Sirus Live M416 User manual

Manual
Mixer Live M416

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Table of contents
1. Warranty........................................................................................................................................... 7
2. Safety instructions............................................................................................................................ 7
2.1. FOR SAFE AND EFFICIENT OPERATION............................................................................ 7
2.2. Important mains plug wiring instructions ................................................................................. 8
3. Introduction....................................................................................................................................... 9
3.1. Foreword.................................................................................................................................. 9
4. View of the mixing console............................................................................................................... 9
4.1. Front view................................................................................................................................ 9
4.2. Back view................................................................................................................................. 9
5. Introduction to the mixing console.................................................................................................. 10
6. Installing the console......................................................................................................................11
6.1. Grounding.............................................................................................................................. 11
6.2. Switching the console on or off.............................................................................................. 12
7. Audio connections.......................................................................................................................... 12
7.1. General overview................................................................................................................... 12
7.2. Required connection cables.................................................................................................. 14
7.3. Dealing with ground loops, buzz and interference ................................................................14
7.4. Balanced connections ........................................................................................................... 15
8. Connections at the mixing console ................................................................................................ 15
8.1. MONO CHANNEL MIC/LINE IN............................................................................................ 15
8.2. STEREO CHANNEL MIC IN/OUT; LINE IN.......................................................................... 15
8.2.1. STEREO CHANNEL MIC IN ......................................................................................... 15
8.2.2. STEREO CHANNEL MIC OUT ..................................................................................... 15
8.2.3. STEREO CHANNEL LINE IN........................................................................................ 16
8.3. INSERT.................................................................................................................................. 16
8.4. DIRECT OUTPUT ................................................................................................................. 16
8.5. LAMP..................................................................................................................................... 16
8.6. GROUP; L; R; M OUT ...........................................................................................................16
8.7. AUX OUT 1-6......................................................................................................................... 17
8.8. MATRIX OUT 1-4 .................................................................................................................. 17
8.9. MATRIX EXT IN 1-4 .............................................................................................................. 17
8.10. 2-TRACK IN and OUT........................................................................................................... 18
8.11. MONITOR OUT..................................................................................................................... 18
9. Input channel.................................................................................................................................. 19
9.1. Mono...................................................................................................................................... 19
9.1.1. +48V .............................................................................................................................. 19
9.1.2. Polarity........................................................................................................................... 19

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9.1.3. Line (PAD) ..................................................................................................................... 19
9.1.4. Gain ............................................................................................................................... 19
9.1.5. HPF................................................................................................................................ 20
9.1.6. EQ.................................................................................................................................. 20
9.1.7. AUX Sends .................................................................................................................... 20
9.1.8. PRE ............................................................................................................................... 20
9.1.9. PAN ............................................................................................................................... 20
9.1.10. MUTE............................................................................................................................. 21
9.1.11. PFL ................................................................................................................................ 21
9.1.12. Meter.............................................................................................................................. 21
9.1.13. Routing .......................................................................................................................... 21
9.1.14. Fader ............................................................................................................................. 21
9.2. Stereo .................................................................................................................................... 22
9.2.1. Mic input ........................................................................................................................ 22
9.2.2. Dual stereo line inputs...................................................................................................22
9.2.3. Routing mode switch .....................................................................................................22
9.2.4. EQ.................................................................................................................................. 23
9.2.5. AUX Sends .................................................................................................................... 23
9.2.6. BAL................................................................................................................................ 23
9.2.7. Mute............................................................................................................................... 23
9.2.8. PFL ................................................................................................................................ 23
9.2.9. Meter.............................................................................................................................. 23
9.2.10. Routing .......................................................................................................................... 23
9.2.11. Fader ............................................................................................................................. 23
10. Master section ........................................................................................................................... 24
10.1. Group/Aux Masters................................................................................................................ 24
10.1.1. AUX Masters.................................................................................................................. 24
10.1.2. AUX AFL........................................................................................................................ 24
10.1.3. REV ............................................................................................................................... 24
10.1.4. PAN ............................................................................................................................... 24
10.1.5. Meter.............................................................................................................................. 25
10.1.6. MUTE............................................................................................................................. 25
10.1.7. GROUP AFL.................................................................................................................. 25

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10.1.8. Fader ............................................................................................................................. 25
10.2. AUX 5-6 Master, L-R-M-Master............................................................................................. 26
10.2.1. AUX 5 und 6 Master ......................................................................................................26
10.2.2. LR Masters .................................................................................................................... 26
10.2.3. Master............................................................................................................................ 26
10.3. 7x4 Matrix .............................................................................................................................. 27
10.3.1. EXT IN ........................................................................................................................... 27
10.3.2. GRP 1 (2, 3, 4)............................................................................................................... 28
10.3.3. L (R)............................................................................................................................... 28
10.3.4. Level .............................................................................................................................. 28
10.3.5. Mute............................................................................................................................... 28
10.3.6. AFL ................................................................................................................................ 28
10.4. Monitor, Talkback und Signal Generator............................................................................... 29
10.4.1. Monitor........................................................................................................................... 29
10.4.2. Talkback ........................................................................................................................ 29
10.4.3. Signal Generator/Pink Noise......................................................................................... 30
11. Applications and operating tips.................................................................................................. 30
11.1. Gain structure ........................................................................................................................ 30
11.2. Using the Oscillator/Noise Generator.................................................................................... 31
11.3. Mixing with faders or gain controls?......................................................................................32
11.4. Using PFL/AFL ...................................................................................................................... 32
11.5. Decibel................................................................................................................................... 33
11.6. Using Inserts.......................................................................................................................... 34
11.7. Polarity................................................................................................................................... 34
11.8. Mixing the PA in mono or stereo? ......................................................................................... 34
11.9. Zero the console.................................................................................................................... 35
11.10. Turning the system on and off...........................................................................................35
11.11. Sound levels ...................................................................................................................... 35
11.12. Dual functionality ............................................................................................................... 35
11.13. Applications for the Matrix ................................................................................................. 37
11.13.1. Mono Recording ........................................................................................................ 37
11.13.2. Stereo Recording....................................................................................................... 37
11.13.3. Remote Broadcast..................................................................................................... 37
11.13.4. Zone feeds................................................................................................................. 38
11.13.5. Delay Fill speakers .................................................................................................... 38
11.13.6. Hearing assist............................................................................................................ 38

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11.13.7. Additional monitor mixes ........................................................................................... 38
11.13.8. Combining two consoles into a single PA .................................................................38
11.13.9. Create IEM mixes with ambience..............................................................................39
11.13.10. Using the matrix to create a recording ......................................................................39
11.14. Recording with the mixing console....................................................................................39
11.15. Pre/post fade Aux settings................................................................................................. 39
11.16. Aux-Fed Subs.................................................................................................................... 40
11.17. Creating a separate C mix.................................................................................................40
11.18. Other M output applications............................................................................................... 41
12. Technical Data........................................................................................................................... 42
12.1. Performance.......................................................................................................................... 42
12.2. Connections........................................................................................................................... 43
13. Circuit diagram........................................................................................................................... 44

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1. Warranty
Limited one year warranty
This product is warranted to be free from defects in materials or workmanship for a period of one year
from the date of purchase.
To ensure a high level performance and reliability, for which this equipment has been designed and
manufactured, read this user guide before operating.
Conditions of warranty
Damages caused by the disregard of this user manual are not subject to warranty. The dealer will not
accept liability for any resulting defects or problems. Make sure the electrical connection is carried out
by qualified personnel. All electrical and mechanical connections have to be carried out according to
the European safety standards.
2. Safety instructions
•Read the safety instructions and also this manual carefully.
•Keep the manual.
•Observe all red flags.
•Observe the manual.
•To prevent fire or electric shocks, protect the device against rain and
humidity
•Pull the plug before opening the housing.
•To prevent an electric shock you should not remove the cover.
•Do not operate the device in the near of water.
•Use only a dry cloth for cleaning.
2.1.FOR SAFE AND EFFICIENT OPERATION
Be careful with heat and extreme temperature
Avoid exposing it to direct rays of the sun or near a heating appliance.
Not put it in a temperature bellow 32°F /0°C, or exceeding 104°F /35°C.
To avoid placing on un-stable location
Select a level and stable location to avoid vibration.
Do not use chemicals or volatile liquids for cleaning
Use a clean dry cloth to wipe off the dust, or a wet soft cloth for stubborn dirt. Pull the plug before
cleaning.

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If out of work, contact sales agency immediately
Any troubles arose, remove the power plug soon, and contact with an engineer for repairing, do not
open the cabinet by yourself, it might result a danger of electric shock.
Take care with the power cable
Never pull the power cable to remove the plug from the receptacle, be sure to hold the plug. When not
using the device for an extended period of time, be sure to disconnect the plug from the receptacle.
Ventilation
It is not allowed cover fans and air in and outlets.
Safety
Do not remove the grounding. It is for your safety. If you remove the grounding it can cause electric
shocks.
Hearing
To avoid hearing damages, you should not operate a sound system with high levels. This applies to
monitor systems, which are in the near of the ear, headphones or IEMs also.
2.2.Important mains plug wiring instructions
The console is supplied with a molded mains plug fitted to the AC mains power lead. Follow the
instructions below if the mains plug has to be replaced. The wires in the mains lead are colored in
accordance with the following code.
Terminal Wire Color
European USA/Canada
L Live Brown Black
N Neutral Blue White
PE
Earth GN Green/Yellow Green
The wire which is colored green and yellow must be connected to the terminal in the plug which is
marked with the letter E or with the earth symbol. The appliance must be earthed.
The wire which is colored blue must be connected to the terminal in the plug which is marked with the
letter N.
The wire which is colored brown must be connected to the terminal in plug which is marked with the
letter L.
Ensure that these color codes are followed carefully in the event of the plug being changed.

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3. Introduction
3.1.Foreword
Welcome to the professional mixing console of the latest generation of the popular series of dual
function live sound mixing consoles. We have tried to keep this user guide brief and to the point.
Please read it carefully before starting. Included is information on installing, connecting and operating
the console, panel drawings, system block diagram and technical specification. For further information
on the basic principles of audio system engineering, please refer to one of the specialist publications
and resources available from bookshops, audio equipment dealers and the internet.
We reserve the right to make changes on the manual.
4. View of the mixing console
4.1. Front view
4.2.Back view

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5. Introduction to the mixing console
The mixing console is an analogue mixing console designed for professional audio applications.
Whether mixing FOH, monitors or both, recording live or in the studio, installed in a busy venue, out on
the road touring, or earning its keep in rental stock, the mixing console provides the perfect solution.
Engineered to the same standards as our top of the range consoles it ensures the highest reliability
and finest sonic performance.
•16 channels
•LR Main-Mix
•Multi-Mode M output
•4 Group-Sends
•6 AUX-Sends
•7x4 Matrix
•Proper dual functionality for FOH/Monitor mixing
•Recording capable
•M can be configured as LR sum, C mix; Wedge; or Aus-Fed Sub master
•Sub grouping with pan control
•Gain for every channel
•2 stereo channel each with mic and dual stereo line inputs
•Stereo channel line inputs can be assigned independently to LR
•Responsive 4 band, 2 sweep EQ
•100Hz channel high pass filter
•Phantom power
•Polarity switch
•Channel and master meters
•Chanel direct outputs
•Per channel pre/post fader Aux switching

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•Mutes on all fader meters
•100mm dust protected faders
•Assignable talkback
•1kHz oscillator 7 pink noise generator
•2-Track monitoring and replay to LR
•Headphones and local monitor outputs
•Dedicated stereo monitor meters
•Electronically balanced XLR outputs with +26dBu/+15,5V drive capability
•Preamp +34dBu/+38,9V maximum input capability for mic or line
•Metal jacks, gold-plated XLRs, sealed pots and switches
•Solid copper bus grounding
6. Installing the console
The mixing console has a space saving, compact chassis design. The control surface has a 10 degree
slope for optimum visibility during operation. The rear connector panel has a split angle design for
ease of plugging and unplugging the connectors.
The console has rubber feet fitted for free standing operation on a flat surface. Make sure the surface
is well supported, stable and big enough for the console to slit securely on all its feet.
Do not obstruct the ventilation openings on the top and rear surfaces.
To avoid audible hum, buzz or other performance degradation, do not place equipment that
radiates strong electromagnetic fields such as mains power supplies, amplifiers and
computers next to or directly underneath the console.
Read and understand the important safety instructions printed at the start of this guide, and the
warnings printed on the rear of the console. Check the console power supply mains voltage input is
the same as your local supply. Check that the correct mains lead with molded plug has been provided
with your console. Make sure that IEC mains plug is pressed fully into the panel socket before
switching on.
6.1.Grounding
The connection to the ground in an audio system is important for two reasons.
1. Safety To protect the operator from high voltage electric shock.
2. Audio performance to minimize the effect of ground (earth) loops which result in audible
hum and buzz, and to shield the audio signals form interference.
For safety it is important that all equipment grounds are connected to mains ground so that
exposed metal parts are prevented from carrying high voltage which can injure or even kill
the operator. Do not disconnect the ground connection in the mains lead. .

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6.2.Switching the console on or off
Turn power amplifiers off before switching the console and any other connected equipment on or off.
Note: Turn amplifiers and powered speakers on last and off first!
To turn the console on, press the ON/OFF switch next to IEC mains input socket. To turn the console
off, press the switch again.
7. Audio connections
7.1.General overview

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7.2.Required connection cables
The mixing console uses professional grade 3 pin XLR and ¼'' TRS (3 pole) jack sockets. To ensure
best performance, we recommend that you use high quality audio cables and connectors, and take
time to check reliable and accurate cable assembly. It is well known that most audio system problems
are due to faulty or sub standard interconnecting leads. The following plugs may be used to connect
audio to the console:
Avoid reversing + and – on balanced connections as this will result in reserved polarity (out of phase)
signals which may cause signal cancellation effects.
Where long cables runs are required, balanced interconnections should be used. However, line level
interconnections between more affordable 2-wire (signal, ground) unbalanced equipment and the
console unlikely to cause the problems if the cables are kept shorter than 10 meters or so. Refer to the
wiring diagrams in chapter 7.
7.3.Dealing with ground loops, buzz and interference
For optimum performance all audio signals should be referenced to a solid, noise-free ground (earth)
point, frequently referred to as the “star point” or “clean earth”.
A ground loop is created when potential differences exist between grounds at different points in the
system, and the signal has more than one path to the ground. In most cases ground loops do not
result in audible problems. Should you experience hum or buzz caused by a ground loop, check first
that each piece of equipment in accordance with the instruction manuals.
Important: For operator safety, do not remove the ground (earth) connection in the power
lead of the console or connected equipment.
To avoid interference pickup keep audio cables away from mains power units and cables, lighting
cables, dimmer units, computer equipment and mobile phones. Where this cannot be avoided, cross
the cables at right angles to minimize interference.

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7.4.Balanced connections
A differentially balanced connection hast two signal wires + (hot) and signal – (cold) and a shield. The
signal source generates positive going polarity down the + wire and negative polarity down the – wire.
The destination input stage accepts the + signal on its non-inverting (+) input pin but it inverts the –
signal, adding it to the + signal. The result is that the wanted signal is boosted.
8. Connections at the mixing console
8.1.MONO CHANNEL MIC/LINE IN
The LINE (PAD) switch selects either the MIX XLR or the LINE TRS jack as the
input source. The XLR is normally through the TRS jack so it can be used for
microphone or line level signals when nothing is plugged into the jack socket.
This gives the channel preamp a massive headroom with +34dB maximum input
capability using XLR or jack. Both inputs are balanced but can be wired to work
with unbalanced signals when required. The MIC XLR can be switched to
provide +48V phantom power for condensers.
Note: Do not connect unbalanced sources or cables to XLR input when
48V phantom power is selected. To avoid loud clicks always turn the
channel off by pressing MUTE when switching +48V on or off, and when plugging or
unplugging cables.
8.2.STEREO CHANNEL MIC IN/OUT; LINE IN
8.2.1. STEREO CHANNEL MIC IN
Each stereo channel features a mono microphone XLR input and two
independent stereo line inputs. The balanced MIC input accepts a maximum
+14dBu/3,9V and can be switched to provide 48V phantom power
8.2.2. STEREO CHANNEL MIC OUT
The output of the mic preamp is available on the MIC OUT (BREAKPOINT) TRS jack socket. This is
impedance balanced and operates at a nominal 0dBu/0,77V line level. Plugging into this socket
breaks the signal into the associated stereo channel. That means that the mic preamp can be
used independently of the channel.

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8.2.3. STEREO CHANNEL LINE IN
Stereo inputs ST1 and ST2 feed channel 15, and ST3 and ST4 feed channel 16 respectively, or can
be routed directly to LR. These inputs use TRS jacks. ST1, 3 are unbalanced, ST2, 4 are balanced.
Unbalanced inputs automatically connect the TRS ring to ground when working with balanced
sources. The L input is normally through the R socket to accept mono signals on a single jack.
8.3.INSERT
A single 3-pole TRS insert jack carries the unbalanced insert signal
for each mono channel and main mix output. Tip = send, ring =
return, Sleeve = common ground. The channel inserts are post
HPF, pre EQ and operate at 0dBu/0,77V. The group (AUX) and LR
mix inserts are pre-fader and operate at -2dBu/0,62V. Use these to
patch in line level signal processing equipment such as
compressors, outboard EQ, delay units and so on. The wiring of a suitable cable is shown in the
diagram.
8.4.DIRECT OUTPUT
Each mono channel direct output is available on an impedance balanced TRS jack providing a line
level signal operating at 0dBu/0,77V. The output is set pre-fade.
8.5.LAMP
The console has one 4pin XLR socket to plug in standard 12V gooseneck lamps to
illuminate the operating surface when working in a dark environment. Only use the
lamps intended for this purpose. We recommend the LED lamp with cool white
LED illumination and a built in dimmer.
8.6.GROUP; L; R; M OUT
The main console mix outputs are on
electronically balanced XLR. These
produce the professional standard
+4dBu/1,23V when the meters read 0,
and provide to a maximum
+25dBu/13.77V. The L and R outputs
typically feed the house PA system in live sound mixing, or a 2-track recorder in studio mixing. In
monitor mode, these outputs reverse with the AUX TRs jack connections.

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Operating modes
In the FOH mode, LR feeds the main PA. M sums the L and R post-fade signals
to provide an additional feed for a mono fill speaker or zone, or main feed into
a mono PA. Groups 1-4 may be used for multitrack recording, zone feed and so
on, or simply left unconnected where they are used as subgroups to LR for
level masters and/or inserted processing. In
monitor mode Groups 1-4 and LR XLRs and inserts become the aux mix
masters. M becomes the engineer’s listen wedge AFL/PFL feed. This configures
the console with 6 main stage monitor and an engineer’s output. The groups
and LR are still available via the matrix to provide yet more monitor feeds
8.7.AUX OUT 1-6
Each AUX send is available on an
impedance balanced TRS jack operating
at -2dBu/0,62V line level. The Aux senda
are typically used to feed monitors, effects
devices such as reverb and delay.
8.8.MATRIX OUT 1-4
Each matrix output is available on an impedance balanced TRS
jack operating at -2dBu/0.62V line level. The matrix outputs are
typically used for mono or stereo recording or broadcast feeds,
delay and fill speakers, zone feeds, additional monitors such as
IEM, hearing assist loops and so on.
8.9.MATRIX EXT IN 1-4
Each matrix has an unbalanced 0dBu/0,77V line level TRS jack
input. An external signal such as ambience mix, additional or
sub mixer, remote source, reference tone and so on may be
mixed in to each matrix. The inputs are normally as shown in
the diagram here. This means you can plug in just one jack
(EXT!) as a common source to all matrix, two jacks (EXT1, 2)
as a common stereo source to matrix pairs, or four independent
sources. This is ideal for adding mono or stereo ambience to
recordings or in-ear monitor fed from the matrix.

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8.10. 2-TRACK IN and OUT
Unbalanced TRS jack outputs and TRS jack inputs connect to popular
recording and playback devices such as CD, Minidiscs, computers and tape
machines. Nominal line level is -2dBu/0,62V. The 2-track send always
follows the post fade LR mix regardless of mode switch configuration. The 2-
track return can be used for monitoring a mono or stereo recording, o as a
simple input for playback of walk-in and background music. The L input normally through the R socket
for plugging in a mono source on a single jack.
8.11. MONITOR OUT
These impedance blanced line level TRS jack outputs follow the post-level
monitor signal. Separate sockets are provided fot the L and R signals. Use
these to feed local speaker or other monitor systems.

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9. Input channel
9.1.Mono
9.1.1. +48V
Switches +48VDC to the channel input XLR to powering microphones or DI
boxes that need phantom power. The power is current limited through 6kΩ
resistors to pins 2 and 3.
Warning: Do not connect unbalanced sources or cables to inputs with
phantom power selected. To avoid loud clicks always mute the channel
before switching +48V on or off and when plugging or unplugging
microphones.
9.1.2. Polarity
Reverses the polarity (+ and – connections) of the input source. Useful when you
are using the above/below mic technique, for example when take a snare drum
with two microphones, or for correcting mic placement and cable wiring errors.
9.1.3. Line (PAD)
Press the switch to select the channel TRS jack line input. Release the switch to
select the XLR Mic input. The XLR is normal through the TRS socket. With
nothing plugged into the line input the switch therefore becomes a Pad for the
Mic XLR. It attenuates the input signal by 20dB for connection to high level
microphone or line sources. This gives the mic preamp a massive 74dB range
and headroom of +34dB to deal with the hottest signals.
9.1.4. Gain
Adjusts the input sensitivity to match the connected source to the internal
0dBu/0,77V operating level of the channel. Provides a variable 54dB range from
+dB to +60dB gain (mic), or -14dB to 40dB (line, padded mic). The gain should
be set so that the channel meters average ‘0’ with the loudest moments lighting
‘+6’. Reduce gain if the red peak indicator lights.
Important note on setting channel levels:
Use PFL to set the gain controls before correct signal level through each
channel. The main LR meters provide a high resolution display of the channel
signal level. Use the faders to balance each signal in the mix. To ensure optimum

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gain structure we do not recommend the practice of setting the faders to ‘0’ and mixing using the gain
controls.
9.1.5. HPF
Switch the channel high pass filter on. This attenuates frequencies below 100Hz by 12dB per octave.
The filter is pre-insert, pre-EQ. Select the HPF to reduce low frequency noise such as microphone
popping, stage noise and tape transport rumble.
9.1.6. EQ
A responsive 4-band semi parametric EQ provides independent control of four frequency bands.
HF and LF are shelving filters which affect high frequencies above 12 kHz, and low frequencies below
80Hz respectively. HM and LM are bell shaped peak/dip filters which affect frequencies around a
centre point which can be swept from 500Hz to 15 kHz and 35 Hz to 1 kHz respectively. These have a
width (Q) of 1.8 which provides effective control for both creative and corrective equalization.
9.1.7. AUX Sends
These rotary controls adjust how much channel signal is mixed to the aux outputs. Each of the 6 aux
has its own control. The adjust from fully off to +6dB boost. Unity gain 0dB is marked at 3 o’clock
position. Aux 1-4, 5-6 are switched pre/post. Pre-fade aux sends are not affected by the channel fader
movements. These are typically used to feed stage monitors. In most cases users also prefer that the
monitor sends are not affected by inserted processors or the channel EQ. Post-fade aux sends follow
the channels faders and are typically used to send a proportion of the channel signal to an effects
device such as a reverb or delay. Note that post-fade sends may be preferred when the console is
configured in monitor mode so that the faders become ‘masters’ for all monitor mixes. Pr or post-fade
sends may also be used for special applications such as recording, zone feed, clean feed and aux fed
subs or centre speaker.
9.1.8. PRE
When pressed, the pre-fade channel signal is sent to the associated aux. When it is released, the
post-fade signal is sent. Aux 1 to 4 and 5, 6 are grouped for pre/post switching. Default setting is pre-
insert, pre EQ so that inserted compressors and EQ do not affect the sends when mixing monitors
from FOH.
9.1.9. PAN
Positions the channels signal between L/R in the stereo mix.