STK Professional Audio VX1443-FDR User manual

1
VX1443-FDR/2043-FDR
Integrated Series Recording / Live Sound Mixer.
OWNER'SMANUAL ENGLISH

2
VX1443-FDR/2043-FDR
Quality Series Mixer
1. Introduction......................................................................... 2
2. Important Safety Instructions.................................................... 3
3. Warranty Information.............................................................. 4
4. Panel Descriptions................................................................. 5-12
5. Connecting Your System.......................................................... 13
6. Operating Your System............................................................ 14
7. System Hookup Diagrams....................................................... 15-22
8. Block Diagram...................................................................... 23
9. Specifications....................................................................... 24
Table Of Contents
1. Introduction
The VX1443-FDR/2043-FDR is designed for use in sound reinforcement(SR) or recording
applications.
The VX1443-FDR/2043-FDR has four submix buses plus main L/R, and four auxiliary buses.
Ifcanblend,combineandcontrolavariablyofaudioinputsource,including microphones,
electronic instruments and the audio devices such as CD players and analog or digital sound
recorders. Through the mixer's output buses, these sounds can be routed to different load
speaker power amplifiers, recording channels, effects units or other device.
Please take the time to read this manual before operation so that you fully understand the
features and correct use of this fine product.

3
2. Important Safety Instructions
1. Read Instructions- All the safety and operating instructions should be read before the
device is operated.
2 Retain Instructions- The safety and operating instructions should be retained for future
reference.
3. Heed Warnings- All warnings on this appliance and in the operating instructions should
be adhered to.
4. Follow Instructions- All instructions should be followed.
5. Water and Moisture- This appliance should not be used near water- (e.g.
near a bathtub, sink, laundry tub, in a wet basement, near a swimming pool, etc.)
6. Heat- This appliance should be situated away from heat sources such as radiators,
heat registers, stoves, or other appliances (including amplifiers) that produce heat.
7. Power Sources- The device should be connected to IEC standard type power cord
and AC line voltage. If you are not sure of the type of power cord and correct
AC voltage Please consult your appliance dealer or local power company.
The device AC voltage marked Back chassis.
8. Polarization- If the appliance is equipped with a polarized alternating-current line plug
(a plug having one blade wider than the other), this plug will fit into the power outlet only
one way. This is a safety feature. if you are unable to insert the plug fully into the outlet,
try reversing the plug. if the plug should still fail to fit, contact your electrician to replace
your obsolete outlet. Do not defeat the safety purpose of the polarized plug.
9. Grounding- If the appliance is equipped with a 3-wire grounding-type plug, a plug having
a third (grounding) pin, this plug will only fit into a grounding-type power outlet.
This is safety feature. if you are unable to insert the plug into the outlet, contact your
electrician to replace your obsolete outlet. Do not defeat the safety purpose of the
grounding-type plug.
10. Power Cord Protection- Power supply cords should be routed so that they are not
likely to be walked on or pinched by items placed upon or against them, paying
particular attention to cords at plugs, convenience receptacles, and the point where they
exit from the appliance.
11. Damage Requiring Service- Unplug this appliance from the wall outlet and refer
servicing to qualified service personnel under the following conditions:
a. When the power-supply cord or plug is damaged.
b. If liquid has been spilled, or objects have fallen into the appliance.
c. If the appliance has been exposed to rain or water.
d. If the appliance does not operate normally by following the operating Instructions.
Adjust only those controls that are covered by the operating instructions as an
improper adjustment of other controls may result in damage and will often require
extensive work by a qualified technician to restore the appliance to its normal
operation.
e. If the appliance has been dropped or the cabinet has been damaged.
f. When the appliance exhibits a distinct change in performance-this indicates a need for
service.
12. Servicing- Do not attempt to service this appliance yourself as opening or removing
covers may expose you to dangerous voltage or other hazards.
All servicing should be refer to qualified service personnel.

4
3. Warranty Information
UNPACKING
As a part of our system of quality
control, every STK product is carefully
inspected before leaving the factory to
insure flawless appearance.
After unpacking, please inspect for any
physical damage. Save the shipping carton
and all packing materials, as they were
carefully designed to reduce the possibility
of transportation damage should the unit
again require packing and shipping.
In the event that damage has occurred,
immediately notify our dealer so that a
written claim to cover the damage can be
initiated with the carrier. The right to any
claim against a public carrier can be
forfeited if the carrier is not promptly
notified and if the shipping carton and
packing materials are not available for
inspection by the carrier. Save all packing materials
until the claim has been settled.
STK Customer Service Department
369-2 KURAERI YANGCHON-MYUN KIMPO-CITY
KYUNGGI-DO, KOREA.
TEL : [phone]
FAX : [phone]
E-mail : [e-mail]
http://www.st kpro.com
STK LIMITED 1 YEAR WARRANTY
STK electronics are warranted to be free
from defects in materials and workmanship
under normal use for a period of 1 year
from date of original purchase.
During that period, STK will at its option,
repair or replace materials at no charge if
product has been delivered to STK by an
STK dealer or STK Service Center together
with the original sales receipt or other proof
of purchase. Warranty excludes fuses,
exterior finish, normal wear, failure due to
abuse, or operation outside of specified
ratings. Warranty applies to original purchaser
only. This warranty gives you specifically
rights which vary from state to state.
For more information about warranty repair,
please contact: Customer Service Dept.,
The STK Professional Audio.
FOR YOUR RECORDS
All of us at STK thank you for your
expression of confidence in STK products.
The unit you have purchased is protected by
a limited 1 year warranty. To establish the
warranty, be sure to fill out and mail the
warranty card attached to your product.
For you own protection, fill out the information below for you own records.
Model Number
Serial Number
Dealer
Date Of Purchase
Salesman
Phone
Other Information

- 5 -
< Monaural Input Channel >
FRONT PANEL(CHANNEL)
Note: The operation of the VX2043-FDR
Mixer is nearly identical.
This manual will help you understand
and get the most out of all
"Quality Series" mixers.
Monaural Input Channel
1. Mic Inputs.
The microphone input to each channel strip is made
through a standard 3-pin female Mic connector,
XLR(3-pin)balanced input accepts microphone-level
signal, XLR pin1 is "Shield", pin2 is "Hot" and Pin3 is
"Cold".
2. Line Inputs.
The Line In connection for each channel strip is
located just above MIC connector, and is made
through a ¼" TRS (Tip-Ring-Sleeve) phone jack.
¼" connector tip is "Hot" ring "Cold" and sleeve is
"Shield".
3. Channel Insert Jack.
Allows interface to external signal processing
devices, or direct channel output. 1/4" connector Tip
is Send, Ring is Return and Sleeve is Ground.
This patch point allows you to insert a compressor,
equalizer or any other signal processing device into
any of the VX2043-FDR input channel strips.
4. Low Cut Switch.
75Hz 18dB/octave low-cut filter eliminates unwanted
subsonic frequencies, while still allowing full use
ofthe Low Equalization(9)
5. Line Trim/Mic Gain.
Simultaneously adjusts the mic input gain to accept
signals from -15dBm to -55dBm, and trims the line
input to accept signals from +5dBm to -35dBm.
6. High Equalization.
Provides ±15dB of shelving equalization control to
boost or cut high frequency signals 12kHz and above.
7. Mid Equalization : LEVEL.
Provides ±12dB of boost/cut to the mid range frequency
The frequency range affected depend on the setting of mid EQ
Frequency controls.
8.MID Equalization : frequency
Adjust the center frequency of dip/peak midrange control(6)
From 100Hz to 8KHz
9. Low Equalization.
Provides ±15dB of shelving equalization control to
boost or cut low frequency signals 80Hz and below.
4. Panel Descriptions

- 6 -
10. Monitor 1, 2
Adjusts the amount of channel input signal supplied
to the Monitor 1 & 2 output Monitor send is post-EQ.
11. EFX 1(EXT) and EFX 2(INT)
EFX sends 1 & 2 are normally post-fader.
Post-fader : EFX1-Any changes made to the
channel controls will effect the EFX signal.
EFX2 is identical EFX1 with one big difference :
In addition to feeding the EFX SEND jacks, it also
feeds the inputs to the Digital Effect Processor.
If you're using DSP and just one outbound
processor via EFX RETURN1.
12. Pan
Sends continuously variable amounts of the post
fader signal to the Left and Right Master outputs.
In the center position, equal amounts of input signal
are sent to Left and Right Master outputs.
13. Peak
The red LED above the Mute switch is marked
Peak, and that stands for Overload. The channel
strip overload circuit constantly checked at a
critical
point in the channel strip, just after the EQ
circuit.
If the channel strip amplifiers are begin too loud
into overload, the Peak light will flash bright red.
You need to find out which source is too high and
make things right. Start by returning down the
Gain control until the Peak LED no longer light.
14. Mute Switch.
When the Mute switch is depressed ,the signal in
that channel strip is remove from the main left/
right mix buses, the solo buses and any aux buses
selected.
15. Sub Group Bus Assign.
Used in conjunction with the PAN knob, ASSIGN
determines the final distination of a channel's
signal
to the SUB 1 and 2 Faders and , via their SUB
ASSIGN switches, the MAIN Mix Fader.
Typically, ASSIGN 1-2 will be engaged all channels
destined for the main mix. By configuring SUB 1 and
2 to feed the main mix, the channel ASSIGN 1-2 feed
the main mix, the channel ASSIGN 1-2 switches become
the equivalent of being "Main Mix" switches.
Some channels can use ASSIGN 3-4 instead:
creating a submix for a set of channels. Then, by
confiquring SUB3 and 4 to also feed the main mix,
you can "ride" the SUB3 and 4 faders. Independently
of the rest of mix.
16. Main L/R Switch
This switch used to routed the channel signal to the
main mix Left and Right buses.
17. Solo Switch.(PFL)
A solo function on a mixer allows you to listen to
any input or combination of inputs without affecting
the main or auxiliary outputs of the mixer. In other
words, you can push a solo button to check
something out just about any time without running
your sound reinforcement or recording feed. In the
VX2043-FDR, each Solo switch.
assigns its signal to two different types of solo
circuits(PFL) at the same time.
You may want to operate the four submixes as our
mono buses. In the case, use the assign switches
with the Pan pot panned completely to the L or R
mark. This will allows you select submix buses
1, 2, 3, or 4 independently.
18. Channel Fader
Provides continuously variable control of the
channel output level to the Left And Right Master
outputs, Group outputs, EFX 1,2 as controled.
4. Panel Descriptions

- 7 -
< Stereo Input Channel >
1
2
4
5
6
7
8
910
11
12
13
14
15
16 17
3
A. Stereo Input Channel
1. Left(Mono) Input.
Accepts 1/4" TRS(tip/ring/sleeve) balanced input or
TS(tip/sleeve) unbalanced sources at line level. 1/4"
connector Tip is "Hot", Ring is "Cold" and Sleeve is
"Shield". Input is routed to the Left output bus. In the
absence of a plug in the Right Input(2), the Left
Input signal is also provided to the Right Input, so
that the channel functions as a mono channel.
2. Right Input.
Similar to the Left input(1), Input to this connector is
routed to the Right output bus.
3. Level VR.
Determines the nominal input level required at the
Stereo Line Inputs for full level.
4. High Equalization.
Provides ±15dB of shelving equalization control to
boost or cut high frequency signals 12kHz and above.
Affects both Left and Right channel input signals.
5. Mid Equalization.
Provides ±12dB of peak/dip equalization control to
boost or cut midrange signals centered at 2.5kHz.
Affects both Left and Right channel input signals.
6. Low Equalization.
Provides ±15dB of shelving equalization control to
boost or cut low frequency signals 80Hz and below.
Affects both Left and Right channel input signals.
7. Monitor1 and Monitor2.
Adjusts the amount of mono-summed channel input
signal supplied to the Monitor1 and Monitor2 output.
Monitor1 and Monitor2 send is post-EQ.
8. EFX 1(EXT) and EFX 2(INT)
EFX sends 1 & 2 are normally post-fader.
Post-fader : EFX1-Any changes made to the
channel controls will effect the EFX signal.
EFX2 is identical EFX1 with one big difference :
In addition to feeding the EFX SEND jacks, it also
feeds the inputs to the Digital Effect Processor.
If you're using DSP and just one outbound
processor via EFX RETURN1.
9. Balance
When turned to the right, gradually attenuates the
Left channel input signal. When turned to the left,
gradually attenuates the Right channel input signal.
10. Peak LED
The red LED above the Mute switch is marked
Peak, and that stands for overload. The channel strip
overload circuit constantly checked at a critical point
in the channel strip, just after the EQ circuit. If the
channel strip amplifiers are begin too loud into
overload, the Peak light will flash bright red. You
need to find out which source is too high and make
things right.
Start by returning down the Gain control until the
Peak LED no longer light.
4. Panel Descriptions

- 8 -
11. Mute Switch.
When the Mute switch is depressed ,the signal in
that channel strip is remove from the main Left/
Right mix buses, the solo buses(PFL)
and any aux buses selected.
12. Sub Group Bus Assign.
Used in conjunction with the PAN knob, ASSIGN
determines the final distination of a channel's signal
to the SUB 1 and 2 Faders and , via their SUB
ASSIGN switches, the MAIN Mix Fader.
Typically, ASSIGN 1-2 will be engaged all channels
destined for the main mix. By configuring SUB 1 and
2 to feed the main mix, the channel ASSIGN 1-2 feed
the main mix, the channel ASSIGN 1-2 switches become the
equivalent of being "Main Mix" switches.
Some channels can use ASSIGN 3-4 instead:
creating a submix for a set of channels. Then, by
confiquring SUB3 and 4 to also feed the main mix,
you can "ride" the SUB3 and 4 faders. Independently
of the rest of mix.
13. Main L/R Switch
This switch used to routed the channel signal to the
main mix Left and Right buses.
14. Solo Switch.(PFL)
A solo function on a mixer allows you to listen to
any input or combination of inputs without affecting
the main or auxiliary outputs of the mixer.
In other words, you can push a solo button to check
something out just about any time without running
your sound reinforcement or recording feed.
In the VX2043-FDR, each Solo switch assigns its
signal to two different types of solo
circuits(PFL and SIP) at the same time.
15. Stereo Channel Fader.
Provides continuously variable control of the stereo
channel output level to the Left and Right Master
outputs, Group outputs.
16. Stereo EFX Returns (1, 2).
If you are using effects such as delay or reverb,
you must first send a signal to the effect with an
aux send, and then remix the output of the effect
back into your final mix.
The VX2043-FDR provides four stereo auxiliary
return inputs for this purpose.
The inputs to each stereo aux return are made
through a pair of 1/4″TRS(tip-ring-sleeve)
phone jacks. These are balanced line inputs
which will accept input levels from -10dBu to
+22dBu, and will also accept unbalanced cables.
return input clipping is at a level of 22 dB.
The sleeve of each jack is connected to ground,
the tip is signal "hot" (or "high" of "+"), and
the ring is signal "cold" (or "low" or"-")
17. EFX Send 1,2.
Provides the unbalanced, line-level EFX Send 1,2
output mixes on 1/4" phone jacks, for connection to
external effects or monitor systems.
4. Panel Descriptions

- 9 -
< Master Section >
B. Master Section
1. EFX1 to Main Mix.
Stereo signals(from STEREO EFX RETURN 1) come
through this TO MAIN MIX knob and continue on to
the MAIN MIX Fader.
2. EFX2 to Main Mix.
Stereo signals(form STEREO EFX RETURN2 and
DSP EFFECT PROCESSOR) come through this TO
MAIN MIX knob and continue on to the MAIN MIX FADER.
3. EFX2 to Monitor1.
This works just like the channel AUX(8) knobs, but
hear, the source signal is the EFX2 RETURN and the
DSP output. typically, this knob is used to add effects
to the stage monitors.
Turned fully up, it provide 15dB of additional gain,
the center "5" mark is unity gain, and fully down is
off.
4. EFX2 to Monitor2.
This works just like the channel AUX(8)knobs, but
hear, the source signal is the EFX2 RETURN and
the DSP output.Typing, this knob is used to add
effects to stage monitors.
Turned fully up, it provide 15dB of additional gain,
the center "5" mark is unity gain, and fully down is off.
5. DSP Mode Select Switch.(Up/Down)
The mode control allows for the selection of 99
different types of effect sounds.
Digital Signal Processor Function and Features
The STK digital reverbs gives the power to create
original sounds with a wide range of effects.
99 effect patch(effect setting) can be stored in the
internal
memory, calling up any patch is quick and easy
FEATURES
* Real 99 stereo-Effect preset available devided into 26
combination and 63 single effect sound.
* An integrated E2-ROM watchdog is bypassing
the storage device.
* Easy program selection methods by 2 key which can
preset up and down.
* The once choose preset number is automatically stored
by on board E2-PROM.
* 2 -digital 7-segment numeric display interface for preset
1-99 indication.
* Automatic input audio signal "overshooting" indication
circuit on-board.
* Usage of a 1M byte SRAM for superior quality stereo
reverb and delay sound.
* Usage of the famous ASAHIKASEI 24bit DSP with built
in 20 bit AD/DA stereo converter.
* 20bit delta sigma 64 x oversampling AD converter.
* 20bit delta sigma 128 x oversampling AD converter.
* 64 x oversampling ADC digital filter.
4. Panel Descriptions

- 10 -
* 128 x oversampling DAC digital filter.
* CD-quality professional sound a reality.
APPLICATIONS
* Long time delay and repeat for moslem church.
* Very clean and bright echo feedback and delay
for europian karaoke vocal sound.
* Keyboard, guitar and combos.
6. DSP Peak Indicator.
The purpose of the red PEAK LED is to indicate when
digital effect input signal is dangerously close to
clipping
7. DSP On Indicator.
Lights when DSP turn on switch is active.
8. DSP Switch.
This switch controls the digital effect processor.
9. Monitor Send1 and 2.
The Stereo Aux Return have one solo switch
globally solos all four returns. First, this is useful
to
check the returns. But there's still more. When you
are soloing an input track and you want to hear the
reverb applied to that track as will, simply push the
Global Aux Return Solo switch to add all the
effects returns to your solo mix.
10. EFX Send1 and 2.
The four auxiliary buses each have a master level
control on this panel. Like any level control, turning
the knob turns the volume up or down. However, the
gain of the aux send is optimal at the unity setting
and should not mormally need adjustment center
position. The output of each bus is available at its
Aux send jack on the top panel.
11. Route to main mix
There is a L/R route switch(11) above each bus
fader. The submix bus audio signal is always
routed to the Sub out jacks on the rear panel.
Additionally, the L/R route switch(11) on the sub
strip can assign the submix audio to the main Left/
Right Buses.
12. Group Output Fader(Sub 1 , 2, 3, 4)
At the bottom of the output panel are the master
fader for each of the four group output buses.
Each fader controls the level of its mix bus, with
a unity gain point screened on the panel.
The fader is located in the circuit after the bus
insert jack but before the final line amplifier.
13. EQ ON/OFF
Provide continuously variable control over the "final
mix" to the left and Right master outputs.
14. L/R Master Fader
Provide continuously variable control over the "final
mix" to the left and Right master outputs.
15. 7Band Stereo Graphic EQ.
This equalizer used to shape the frequency spectrum
of the main mix is the last thing si chain prior to
the Main Mix fader and Main out XLR and TRS jacks.
16. Phantom Power Indicator.
Indicates that the 48V Phantom Power system is
activated and functional.
17. Power Indicator
Shows that rear panel the power switch(8) is on,
and that adequate AC power is applied.
18. Solo Active Indicator
Lights to indicate that AFL or PFL Solo mode is
activated on one or more input channels.
19. Level Set Indicator
Lights when PFL Solo mode is active, indicating
that the Right meter is displaying that signals true
input level. This mode is useful for ensuring that
each inputs level is correct.
20. Tape Input Jack(L/R)
Allows a stereo tape machine, CD player or similar
device to be attached via unbalanced RCA connections.
Tape Input to main L and R buses, press the main
mix switch(23), and control the level with the Tape
input Level Control(22).
21. Tape Output Jack(L/R)
Derived directly from the Left/Right Master output,
allows convenient connection, via unbalanced RCA
jacks, to any tape or disk recording device.
22. Tape Level
You can adjust the incoming level of your
intermission entertainment, independent of the main
mix level controls, via this feature.
23. Tape To Main Mix
The Tape In to Main Mix switch next to the
main mix fader actually routes the tape playback
signal into the main Left/Right Mix circuits, before
the bus insert jacks and the master fader.
24. Monitor Output
To create stage monitor mix, with levels set
independently from main mix, patch these TRS jacks
into your monitor amplifier inputs.
25. Utility Output Level
The stereo signal at these TRS jacks is the some as
at main out. But with one imported difference:
After the Main Mix fader, the mix is sent through the
Utility out level control allowing you to set levels
as
desired without disturbing the main mix level.
26. EFX Foot S/W
You can connet a normally open foot switch to this
connector to duplicate the function of the DSP switch.
4. Panel Descriptions

- 11 -
27. Headphone Output
Connect stereo headphones here for channel monitoring
and curing. Control of Headphone output
Level control(28).
28. Headphone output level
You can control the output of Headphone.
29. Program Display.
4. Panel Descriptions
REVERBERATION EFFECTS(37)
ECHO/DELAY EFFECTS(32)
MODULATION EFFECTS(30)
01 Reverb Hall 2.0 sec.
02 Reverb Hall 2.5 sec.
03 Reverb Hall 3.0 sec.
04 Reverb Hall 4.0 sec.
05 Reverb Hall 5.0 sec.
06 Reverb Hall 6.0 sec.
07 Reverb Hall 8.0 sec.
08 Reverb Hall 10.0 sec.
38 Reverb & Delay 3.0s/155 ms.
39 Reverb & Delay 3.0s/175 ms.
40 Reverb & Delay 3.0s/200 ms.
41 Reverb & Delay 3.0s/220 ms.
70 Chorus fast
71 Chorus & Echo fast/0.1s
72 Chorus & Room fast/1.0s
73 Chorus medium
74 Chorus & Echo med/0.2s
75 Chorus & Hall med/2.0s
76 Chorus slow
77 Chorus & Echo slow/0.3s
78 Chorus & Hall slow/4.0s
42 Reverb & Delay 2.0s/155 ms.
43 Reverb & Delay 2.0s/175 ms.
44 Reverb & Delay 2.0s/200 ms.
45 Reverb & Delay 2.0s/220 ms.
09 Reverb Room 1.0 sec.
10 Reverb Room 1.5 sec.
11 Reverb Room 2.0 sec.
12 Reverb Room 2.5 sec.
13 Reverb Room 3.0 sec.
14 Reverb Room 4.0 sec.
46 Echo & Hall 0.25/2.5 sec.
47 Echo & Hall 0.3/3.5 sec.
48 Echo & Hall 0.35/3.5 sec.
49 Echo & Hall 0.4/4.0sec.
50 Echo & Hall 0.5/5.0 sec.
79 Flanger fast
80 Flanger & Echo fast/0.1s
81 Flanger & Room fast/1.0s
82 Flanger medium
83 Flanger & Echo med/0.2s
84 Flanger & Room med/2.0s
85 Flanger slow
86 Flanger & Echo slow/0.3s
87 Flanger & Room slow/4.0s
51 Echo 57% F.B. 100 ms.
52 Echo 57% F.B. 125 ms.
53 Echo 57% F.B. 150 ms.
54 Echo 57% F.B. 200 ms.
55 Echo 57% F.B. 250 ms.
56 Echo 57% F.B. 300 ms.
57 Echo 57% F.B. 350 ms.
58 Echo 57% F.B. 400 ms.
59 Echo 57% F.B. 500 ms.
60 Echo 57% F.B. 650 ms.
61 Echo 57% F.B. 800 ms.
15 Reverb Plate 1.0 sec.
16 Reverb Plate 1.5 sec.
17 Reverb Plate 2.0 sec.
18 Reverb Plate 2.5 sec.
19 Reverb Plate 3.0 sec.
20 Reverb Plate 4.0 sec.
88 Tremolo fast
89 Tremolo & Room fast/1.0s
90 Tremolo medium
91 Tremolo & Hall med/2.0s
92 Tremolo slow
93 Tremolo & Hall slow/4.0s
21 Ambient 0.5 sec.
22 Ambient 0.7 sec.
23 Ambient 1.0 sec.
24 Ambient 1.3 sec.
25 Ambient 1.6 sec.
62 Single Delay 50 ms.
63 Single Delay 100 ms.
64 Single Delay 150 ms.
65 Single Delay 200 ms.
66 Single Delay 250 ms.
67 Single Delay 300 ms.
68 Single Delay 400 ms.
69 Single Delay 500 ms.
94 Wah Wah fast
95 Wah Wah & Room fast/1.0s
96 Wah Wah medium
97 Wah Wah & Hall med/2.0s
98 Wah Wah slow
99 Wah Wah & Hall slow/4.0s
26 Gated Rwverb 75 ms.
27 Gated Rwverb 100 ms.
28 Gated Rwverb 125 ms.
29 Gated Rwverb 150 ms.
30 Gated Rwverb 200 ms.
31 Gated Rwverb 300 ms.
Chrous, Fanger, Wah-W ah s p e e d d e f i n i t o n :
Slow:0.5Hz/Medium:2.5Hz/Fast:5Hz
T r e m o l o s p e e d d e f in i t i o n :
Slow:1.66Hz/Medium:2.5Hz / F a s t : 5 H z
Presets written in “I t a l i c s t y l e ”, dehines
Modulation effects in combination with
Reverberation or echo effects.
32 Reverse Rwverb 75 ms.
33 Reverse Rwverb 100 ms.
34 Reverse Rwverb 125 ms.
35 Reverse Rwverb 150 ms.
36 Reverse Rwverb 200 ms.
37 Reverse Rwverb 300 ms.
KARAOKE 1 : 38 –41
KARAOKE 2 : 42 –45
KARAOKE 3 : 51 –61

- 12 -
EAR PANEL
1. SUB Group Output Jack
Provides the group outputs on 1/4" jacks at line
level. Suitable for connection to unbalanced devices.
2. Mono Master
The Mono Master output is a sum of the left
and right mix buses, buffered with its own
electronically balanced output amplifiers.
Like the right main mix and left main mix, the
Mono Master output appears on a male XLR type
connector near the center of the rear panel.
3. Subwoofer switch
The VX mixer has an integrated mono summing
75Hz 3rd-order Low Pass Filter.
4. Main Outputs: XLR Jacks.
These are male XLR-type connectors, designed to
mate with a standard mic cable.
The Right and Left main outputs are electronically
balanced, with Pin1 connected to ground, Pin2 to
signal "Hot"(or "High" or "+") and Pin3 to signal
"Cold"(or "Low" or "-"). With the master fader at
untie, nominal output level is +4dBu.
5. Main Outputs: 1/4" Jacks.
These jacks carry the same signals as the Right
and Left main mix connectors. Main outputs
L and R are impedance balanced ¼″TRS(tip-ring-
sleeve) phone jacks with ground wired to sleeve,
signal "hot"(or "high" or "+") to the tip and signal
"cold"(or "low" or "-") wired to the ring.
You can connect either balanced or unbalanced
inputs to these outputs nominal level is 0dBu
6. Main Insert L&R
Allows the insertion of a signal processing device
into the signal path of the Left and Right Master
outputs. The insert jack sends one signal to the
processing device and inserts the returned signal
back into the Left and Right Master signal paths.
The insert jacks require the use a special "Y" cable
with a Tip/Ring/Sleeve plug on the mixer end.
7. Phantom Power Switch.
Enables the 48V Phantom Power system for use
with condenser microphones requiring an external
power source.
8. Power Switch.
With this switch on, and adequate AC power
Dapplied, the power indicator(17) should light. If it
does not, turn the power off and re-check the
power connection before proceeding.
9. AC Input/Fuse Holder.
Standard IEC-type power cord connection with
integral mains fuse holder, equipped with 1A 250V
fast-blow fuse for AC input 120V; Other country
are 500mA, 250V Time-Lag fuse for AC input
220-240V.
W A R N I N G : Replace fuse ONLY with
same-type fuse as listed. Failure to do so can
result in fire or electrical shock hazard.
10. Channel Direct Output
This provides an ideal source for external
processing unit, or directly sent to the tape
machine or hard disk recorder for multi-track
recording.(VX1443-FDR only)
4. Panel Descriptions
~AC INPUT

- 13 -
CONNECTORS
Your mixers uses several types of input and output
connectors.
1. XLR Mic Input.
Electronically balanced inputs accept a standard XLR
male connector. Pin1=ground, pin2=hot or positive(+)
and pin3=cold or negative(-) (see figure 1).
These connectors should be utilized for low impedance
microphones. If you are using a high impedance
microphone, it will likely have a cord with a 1/4"
connector on it. In this case, it would be appropriate
to plug such microphones into a line input, however
performance, and gain may be lessened. For best
performance. We recommend you invest in one of the
many higher quality, law impedance an impedance
matching transformer from your dealer.
2. 1/4″Phone Input Jacks
These tip/sleeve jacks accept an unbalanced line
level signal using a normal male phone plug.
(See Figure 1.)
3. XLR Output jacks
Electronically balanced outputs accept a standard
XLR female connector. Pin1=ground, pin2=hot or
positive (+) and pin3=cold or negative (-)
(See Figure 1).
4. 1/4″Phone Stereo Jacks
The 1/4″phone stereo jacks are 1/4″three conductor
jacks. 1/4″Tip is send Ring is return and sleeve is
ground.
5. RCA Phone Jacks
The RCA jacks accept unbalanced male pin
connectors.
Figure-1
a. Female Combination Connector
b. Unbalanced 1/4'' Connector
c. Male Three Pin Connector
d. Balanced 1/4'' Stereo Connector
e. RCA Jack.
5. Connecting Your System

- 14 -
CARE AND MAINTENANCE
Your Quality Series Mixer is built to provide
years of dependable service under demanding
circumstances. It requires no internal maintenance
but a common sense approach to its use will help
you enjoy long and reliable operation.
Here are some tips:
1. Power Requirements
Your powered mixer is capable of 110-120V AC or
220-240 VAC operation allowing world-wide usage.
it is pre-wired at the factory for the correct voltage
in your country. It is possible to change the mains
voltage but it is an internal operation that can only
be performed by an experienced technician. Contact
your dealer or service center for more information.
2. Periodic Cleaning
Keep the unit clean by wiping frequently with a
damp, soft cloth. Use a mild detergent cleaner if
necessary, Applied to the cloth, but not directly to
the mixer. Do not use solvents or the other
chemicals to clean the unit. A large (dry) paint
brush is useful to remove cumulated dust from
between the many control knobs on the mixer. If
you accidentally spill liquid onto or into the unit,
disconnect the power cord and allow the unit to dry
thoroughly before attempting to use it.
3. Connecting Cables
Use only high quality connecting cables with your
Quality Series Mixer . Faulty or suspicious cables
should be replaced to avoid possible deterioration of
your sound quality.
4. Connections
Check cable connections frequently, If you move
your equipment often, check input and output jack
condition to be sure they have not sustained any
transportation damage, In temporary installations,
Such as live performances, check all cable
connections before each performance In permanent
installations, verify the operation of all cables and
connections often It is much easier to dead with a
poor cable or connection before a performance or
recording session than during it.
6. Operating Your System

- 15 -
SOUND REINFORCEMENT
The VX2043-FDR was definitely designed with sound
reinforcement in mind. Figured out where we came
up with the mane yet?
Here in system hookup we'll give you the basic
plan and some specific ideas for connecting the
VX2043-FDR for sound reinforcement.
Take a look at the diagrams starting on page 16.
They represent the most common "generic" typical
VX2043-FDR hook-ups.
In general, sound reinforcement connections follow
this pattern:
*Microphones, wireless mics, electronic
instruments and other sources are connected to the
Mic or Line inputs on the VX2043FDR top panel.
*Main speaker(house) amplifiers are connected to
the Left and Right Master jacks (or sometimes the
Mono Master jack).
*Monitor or other speaker amplifier inputs are
connected to Monitor Sends 1, 2.
*Reverb and delay device inputs are connected to
EFX Sends 1, 2.
*Reverb and delay device outputs are connected
to Stereo Aux Returns.
*Tape recorders are connected to the Tape In
and Tape Out jacks.
Take a little time to set everything up sensibly.
It's good to group your inputs and submix buses
by instruments, stage position or whatever else
suits you. Try to keep the drum mics next to each
other, the vocals together and so on. Label your
cables, color-code your windscreens, lay tape
(to write on) across the bottom of the faders, make
a cheat sheet, give yourself a break. It can be
confusing enough mixing a big production without
wondering which channel is which.
Frankly, it's impossible to predict, describe and
diagram all of the possible connection schemes that
are possible with the VX2043FDR. Its flexibility is
limited only by your ingenuity.
However, we've taken a stab at taking you through
a few typical set-ups: Live band set up,
Church installation and 8-Track Recording.
We also threw in dedicated monitor mixer and
audio/video configuration.
LIVE BAND SET UP
Here's the situation: you've got a four-piece band
with drums, bass, guitar and keyboards. Three of
the band members sing. They want mono mains,
two monitor feeds (the drummer has his own
wireless in-the-ear setup), a recording of the
performance and a few other tricks.
This is how we'll set it up.
(Please refer to the graphic on page 16)
There will be eight drum microphones: kick,
snare, hi-hat, three tom mics and two overheads.
We will bring the bass in on two channels: one
will be a mic on the bass amp, the other direct
injection from a direct box on the stage.
The guitar will also have two feeds: one a mic
on the amp, the other from a direct output on the
guitar amp head. Plus, the guitarist wants an
additional mic ready for his acoustic 12-string
guitar. Each of the three vocalists will have one
microphone, plus there will be a wireless mic for
the keyboardist.
The keyboards include an acoustic piano with
two mics under the lid, and a stack of synthesizers
which the keyboard player is submixing at the
stage on a VX2043-FDR. He will provide you with a
stereo line-level feed.
You've also got a stereo compressor, an outboard
parametric EQ, two digital reverb/delay effects units
and two noise gates.
The drums, bass, guitar and vocals each are
submixed. This allows you to set a good balance
between the mics and then simply move the whole
section up and down with one fader (the submix
fader). Push the L/R Assign button on each submix
strip and leave the Pan straight up.
This is a mono mix.
The keyboard inputs, which are pretty much
pre-mixed before they come to you, are assigned
directly to the left and right buses.
Carefully raise the Main Mix fader until you
have the overall level that you desire in the main
house speakers. You can now start mixing with the
channel faders and submix faders.
Use the Aux1 controls on the channel strips to
develop a mix for the stage monitor speakers.
Use the Aux2 controls for the drummer's custom
mix.
Use the EFX1 through 2 controls on the channel
strips to develop effects for both the monitors and
the main house speakers.
The Aux EFX1 feeds effects unit 1, which is
then returned to Stereo Aux Return1.
Use the effects to monitor control 1 to bring effects
to monitor 1! If you want to this same effect to the
main house speakers, you can independently adjust
the Aux Return1 control.
Use Aux EFX2 on channels 1-16 to set up
house effects mixes. These effects are
returned through stereo channels 17-20 and can be
routed to the subgroups of mains by engaging the
bus assignment switches on these channels.
You can also route these to monitor sends using
Aux1 controls on channels 17-20
7 . S y s t e m H o o k u p D i a g r a m s

- 16 -
R E C O R D I N G
The VX2043-FDR is a great recording and mixing
console for a four-or eight-track project studio.
Below you'll find the basic plan for connecting
the VX2043-FDR for recording and some specific ideas
for multi track sessions in Tracking on An
Eight-Track.
In general, recording connections follow this
pattern:
* Microphones, electronic instruments, four- or
eight-track tape playback tracks and other sources
are connected to the Mic or Line inputs on the
VX2043-FDR rear panel.
* Four- or eight-track recorder inputs are
connected to the Sub Out jacks.
* Two-track mixdown recorder inputs are
connected to the Left and Right Master jacks.
* Two-track recorder outputs are connected to the
Tape In L and R jacks.
* Musician headphone cue amplifier inputs are
connected to Aux Sends 1, 2,
* Reverb and delay device inputs are connected to
EFX Sends 1, 2.
* Reverb and delay device outputs are connected
to Stereo Aux Returns 1, 2, L/R to spare line
inputs.
As mentioned in the sound reinforcement section,
take a little time to set everything up sensibly.
It's good to group your inputs and submix buses
by instruments, stereo mix positions or whatever
else suits you. Try to keep the drum mics next to
each other, the vocals together and so on. Label
your cables, number your auxiliary devices right on
the front panels, lay tape(to write on) across the
bottom of the faders, make a track log, give
yourself a break. It can be confusing enough
mixing a complicated song without wondering
which channel is which.
7 . S y s t e m H o o k u p D i a g r a m s

- 17 -
Monitor Set Up
7 . S y s t e m H o o k u p D i a g r a m s
Headphones
VFX-299
4-Track Recorder
Left Speaker
Left Speaker
Stereo Compressor/Limiter
keyboard keyboard
EFFECT
MIC 1
MIC 2
Studio Monitors
V-3.5M
Monitor AMP Stage Monitor
VS-15

- 18 -
A ud i o / Vi d e o S e t up
7 . S y s t e m H o o k u p D i a g r a m s
Headphones
V-6
V-3.5M
V-3.5M
Monitor AMP Stage Monitor
V-3.5M
V-3.5M
Monitor AMP Stage Monitor
VQ-15N

19
8. Block Diagram

20
9. Specifications
MODEL VX1443-FDR / 2043-F D R
Inputs
Mono Mic/Line
Stereo Line
Tape
Aux Returns
total 1443FDR:30
2043FDR:36
10
2
2 RCA
2 Stereo
THD
0.05%
Noise
Master Fader @Unity,
CH. Gain Down
Master Fader @Unity,
CH. Gain @Unity
Signal to Noise Ratio(ref+4)
-89dBu
-86dBu
≥90dB
Outputs
Main L/R Stereo
Main Mono
Aux Sends
Monitor
Tape L/R Stereo
Sub Output
Utility Output
Phone
TRS ¼" & XLR
XLR Subwoofer Out
2 TRS ¼"
2 TRS ¼"
2 RCA
4 TRS ¼"
2 TRS ¼"
1
Crosstalk
Channel Fader Down,
Channel at Unity
Channel Muted,
Channel at Unity
-85dB
-84dB
Maximum Levels
Mic Preamp Input
All Other Inputs
Balanced Main Outputs
All Other Outputs
+ 0dBu
+20dBu
+28dBu
+20dBu
Channel strips
Aux Controls
Channel Mute
Channel Solo with Metering
LED Indicator
Bus Assign Switch
Volume Control
2+2EFX
Yes
Solo only
Peak
1-2,3-4 L-R
60mm Faders
Impedances
Mic Preamp Input
All Other Inputs(except inserts)
RCA Tape Output
All Other outputs
1.3㏀
＞10㏀
1.1㏀
120Ω
Master Section
Aux Send Control
Stereo Aux Returns
Global PFL Solo Mode
Phones Level
Faders
Built in Power Supply
2+2EFX
2
Yes
Yes
4Bus, Main L/R
Yes
Equalization
High EQ
Mid EQ
Low EQ
Low Cut Filter
4-band, fixed EQ
±15dB at 12dHz
±12dB at 100Hz-8KHz
±15dB at 80Hz
18dB/oct 75Hz
MIC preamp EIN
-128㏈
Power Requirements
50watts
Frequency Response
20㎐to 60㎑
20㎐to 100㎑
+0/-1dB
+0/-3dB
Weight
1443FDR:7.0kg(15.4ibs)
2043FDR:11㎏(24.2 lbs)
Dimension (WxHxD)mm
1443FDR:510x470x225
2043FDR:760x460x180
NOTES: (1) Sensitivity is the lowest level that will produce a full power output, or the nominal
output level when the unit is set to maximum gain.
(2) XLR connectors are balanced. Phone jacks are unbalanced.
(3) Specifications subject to change without notice.