Schertler Arthur Prime Series User manual

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PRIME SERIES
USER MANUAL
V2

INTRODUCTION AND IMPORTANT SAFETY INFORMATION
Thank you for choosing Arthur Prime. The Prime mixer series has been specially
developed to produce outstanding audio results in a more compact format, while offering
a range of input options to suit the way you want to work.
To make the most of your Arthur Prime and to ensure trouble-free operation, please read
this manual carefully before using the mixer for the rst time. It’s also a good idea to keep
the manual handy for future reference.
SAFETY FIRST!
Safety is extremely important when operating any electrical equipment, so please note
the following:
On a product, a lightning ash with arrowhead symbol within
a triangle indicates the presence of uninsulated “dangerous
voltage” within the product enclosure. This may be of sufcient
magnitude to cause risk of electric shock.
In the product literature, an exclamation mark within a
triangle alerts you to important operating and maintenance
instructions.
Before connecting your mixer to the mains, make sure that the mains voltage
does not exceed the voltage specied on the mixer.
Do not use your mixer if its power supply, cable or plug are not in perfect condition.
Replace these as necessary, using the exact models/types specied. If any xed
cables need replacing, this should be done by a suitably qualied professional.
Your mixer should only be connected to a mains socket with a ground protection
system.
When setting up or installing your mixer, make sure that the mains socket and the
power supply’s mains cable and plug are easily accessible.
Do not, under any circumstances, defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with one wider than the
other. A grounding-type plug has two blades and a third grounding prong. The
wide blade and third prong are provided for your safety. If the supplied plug does
not t your mains socket, consult an electrician for replacement of the obsolete
socket.
Do not expose your mixer to rain or any other water (even in small amounts). Do
not use the mixer near water.
Avoid spilling drinks or any other liquids on the mixer.
Do not operate your mixer in excessively humid conditions. Avoid excessive heat
from sunshine, re or similar. If your mixer is being used in a dusty environment,
make sure it is adequately protected.
ELECTRICAL SAFETY
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IMPORTANT SAFETY INFORMATION
Avoid installing your mixer near any heat sources such as radiators, heat registers,
stoves, or other heat producing apparatus (including ampliers).
Do not put any sources of open ame (e.g. candles or pyrotechnics) on or near
your mixer.
Do not cover your mixer during use, or obstruct the ventilation ow in any way.
Unplug your mixer during lightening storms, or if it is not going to be used for
a while. (Remove the plug from the mains socket to completely disconnect the
mixer.)
Your mixer does not contain any “user serviceable” parts. Therefore, do not
attempt to open the mixer enclosure at any time. Servicing and/or repairs should
only be carried out by qualied personnel. See MAINTENANCE AND REPAIR
(below).
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During installation or live performances, make sure that your mixer’s power
supply cable cannot be walked on, tripped over or “pinched” – particularly at
sockets, around waste bins etc. Also make sure that the power supply cable is
not “stressed” at its point of connection to the mixer.
To avoid interference, do not install your mixer near power transformers, TV sets,
RF transmitters, electric motors, or any other sources of electrical energy.
To avoid potential accidents, only use attachments, accessories and other
equipment such as carts, stands, tripods, brackets or cases that are specied or
recommended by the manufacturer, or sold with your mixer.
Loud volume levels can cause irreparable damage to hearing, so avoid the
following while using your mixer:
- acoustic feedback (never point microphones directly at a loudspeaker)
- high levels of distortion
- impulse noises (loud “pops”) that can occur when a device is switched on /off,
connected or disconnected from a system.
OPERATIONAL SAFETY
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Your mixer can be carefully cleaned, as necessary, using a dry cloth. No water
must be used.
When cleaning, do not use any solvents (such as acetone or alcohol). These
could damage the mixer’s nish and its serigraphy.
Visually check your mixer on a regular basis for any signs of wear and tear or
damage, but do not attempt any kind of servicing or repair.
If your mixer malfunctions, or has been damaged, e.g. if the power supply/cable
or plug is damaged, liquid has been spilled or objects have fallen inside, the mixer
has been exposed to rain or moisture, does not operate normally, or has been
dropped, please call your nearest technical assistance centre, or a specialized
technical centre. (For more information, contact us at the address on the last
page of this manual.)
MAINTENANCE AND REPAIR
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PRODUCT OVERVIEW
ABOUT THE PRIME SERIES
The Prime mixer series is based on the same technology used in our agship ARTHUR
mixer, guaranteeing best possible sound quality. The same high-quality preamps are
found on the input channels, the same hi-voltage (48V) power supply offers superior
headroom and the same No Negative Feedback (NFB) structure gives a fast response
and natural attack. Inputs and outputs contain all the essential elements you would
expect from a professional mixer. Compact dimensions make Prime mixers very easy to
transport and quick to set up.
Prime 5 is the smallest member of the family. The 5-channel audio mixer is ideal for
applications that only require a few inputs: for example, a vocal/guitar recording, a
performance involving an instrument or vocals and keyboard, or a conference setting
with two or three microphones and stereo playback.
Prime 9 has the same overall design as its smaller sibling, but its extra inputs offer more
exibility. The 9-channel audio mixer is ideal for small instrumental/vocal groups, small-
scale theatrical performances, or events such as conferences and exhibitions where
more microphones or sound sources may sometimes be required.
Prime 13 is the largest member of the family. The 13-channel audio mixer is an ideal
solution for smaller theatres and performance venues, houses of worship, rehearsal
rooms or recording/project studios where excellent sound quality is required, but space is
more limited. A practical number of inputs will neatly accommodate a range of performers,
without leaving wasted channels and unused aux sends.
CHANNELS AND FEATURES AT A GLANCE
Prime 5 Prime 9 Prime 13
Mic input channels: each with balanced XLR
microphone input and unbalanced Yellow line/
instrument input.
Features: Gain, Insert, Insert/Direct Out, 48V and
10V supply, 3-band EQ, Pan, Mute, 2x post-/prefade
Aux Sends for managing effects or controlling a stage
monitor, channel fader and VU meter.
3 5 7
Line channels: with balanced inputs (Pan controls
enable channel input conguration as either stereo or
2x mono).
Features: Gain, 2x post-/prefade Aux Sends per input,
Mute(s) and channel fader(s).
1 2 3
Master section: with L/R faders and VU meters, 2x
Main XLR and 2x Aux Outs, stereo digital reverb with
independent controls for volume and decay, headphone
section with volume control.

PRODUCT OVERVIEW - MIC INPUT CHANNEL
1. XLR input: This input receives balanced signals from -50dBu to
-7dBu - a range of 43dB, which therefore permits you to connect any
audio signal to the mic unit. The input is dedicated to microphone
signals.
2. YELLOW/instrument phone plug input: This input receives
unbalanced signals from 0dbu to +38dBu. The 38dB range lets
you connect any musical instrument pickup to the unit. The input is
dedicated to instrument signals.
3. INSERT: This works in a similar way to inserts on other mixers.
However, a related “bypass” switch (see 5 below) offers additional
possibilities.
4. P48: This button, when depressed (red light), delivers 48V
of phantom power to the microphone. The mic will usually be a
condenser or active ribbon type. A dynamic mic cannot normally “see”
phantom power (as the name suggests), but passive ribbon mics
could be permanently damaged by it. So, only use with mics that you
denitely know require phantom power in order to work. Note: The
internal circuitry raises the 48V slowly, to avoid “pops” and protect
the microphone. Therefore, allow around 10 seconds for the mic to
be working fully.
5. INSERT/DIRECT OUT: When this button is depressed, the audio
signal in the mixer is interrupted and the Insert (3) will work in the
usual way. By connecting a mono jack, you get the simple output
line signal on the “tip”. By connecting a standard stereo phone jack,
you get the (output) signal from the “tip” (send) and the return signal
will be connected to the mixer through the “ring” (return) of the jack.
When the button is not depressed, the signal will not be interrupted
by the insertion of a phone jack into the Insert. Here, the insert
connection works as a sleeve out or “dry line out post input amp”.
You can connect a simple mono phone jack or a stereo phone jack to
the insert. The unbalanced line signal will be transmitted through the
“tip” of the phone jack. Orange light = depressed (interrupted.) Blue
light = not depressed (bypassed).
6. 10V: This button delivers the necessary 10-volt supply for all
SCHERTLER electrostatic pickups (STAT- and BASiK series),
enabling direct connection to the YELLOW/instrument input without
using the pickup’s original preamp. The button can also be used for
connecting unbalanced electret microphones to the instrument input.
7. GAIN: Adjusting the Gain affects the amplication rate of the
input amplier, amplifying a weak signal to a nominal level of 0dBV,
or attenuating a stronger signal so that a nominal signal of 0dB is
always present at the output of the mic input amp.
1.
2. 3.
4. 5.
6. 7.
8.
9.
10.
11. 12.
13. 14.
16.15.

Mic input channels have 3-band EQ
8. HI: This knob lets you tune the high range of the audio spectrum
(4.5kHz upwards) from +/- 15dB with a slope of 18dB / octave. The 3rd
order structure “keeps” the circle of inuence within the lter’s audio
band so as not to overlap with the MID lters. This makes adjustment
of the higher frequencies more accurate.
9. MID: This knob acts on frequencies within a wide mid range centred
on 700Hz, with amplication or attenuation of +/- 12 dB.
10. LOW: This knob lets you adjust the signal’s low frequencies: it
amplies by +12dB up to 100Hz, or reduces by -14dB up to 80Hz
with a slope of 12dB / octave. The higher order prevents the low
frequencies from overlapping with the MID, making adjustment of the
lower frequencies more accurate.
The HI, MID and LOW knobs all have a detent at their mid positions.
This indicates the lter’s “at” position.
11. AUX 1: This aux send is postfade (it depends on the fader
position) and is used to dene the amount of signal sent to the internal
reverb unit and to the Master section’s AUX 1 OUT. This is useful for
managing internal or external effects (see Master Section, 2).
12. AUX 2: This aux send is prefade (it does not depend on the fader
position) and sets the amount of signal sent to the Master section’s
AUX 2 OUT. This is useful for controlling a stage monitor (see Master
Section, 4).
13. PAN: The Pan pot lets you send the signal to the Left or Right
Master channel. The pot’s conguration has been designed to
guarantee minimum noise and maximum dynamic in its central
position.
14. MUTE: To exclude this channel signal from the Master L/R mix,
without changing the fader position, simply press this MUTE button.
15. CHANNEL FADER: As on all mixing consoles, this lets you control
the total amount of signal going to the Master L/R.
16. VU LEVEL METER: This lets you “read” the amount of gain set.
Turn up the gain to a point where the orange “normal” section appears
fully bright and the red “peak” occasionally shows. But don’t worry
too much about this: the amount of headroom from input to output
means that even strong overloads can be absorbed by the mixer’s
electronics without resulting in distortion.
1.
2. 3.
4. 5.
6. 7.
8.
9.
10.
11. 12.
13. 14.
16.15.
PRODUCT OVERVIEW - MIC INPUT CHANNEL

PRODUCT OVERVIEW - LINE CHANNEL
The “stereo” line channel effectively consists of two independent
mono channels, each with their own controls. It can either be used as
a stereo input or as 2 x mono inputs.
1. LINE INPUTS: These are two fully balanced inputs, which use
space-saving phone plugs. (Tip connects to the hot signal, ring to the
cold and sleeve to the ground.) Using phone plugs also means that
unbalanced signal sources, such as a keyboard, can be connected
via simple jacks.
2. GAIN: Although this input channel is intended to accommodate
nominal line level signals, the input amp’s sensitivity can be adjusted
from -17 dBu to +18 dBu using these knobs. Left and right input
channels can be separately adjusted. Setting these knobs to the “u”
icon means that the gain will be set to unity, allowing the signal to
ow without amplication or attenuation. This is particularly useful in
a recording situation for example, where “line level” devices might be
connected to the line inputs.
The AUX SENDS are the same as on the mic input channel.
3. AUX 1: Postfade, for controlling the amount of signal sent to the
internal reverb and to the Master section’s AUX 1 OUT for the use of
external effects (see Master Section, 2).
4. AUX 2: Prefade and useful for setting the amount of signal sent to
a stage monitor connected to the Master section’s AUX 2 OUT (see
Master Section, 4).
5. PAN: The two PAN pots play an important role.
• When these are set hard left and right respectively, the line channel
gives you a stereo input.
• When these are set to a central position, you have a stereo input
“switched to mono”.
• Setting one PAN pot slightly to the left and the other to the right lets
you chamfer the stereo image.
• When plugging two independent sources into the line channel –
such as a guitar and a mono effect – you can use the PAN pots to
route each source left and right as required.
6. MUTE: To exclude the channel signal(s) from the Master L/R
mix, without changing the fader position(s), simply press the MUTE
button(s).
7. CHANNEL FADERS: These let you control the total amount of
signal going to the Master L/R.
1.
2.
3.
4.
5.
6.
7.

PRODUCT OVERVIEW - MASTER SECTION
1.
3.
6.
This section description starts in reverse to show the
signal ow options from arrival to the various outputs.
15. LEFT/RIGHT MASTER FADERS: Depending on
their position, the two L and R master faders attenuate
or amplify the combined L and R signals arriving from
all the input channels. These resulting signals can be
seen on the VU meters (14).
14. LEFT/RIGHT VU METERS: According to the L/R
master fader settings (see above), these meters show
the amount of signal being sent to the MAIN LEFT/
RIGHT outputs (1) and subsequently to a PA system
or recording device. Note: Arthur Prime has 30 dB
of headroom, so its electronics and output amps are
rarely likely to clip. The main purpose of these meters
is to monitor the level of signal ow to successive audio
devices.
13. HP OUT: You can connect headphones to this
socket for independent monitoring of the sound.
12. VOLUME: This knob lets you adjust the volume
level of your headphones. Note: The signal level you
will hear from the L/R master through your headphones
is not related to the level determined by the master
fader positions.
DIGITAL STEREO REVERB – USING THE INTERNAL
EFFECT
The volume and decay of Arthur Prime’s high-quality
internal reverb can be independently controlled on the
main outputs – this is quite unique!
11. REV RIGHT and 10 DECAY R: These knobs control
the reverb and its decay on the right channel.
9. REV LEFT and 8. DECAY L: These knobs control
the reverb and its decay on the left channel.
Note: Very useful if you want to “equally” set the reverb
following the room acoustics, or use the effect in a more
creative or unusual way.
6. AUX 1 to REV: This controls the overall amount of
input signal sent to the internal reverb unit.
2. 4.
5.
7.
8.
9.
10.
11.
12. 13.
14. 15.

PRODUCT OVERVIEW - MASTER SECTION
1.
3.
6.
7. REVERB TO AUX 2: This sends reverb out, for
example, to a stage monitor if musicians want to include
reverb in their monitor mix (see Aux Outs below).
AUX OUTS – USING EXTERNAL EFFECTS AND
MONITORS
External effects units and monitors can be connected
to the Master section’s two Aux Outs (balanced jack
sockets).
2. AUX 1 OUT: Taking the signals sent from the various
input channels, this is postfade and more suitable for
connecting external effects. Note: Turning the AUX 1
to REV knob (6) to zero cuts the signal to the internal
reverb making just the external signal audible.
4. AUX 2 OUT: This is prefade and therefore more
suitable for connecting a stage monitor.
3. AUX 1 VOL and 5. AUX 2 VOL: These knobs control
the amount of signal sent from each of the above
outputs respectively.
1. MAIN LEFT/MAIN RIGHT: The main “stereo mix”
can be sent to a PA system, a recorder or other device
via these XLR outputs.
2. 4.
5.
7.
8.
9.
10.
11.
12. 13.
14. 15.

TECHNICAL INFORMATION - SPECS
Input impedance
Maximum output level (through L/R)
Sensitivity (according to gain)
Frequency response
Total gain (through L/R)
EQ
Low (shelving)
Mid
Hi (shelving)
Distortion
THD + N @ 1 kHz
-30 dBu input level
0 dBu output level
Power consumption
Size & weight
4.7 kohm MIC
592 kohm YELLOW
37.2 kohm LINE
30 dBu
-59 dBu to -16 dBu MIC
-41 dBu to 0 dBu YELLOW
-17 dBu to 18 dBu LINE
<10 Hz to 57 kHz
72 dBu
100 Hz Boost +12 dBu
80 Hz Cut -14 dBu
700 Hz +/-12 dBu
4.5 kHz +/-15 dBu
0.04% fundamental
0.004% 2nd harmonic
0.003% 3rd harmonic
13 W Prime 5
22 W Prime 9
29 W Prime 13
2 kg - 22.6 x 37 x 6 cm Prime 5
3 kg - 33 x 37 x 6 cm Prime 9
4 kg - 43.2 x 37 x 6 cm Prime 13

TECHNICAL INFORMATION - SIGNAL FLOW

APPENDIX
WARRANTY
All Schertler products are covered by a limited 3-year warranty (from the date of purchase)
in respect of manufacturer defects. Details can be obtained from your local dealer /
representative.
Schertler S.A. strongly believes in “common sense”. Therefore, misuse of our products is
not covered under rights obtained through our warrantly policy, or through internationally
recognised terms and conditions.
PRODUCT DISPOSAL
This product must not be disposed of in general household waste. It should be taken
to a disposal centre for electrical / electronic waste. Please note any local or national
regulations that may be applicable here.
TRADEMARKS
The SCHERTLER® name and logo are registered trade names / trademarks of
SCHERTLER S.A. Switzerland. All SCHERTLER® products use proprietary technology
and are covered by one or more worldwide patents.
DISCLAIMER
All information and technical specications published here are based on data that was
available at the time of publication. Schertler is, however, constantly aiming to improve its
range of products and therefore reserves the right to amend product specications and
information without notice.
Schertler takes no responsibility for any direct or indirect damage (including loss of prot),
which arises as a result of, or in connection with the information in this manual.
COPYRIGHT
This manual is the property of Schertler S.A. and, as such, is subject to Swiss copyright
law. No part of this manual should be reproduced, edited or distributed without prior
consent from Schertler.
TEL [phone]
FAX [phone]
[email protected]
SCHERTLER SA
Via Beroldingen 18
6850 Mendrisio