar la
consola en ambientes oscuros.
FUNCIONES DE LOS CANALES
1. (En rada de línea)
Entrada equilibrada de alta impedancia (TRS) de 1⁄4” para señales de alto nivel. El extremo del conector
corresponde a la entrada positiva, que también deber usarse para entradas no equilibradas. Esta entrada
se conecta a través de un atenuador fijo de 10 dB a la entrada de micrófono MIC (Nº 2). Estas dos
entradas no deben usarse simultáneamente.
2. (En rada de micrófono)
Entrada de canal equilibrada de baja impedancia XLR, optimizada para un micrófono u otra fuente de bajo
nivel. El terminal 2 es la entrada positiva. Debido al amplio margen de ajuste de ganancia, se pueden admi
tir de señales tan altas como +10 dBu (2,45 Vef). Este conector posee 48 V en los terminales 2 y 3
(el terminal 1 es la referencia de tierra) cuando se activa la alimentación fantasma (consulte la
función Nº 23). Page 20
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