Studiomaster Horizon 2012 User manual

HORIZON 2000 Series

In Accordance with our progressive product development, Studiomaster / Studioking
reserve the right to change features and specifications without prior notice.
27

126
Power requirements
INDEX
Introduction
Read the User Guide
Unpacking
Safety Instructions
Rack mounting kit for the Horizon.
CONTROLS & FEATURES, Front Panel
Mono input channels
Stereo input channels
Output section
Rear panel
USING YOUR HORIZON
Getting sound out of you Horizon
Setting up a microphone
Adding Effects
Using the channel compressor
Connecting stage monitors
REFERENCE
General hints and tips
Cleaning your Horizon
Loudspeaker power ratings
Ventilation
Feed Back
Sound sources
Headphones
Connector wiring
Suggested set-up diagrams
Trouble shooting
Glossary of technical terms
Warranty
Service Information
Environmental Protection
Technical specification
Block diagram
Voltage
230V Model: 220-240V ~ 50/60Hz
115V Model: 110-120V ~ 50/60Hz
Power Consumption: At idle or low power: 60W
Both amplifiers at 1/8 power*: 450Watts
Both amplifiers at 1/3power**: 900Watts
Fuse:
230V Model: T8AL 250V 20x5mm
115V Model: 15A 3AG 0.25”x 1.25”
Dimensions 2012 2020
Width mm(inches) 478(18.9) 678(26.7)
Depth mm(inches) 497(19.6) 497(19.6)
Height mm(inches) 154(6.1) 154(6.1)
19” Rack Mounting: 12 rack spaces N/A
Weight (net/shipping):
Net kg(lb) 13.4 (29.5) 15 (33)
Shipping kg(lb ) 16 (35.2) 18 (39.6)
*Equivalent to program material at full power into 4 ohm speakers with occasional clipping
*Equivalent to program material at full power into 4 ohm speakers with frequent clipping
2
2
2
2
15
15
16
16
16
16
17
18
16
27
24
23
23
23
20
20
13
13
14
14
14
2
3
3
5
7
12

Rack Mounting the Horizon.
This applies only to the 2012 model and when racked will occupy 12 rack spaces.
a).Disconnect the A.C. power cord / mainscable from the Horizon.
b).Remove both side cheeks by unscrewing the 8 Philips head screws (4 per side). Retain the side cheeks
and screws for future use.
c).Remove the rack adapters from the bag. There is left and right hand part which should be identified. There
are two groups of 3 holes in each bracket which will match the threaded holes in the side extrusion on the
Horizon. When the correct way around they will be the same length as the Horizon with no overlap.
d).Remove the 12 M3 x 8mm Philips screws from the poly bag and fit six per side in the appropriate holes.
e).Make sure all 12 screws are tight. The Horizon is now ready to be fitted to your rack.
2
25
INTRODUCTION
Thank you for purchasing this Studiomaster product. The Horizon series of powered mixers is the result of
many years development in both mixer and power amplifier design. The culmination of this effort is an easy
to use yet sophisticated product that will enhance your performance and give trouble free use for years to
come. The ergonomic and light weight design coupled with ultra reliable build quality makes the Horizon a
pleasure to work with, leaving you to concentrate on the show and not the equipment!
READ THE USER GUIDE
The Studiomaster design philosophy has always been to provide the controls and features the user needs,
reducing clutter, making operation intuitive. Despite this it is worth taking the time to read this User Guide to
familiarise yourself with the controls to get the best out of your Horizon. It also contains important safety
information as well as practical hints.
UNPACKING
Remove your Studiomaster product from its packaging and check you have the following:
Horizon Powered Mixer
Foot Switch
12V Goose Neck Lamp
Rack Mounting Kit comprising a left and right bracket and 12 M3 x 8mm Philips screws.
A.C. power cord / mains lead
Warranty Card.
Retain the packing carton in the event the product needs to be returned for service or repair, and please
complete and return your warranty card. Returning the completed warranty card does not diminish your
statutory rights in anyway.
SAFETY INSTRUCTIONS
READ THIS BEFORE YOU USE YOUR PRODUCT
1. Before connecting the A.C. power cord make sure the Horizons operating voltage is suitable for your local
supply voltage.
For supplies between 220 and 240V ensure it is a 230V model.
For supplies between 110 and 120V ensure it is a 115V model.
2. Only use the A.C. power cord / mains lead supplied with this product. Replace if it becomes damaged in any way.
3. Never operate without, or remove the safety ground (earth) from the A.C. power cord / mains lead.
4. Do not attempt to remove any screws or panels. There are no user serviceable parts inside.
5. Do not operate the unit next to heat sources such as radiators.
6. The unit should not be operated or stored near rain or moisture.
7. This equipment must not be exposed to dripping or splashing and no objects filled with liquids should be
placed on top of it.
8. Write the serial number in the box provided in the Warranty section for future reference.
9. If the unit gets damaged, has been dropped or appears to have developed a fault refer to the Service
Information section for details.
WARNING : THIS APPARATUS MUST BE EARTHED (GROUNDED)
Attenuation
Mute Switches 80dB
Channel Faders 80dB
Output Faders 90dB
Standby 100dB
Signal levels Nominal Maximum Impendence
Channel Insert 0dBu +20dB 40 ohm
Mix Insert 0dBu +20dB 40 ohm
Mix XLR output 0dBu +20dB 75 ohm
Mix2 output (stereo) 0dBu +20dBu 75 ohm
Mix2 output (mono) +6dBu +20dBu 75 ohm
Record Output - +20dB 1k ohm
Aux Sends - +20dB 75 ohm
DSP Sends - +20dB 75 ohm
Amp Insert sensitivity 0dBu - 2k ohm
Effects
Type: 24bit sampling, 8 program, variable delay.
Reverbs:
VOCAL1: Reverb with medium delay
VOCAL2: Reverb with short delay
VOCAL3: Reverb with long delay
ADT (automatic double tracking): 25mS delay with ambient reverb
S REV: Small room reverb
L REV: Large hall reverb
PLATE1: Short plate reverb
PLATE2: Medium plate reverb
Delay Mode:
Variable between 10mS to 720mS
Regen (only in Delay Mode): Variable between 10% to 90%
Muting: Individual front panel and foot switch sockets
Phantom Power
+48V switchable seperatly to mono and stereo input channels.
Power Output (RMS)
Both channels @ 1% THD, 4 ohms: 1100 Watts
Both channels @ 0.08% THD, 4 ohms: 1000 Watts
Both channels @ 1% THD, 8 ohms: 600 Watts
Cooling Variable speed 80mm fan
Connections
Mixer Inputs: Balanced XLR & Jack, unbalanced Phono
Mixer Outputs: XLR & Jack, RCAPhono
Amplifier Outputs: 4 pole industry standard connector
12V lamp socket: 3pin XLR Pin1 0V, Pin2 +12V @ 100mAMax.
USB socket: Type B, USB 2.0 compliant.

324
2
1
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
Controls & Features - Front Panel
Mic channels
1.Mic input channels
Combination 3 pin female XLR and ¼” TRS jack input socket.The Female XLR input
is suitable for use with low impedance dynamic microphones (for example the
Studiomaster KM range).Condenser microphones that require +48V can also be used
switch (68) located on the rear panel. Note: the +48V supply, if used will be is switche
in two banks: mic channels and stereo channels. Dynamic microphones can still be
used when the +48V is present but must be wired for balanced operation.Unbalanced
microphones could be damaged if connected toan input with +48V.The jack socket
input is suitable for keyboards, drum machines and other line level devices. Both inputs
can be used with balanced or unbalanced signals
2.INSERT socket
¼” jack TRS socket enabling the channel signal to be routed to an external processor
(like a vocal compressor) and returned back into the same channel. The signal to the
socket is sourced after (post) the EQ but before (pre) the fader.
3.Vocal Compressor
A studio quality compressor, derived from the Studiomaster VMS (Vocal Manage
ment System) is used to control the dynamics and give more 'body' to a vocal
performance. When switched on the compressor enters the signal chain immediately
after the Mic preamplifier & Hi Pass filter and before the EQ section.
Note: Not all Mic channels have this feature.
4.GAIN control
Adjusts the level of the incoming signal to match the operating level of the channel
for optimum signal to noise performance. The gain markings around the control are
Calibrated for the Mic input. Gain for the Line input will be 20dB lower.
5.Hi Pass filter
A steep low frequency filter that reduces microphone handling noise, stage rumble
And wind noise. Ideally it should always be active when a vocal microphone is used.
The frequency of the filter is 80Hz with a slope of 18dB/octave.
6.HI control
High frequency control providing 15dB of cut and boost at 12kHz with a peaking
response.
7.MID controls
The upper control sets the frequency the cut/boost control will influence within a
frequency range of 100Hz to 8kHz.The lower control provides 15dB of cut and boost.
8.LO control
Low frequency control providing 15dB of cut and boost at 60Hz with a peaking response.
9.DSP controls 1&2
Auxiliary sends to the on board effects processors and also to the DSP output sockets.
The signal is derived after (post) the channel fader and allows an independent mix of
each channel to the onboard effect processors. External effects processors can also
be connected using the signal available at the DSP output sockets.
TECHNICAL SPECIFICATION
Models 2012 2020
Mic channels 6 12
Stereo/mic channels 3 4
Total channel inputs 12 20
Compressors 3 4
Gain Min Max Range
10dB 56dB 48dBMic
-10db 36dB 48dBLine
Mic 8dB 56dB 48dBStereo
Line -11dB 20dB 31dBStereo
Equalization
Mic Channels +-15dB Hi 12kHz shelving, Mid 100-8kHz Q=1 peaking , Lo 80Hz shelving
Stereo Channels +-15dB Hi 12kHz shelving, Hi Mid 2.5kHz Q=0.7 shelving, Lo 45Hz shelving.
Auxiliary Sends+-15dB Hi 12kHz shelving, Mid 2.5kHz Q=0.7 shelving, Lo 60Hz shelving
Graphic +-9dB 63, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz, Q=1.7
Filters
Hi Pass Filter (all channels): 80Hz@18dB/oct
Notch Filter: 100Hz 7kHz, -9dB, Q=2.4
Vocal Compressor
Threshold: -20dB
Ratio: 4:1
Attach time: 1mS
Release time: 100mS
Crossover: 100Hz, 18dB@oct
Hi pass assigned to MIX output, Lo pass assigned to MIX2 output.
Frequency Response
Inputs to MIX output +0,-1dB 12-45kHz
Amplifiers +0,-1dB 20-38kHz
Distortion
Mic input to MIX outputs: 0.025%
Amplifier input to speaker outputs 0.03%
Mic input to speaker outputs: 0.05%
Noise 20-20kHz
Mic EIN, A-weighted -130dBu
Signal to Noise ratio, A-weighted,
Mic to Speaker output: 93dB
Mix outputs Residule, Un-weighted -104dBu
Mix faders at 0dB, Un-weighted -82dBu

23 4
2
1
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
In the up, PRE fader position, the signal to the AUX controls 1&2(11) is before (or pre)
the channel fader (17). Any movement of the fader will not change the signal level to
the AUX controls. This is useful when connected to stage monitors as the volume will
remain the same whatever the fader position.
In the down position the signal to the AUX controls 1&2 is sourced after (or post) the
channel fader (17). Any movement of the channel fader will also change the signal to
the AUX controls. This is useful when routing the AUX output(s) to additional external
effects processors as the blend of processed (wet) signal stays proportional to the
untreated (dry) signal, irrespective of the fader position.
Auxiliary sends from the channel primarily used to create an independent mix for
use in a stage monitoring system but could also be used when additional effects
are required. See PRE / POST fader switch (10) for each option.
Varies the signal to the L-R MIX output and the left & right speaker outputs. In the
centre position the signal equal on both left & right outputs
When pressed the signal from the channel is turned off or muted. However, the signal
to the PFL switch is available so channels can still be monitored. It is good practice
to mute all unused channels to prevent unwanted signals or noise appearing at any
of the outputs. The red LED illuminates to indicate the channel is muted.
When pressed the channel signal will be shown on the Mix bargraph display and can
be heard at the headphone output. The source of this signal is after the channel EQ
& Insert return socket but before the fader and mute switch. This is useful for setting
the signal level in a channel before 'going live'.The yellow LED illuminates to indicate
when the PFL switch has been pressed.
The red LED indicates when signal peaks in the channel are approaching maximum
level and consequently a distorted sound. Pressing the PFL button will confirm this
on the MIX bargraph. Adjust the channel GAIN (4) control to reduce the signal to a
more suitable level.
The green LED indicates when a signal is present in the channel. Depending on the
type of signal, the LED may flicker or remain constantly illuminated.
Controls the signal level from the channel to the L-R MIX faders, MIX output and hence
to the Amplifier speaker outputs. It also controls the signal level to DSP 1&2 controls and,
when Pre/Post fader switch (10) is in, AUX 1&2 controls.
10.PRE / POST fader switch
11.AUX controls 1&2
12.PAN control
13.MUTE switch
14.PFL button
15.PEAK led
16.SIG led
17.Channel fader
TS Tip, Sleeve. 1/4" two pole jack plug. Often referred to as a mono jack (or phone jack ). Used for
unbalanced signals.
UNBALANCED Two wire connection using one signal and one screen conductor.
XLR An industry standard connector used for audio signals (usually 3 pin). They are used for low level
signals (like microphones) and line level signals.
WARRANTY
The Manufacturer warrants all Studiomaster products to be free from defects in materials and workmanship
for a period of one year from date of purchase. The Manufacturer reserves the right to the final decision
on all warranty claims.
Exclusions to Warranty Cover
Damage caused by accident, misuse, improper installation or neglect.
Damage caused by repair, modification or service by persons not authorised by Studiomaster.
Products on which the serial number has been defaced, altered or removed.
Who is Protected
This warranty is enforceable by the original purchaser and any subsequent owner(s) during the warranty
period, providing a copy of the original sales receipt is submitted whenever a warranty service is required.
It is recommended that you complete and mail the Warranty Registration Card supplied with your product.
For your reference in the event of a warranty or service repair, please complete the following information
and attach a copy of your original sales receipt.
Model :
Serial Number :
Purchase Date :
Purchased From :
Note : THIS WARRANTY DOES NOT AFFECT YOUR STATUTORY RIGHTS
SERVICE INFORMATION
If you have a problem with your Studiomaster product or think it has developed a fault you should first
carefully check the Trouble Shooting section inthis guide. If thisdoes not solve the problem orif the
product is physically damaged, contact your local dealer or distributor for service details.
Should it be recommended you return the product to your nearest Studiomaster Service Centre you must
first contact them.
You will be asked for the product type and serial number. You will then be given a Returns Authorisation
(RA) number.
Pack the unit in its original carton to protect it from shipping damage.
You must have the Returns Authorisation number clearly marked on the outside of the carton or we may
refuse the delivery.
Studiomaster cannot be held responsible for damage resulting from the equipment being packed incorrectly.
Label the equipment clearly with your name and address and include a clear description of the fault. The
more information you supply helps the service engineer, minimising repair cost when out of warranty.
Important: No liability will be accepted by Studiomaster for any transit damage to units not returned in their
original packing, for warranty repairs or otherwise.
Environmental Protection
To avoid environmental and health problems due to hazardous substances in electrical and electronic
products, appliances marked with this symbol must not be disposed of with unsorted municipal waste
but recovered, reused or recycled.

Stereo input channels
Note: although primarily used for stereo line level signals, a Mic input is included for
maximum flexibility. Both Line and Mic inputs can be used simultaneously.
INSERT (SEND/RETURN) A TRS jack that is both a send and a return. These allow an individual signal to
be sent outof the consoleto be processedand then returnedto the console.Inserts may alsobe fitted to
the main outputs or sub groups for overall mix or sub mix processing. Inserts are generally used for dynamics
treatment such as compressors and noise gates as the whole of the signal is processed.
22
5
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
3 pin Female XLR input is suitable for use with low impedance dynamic microphones
(for example the Studiomaster KM range). Condenser microphones that require +48V
can also be used switch (68) located on the rear panel. Note: the +48V supply, if used
will be is switched in two banks: mic channels and stereo channels. Dynamic
microphones can still be used when the +48V is present but must be wired for balanced
operation. Unbalanced microphones could be damaged if connected to an input with +48V.
¼” jack TRS inputs suitable for balanced/ unbalanced line level signals. If only the L/MONO
input is used the signal automatically routes to both the left and right outputs.
on the last Stereo channel (adjacent to the output section) the USB signal can be available
on these jack inputs. This is accomplished by selecting CH rather than P/BACK on the USB
INPUT switch (56). This is useful if your backing track is playing back from your computer
and you want to add EQ and effects etc.
20.GAIN control - Mic input
Adjusts the level of the incoming signal to match the operating level of the channel for
optimum signal to noise performance.
21.Hi Pass filter
A steep low frequency filter that reduces microphone handling noise, stage rumble and
wind noise. Ideally it should always be switched on when a vocal microphone is used.
The frequency of the filter is 80Hz and with a slope of 18dB/octave.
Note: This filter only operates on the Mic input.
22.Gain control - Stereo Line input
Adjusts the level of the incoming signal to match the operating level of the channel for
optimum signal to noise performance.
23.HI control
High frequency control providing 15dB of cut and boost 12kHz with a shelving response.
24.MID controls
Mid frequency control providing 15dB of cut and boost at 2.5kHz with a peaking response.
25.LO control
Low frequency control providing 15dB of cut and boost at 45Hz with a shelving response.
26.DSP controls 1&2
Auxiliary sends to the on board effects processors and also to the DSP output sockets.
The signal is derived after (post) the channel fader and allows an independent mix of each
channel to the onboard effect processors. External effects processors can also be connected
using the signal available at the DSP output sockets.
27.PRE / POST fader switch
In the up, PRE fader position, the signal to the AUX controls 1&2(28) is before (or pre) the
channel fader (34). Any movement of the fader will not change the signal level to the AUX
controls. This is useful when connected to stage monitors asthe volume will remain the
same whatever the fader position.
18.Mic input
19.Line inputs
KILOHERTZ (kHz) A measurement of frequency. 1000 Hertz = 1kHz (1000 cycles per second).
LEVEL The size of a signal, at any given point, in an audio system.
LINE LEVEL A signal level higher than microphone level used to interconnect equipment. A typical level of
semi pro equipment is -10dBV while pro equipment is usually +4dBu and often balanced. Typical line levels
can be from 100mV to 4V (-15 to +15dBu).
MONO Single channel sound reproduction (short for monaural).
MONITOR The speakers used by the performers or operator to hear signals in a recording studio or on-stage.
Also used in live sound as an alternative name for FOLDBACK.
NOISE Any sound you didn't want (hiss, hum etc).
OHM A unit of electrical resistance. 1000 Ohms = 1kOhm
PFL Pre fade listen. Button that allows the operator to monitor signals within the console before they are
included in the main mix.
RESISTANCE A measure of the ratio of Voltage and Current in a circuit or component. Resistance
(Ohms) = Voltage/Current.
REVERB Reverberation. Aseries of very closely spaced echoes which ring on after the original sound has
finished. Probably the most widely used effect in modern recorded music. Clap your hands in a room and
listen to the way the sound fades away, that is reverberation. Reverb as an effect is generally reproduced
by electronic devices.
Churches and concert halls are often specifically designed to be highly reverberant to enhance the type of
music usually performed there.
RMS Root Mean Square. The method normally used to measure AC Voltages.
SCREEN The interference suppressing outer conductor in mic and line cables.
SEND The connectors or controls used to send a signal, connected externally to a mixing console.
SIGNAL TO NOISE The ratio used to describe the relationship between the level of a signal and the
background noise that accompanies it.
SOLO The facility to be able tohear an individual or group of signals inisolation. Solo in Place (SIP) allows
the signals to be heard in their stereo position, often with any effects which have been added.
SPL Sound Pressure Level.
STEREO Two channel sound reproduction where the twosignals are sent to separate left and rightspeaker
systems.
SWEEP EQ An Eq systemwhich allows the centrefrequency of the cutand boost control tobe adjusted
over a wide range to achieve the most effective results.
TRS Tip, Ring, Sleeve. 1/4" three pole jack plug. Often referred to as a stereo jack plug (or phone jack). Used
for balanced line signals, insert (send/return) points and stereo headphones.

In the down position the signal to the AUX controls 1&2 is sourced after (or post) the channel
fader (34). Any movement of the channel fader will also change the signal to the AUX controls.
This is useful when routing the AUX output(s) to additional external effects processors as
the blend of processed (wet) signal stays proportional to the untreated (dry) signal,
irrespective of the fader position.
6
21
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
28.AUX controls 1&2
Auxiliary sends from the channel primarily used to create an independent mix for use in
a stage monitoring system but could also be used when additional effects are required.
See PRE / POST fader switch (27) switch for each option.
29.BAL control
Varies the signal to the L-R MIX output and the left & right speaker outputs. In the centre
position the signal equal on both left & right outputs
30.MUTE switch
When pressed the signal from the channel is turned off or muted. However, the signal to
the PFL switch is available so channels can still be monitored. It is good practice to mute
all unused channels to prevent unwanted signals or noise appearing at any of the outputs.
The red LED illuminates to indicate the channel is muted.
31.PFL button
When pressed the channel signal will be displayed on the Mix bargraph display and can be
heard at the headphone output. The source of this signal is after the channel EQ but before
the fader and mute switch. This is useful for setting the signal level in a channel before
'going live'.
The yellow LED illuminates to indicate when the PFL switch has been pressed.
32.PEAK led
The red LED indicates when signal peaks in the channel are approaching maximum level
and consequently a distorted sound. Pressing the PFL button will confirm this on the MIX
bargraph. Adjust the channel GAIN (20/22) control to reduce the signal to a more suitable
level.
33.SIG led
The green LED indicates when a signal is present in the channel. Depending on the type
of signal, the LED may flicker or remain constantly illuminated.
34.Channel fader
Controls the signal level from the channel to the L-R MIX faders, MIX output and hence to
the Amplifier speaker outputs. It also controls the signal level to DSP 1&2 controls and,
when Pre/Post fader switch (27) is in, AUX 1&2 controls.
dBu A standard reference voltage = 0.775V rms. Derived from the earlier dBm which was used a power
ratio in 600ohm circuits.
dBV A standard reference voltage = 1V rms.
DECIBEL (dB) A logarithmic method of measurement for acoustics and electronics. One decibel
(1/10th of a Bell) is the smallest change in loudness perceptible by the human ear, although 'trained
ears' can detect smaller changes. 0dB (acoustic) is the threshold of human hearing at mid range frequencies.
DELAY A delay is an electronic effects processor which samples a short sound and replays it back a short
time later to give an echo effect. Delays are also used in live sound to ensure that the sound from speakers
spaced apart from each other arrive at the listeners ears at the same time.
D.I.Direct Injection. Oftena small 'D.I. box' is used to send a signal directly from a guitar or bass into the
console without first putting it through an amplifier and speaker and capturing the sound with a microphone.
ECHO The effect produced when sound is reflected off hard surfaces often reproduced artificially using
electronic equipment (see DELAY).
EFFECTS (FX or DSP) SENDS Any outputs from a channel or console that can be connected to external
equipment for extra sound processing. Usually effects sends are post fade so any level changes to the main
signal also adjust the signal sent for processing.
EQUALISATION (EQ) Tone Controls
FADER Volume control, often a linear or slider type volume control.
FEEDBACK The squealing sound produced when a microphone picks up its own amplified sound from a
loudspeaker.
F.O.H. Front of House. The speaker system which is used to project the sound from the stage to the audience.
It is also used to describe the position, in front of the stage, where the main mixing console is situated.
FOLDBACK (STAGE MONITOR) Sound which is sent from the main mixing position back to the stage so
the performers can hear it. Often, with a large sound system an entirely separate foldback (or monitor)
system with a dedicated console is located on one side of the stage so the performers can communicate
easily with the operator.
GRAPHIC / GRAPHIC EQUALISER / GEQ An equaliser that uses rows of slider controls to adjust the sound.
Each of the sliders will adjust one part of the frequency spectrum giving a visual display of which areas have
been cut or boosted.
GROUND Earth
HERTZ (Hz) A measurement of frequency. 1Hz = 1 cycle per second.
HIGH (or TOP) The treble or high frequency content of a sound or the speakers (often compression drivers
attached to horns or flares) used to reproduce it.
HOT The positive phase of a signal. Usually the red wire in a screened cable.
IMPEDANCE Similar to resistance, except that impedance also reflects the effect of any inductance or
capacitance in the circuit.

720
TROUBLE SHOOTING
No Power.....
Check mains lead/A.C. power cord is connected and pushed in firmly.
Is there power at the A.C. wall outlet?
Is the Horizon switched on?
No sound.....
Is there an input signal?
Are the speakers connected?
Are the channel and output faders raised?
Is the channel MUTE or the STANDBY switch on?
One or both speakers reduce in volume for a few seconds and then returns to full volume…
One or both amplifiers are overheating. This can be caused by one of the following:
Amplifier(s) being overdriven, red 1000W LED constantly illuminated - Reduce MIX faders until the signal
only briefly flashes the red LED.
Using speakers with a final impedance less than 4ohms Check speakers for the correct impedance.
Not enough ventilation ensure the front and rear of your Horizon is not obstructed and receives a good
supply of cool air.
Glossary of technical terms
AC or a.c. Alternating current.
AC POWER SUPPLY Local electrical supply
ASSIGN To switch or route a signal to a specific signal path.
ATTENUATE To reduce or make quieter.
BALANCED Balanced 3connection circuitryis widelyused inaudio equipment from cheap dynamic
microphones to top quality studio devices. The balanced system is used as it cancels outside interference
in the connecting cables resulting in a cleaner signal.
BANDWIDTH The bandwidth is the range of frequencies that will pass through a piece of equipment.
BUSA commonconductor that carries a signal, or number of signals, through a mixing console.
CLIPPING Distortion caused by a signal exceeding the maximum level that an input can accommodate.
COLD The negative phase of a signal. Usually the black wire in a balanced cable. For an unbalanced signal
the SCREEN is used for the COLD connection.
COMPRESSOR An electronic device used to reduce the level of a sound increasing above a set threshold point.
Often used on vocals to achieve a more consistent volume level. A compressor can also be used to keep signal
levels from overloading the input of a piece of equipment.
CUEING Another word for monitoring, usually when a signal source is prepared to be played at a specific
time during a performance. It may be a sound effect for a stage production or an MP3, CD or MD track being
available to play so that the music is ready to start immediately.
dBA The most commonly used unit for measuring sound pressure levels. The 'A weighting' takes account of
the ear's varying sensitivity to different frequencies, which is most pronounced at low volumes.
55
56
47
48
57 58 59 62
60 61
65
37
36 38
39
40
41
42
43
45
44
46
35
64
49
50
51
52
53
54
63
48B
48C
48D
48E
48I
48G
48H
48A

In venues where a House PA is installed or a much larger system has been provided,you could use the amplifiers
of the Horizon to power the stage monitors.Use the AMP ASSIGN switch(39) set to A1 and A2 and connect the
MIX XLR outputs to the house PAsystem.AUX 1 and 2 can now be used to set up two separate stage monitor
mixes.Two 8 ohm monitor speaker can be used on each amplifier output.
8
19
BASS
SPEAKEN
HIGH
RANGE
SPEAKER
MIX 2 OUTPUTS
EXTERNAL AMP LIFIER
TO HOUSE
PA SYSTEM
MIX OUTPUTS
Output and Monitor Section
35.Play Back
Controls the incoming signal from the USB (56) and Play Back (57) inputs and routes the signal to the L-R
MIX faders.
36.MIX Bargraph Display.
An accurate 12 segment, two colour display giving a visual representation of signal levels. In normal use
shows the signal level after the L-R MIX faders prior to the internal amplifiers and Mix output (65) sockets.
The bargraph will automatically display the signal level from any PFL/AFL switch when pressed.
The signal displayed on the bragraph can also be heard on headphones (43).
37.AMP bargraph display
A 13 segment, three colour display giving a visual representation of the output of the internal power amplifiers.
The calibrations shown alongside the bargraph are an indication of the power output when a 4 ohm impedance
speaker load is used.
The red LED marked 1000W indicates when maximum power has been reached. It should only illuminate on
signal peaks and not remain on continuously as distortion, speaker damage or over heating of the amplifiers
may occur.
38.AMP POWER switch.
This three position switch can adjust the signal available to the internal power amplifiers and lower the power
output to the speakers. In the 100% position, full power is available. At 40% power is reduced to approximately
400W, 15% approximately 150w. This is referenced to a 4 ohm speaker load.
This can be useful in applications such as conferences, lectures etc. where full power is not required yet the Mix
faders still have a useful range for precise signal adjustment.
Caution: Due to the dynamic nature of music this feature can only be used as a guide to amplifier power output.
Only loudspeakers rated for the full output of the Horizon should be used.
39.AMP ASSIGN switch
This switch determines what signal sources feed the internal amplifiers.
L R position: This is the normal setting. The left Mix signal is routed to the left amplifier, the right Mix signal
routes to the right amplifier.
A1 L-R position: In this setting both left and right Mix signals are joined (mono'ed) and fed to the right amplifier
only. The left amplifier now receives the signal from the AUX 1 send output. An application for this could be
supplying the main PA speakers from the right amplifier and the stage monitor speakers supplied from the left
amplifier.
A1 A2 position: The left amplifier is assigned to the AUX1 output and the right amplifier assigned to the AUX2
output. This would make both the internal amplifiers dedicated for stage monitor mixes. In this situation the left
& right Mix outputs maybe routed to a House PA or maybe a larger format PA system and the AUX output used
for stage monitors.
40.POWER LED
Illuminates when the Horizon is switched on.
This is for applications requiring more power and/or more low frequency sound reinforcement.Activate the
100Hz X-OVER on the Horizon by pressing the button (45),confimed by the yellow LED illuminating,The full range
left and right speaker are connected to their respective speaker outputs on the Horizon butnow they will only
receive frequencies above 100Hz. Dedicated sub bass speaker(powered or by an additional amplifier)can be
connected using the MIX2 output which now only feeds frequencies below 100Hz.if only a single bass speaker
is used, connect to the L/MONO socket on the MIX2 output.Set up your Horizon in the usual way and adjust
the L-R MIX faders to the required volume,Slowly turn the MIX2 level control and you will hear the low
frequencies filling in the bass end of the system.
Stereo PA using additional Sub Bass Speakers
Using the Horizon for Stage Monitors

Two full range speakers are connected to the left and right speaker outputs,To use the full power capability
of the Horizon 4 ohm speakers of the correct power rating should be used.Depending on application,you
may want to adjust the AMP POWER switch to a lower setting,40% or 15% if used in small rooms or for
low level announcements/ music playback.
Suggested set-up diagrams
Compact stereo PA set up
SET the AMP ASSIGN switch (39) to the A1 L-R position,The right speaker output is connected to two 8 ohm,
speakers for the main PA, The left speaker output can be connected to two 8 ohm stage monitors with the
volume controlled from AUX 1 output,For this example if your speaker cabinets do not have linked connector
sockets,you will need a “Y” cable or splitter box to convert the single output of the Horizon into 2 speaker
sockets.
Compact Mono PA with Stage Monitors
918
41.PHANTOM POWER LEDs.
+48V phantom power issupplied to the input channels in two banks via the two switches located on the rear
panel (68). Bank 1 supplies all the mono channels and bank 2 supplies all the mic inputs onthe stereo channels.
Caution: Before switching on or off the +48V, ensure all faders are at minimum travel to prevent loud clicks or
thumps getting to speakersas it may damage them. Only usethe +48V on the channel banks that require it
(ie when using condenser microphones).
42.STANDBY switch
Mutes all input channels to the left & right MIX and also AUX 1& 2 send. This is useful at intervals/breaks
between sets as open mics or sound from performers instruments do not appear at the PA speakers or at stage
monitors. However, signals from the PLAYBACK (57) and USB (56) inputs are not muted so back ground music
can be played.The red LED illuminates when in Standby mode.
43.HEADPHONE SOCKET AND LEVEL CONTROL.
¼” TRS jack socket suitable for signal monitoring through headphones. In normal operation the signal from the
L-R MIX can be heard. If PFL or AFL switches are pressed the signal will automatically switch to that source.
This allows you to monitor any signal on the Horizon that has a PFL/AFL switch. For best results use 250-400
ohm impedance headphones, although most types can be used with varying results, 50 ohm impedance or
lower should be avoided.Any signal available at the headphones is also displayed on the L-R MIX bargraph.
44. MIX 2 LEVEL CONTROL
The rotary control adjusts the signal level at the MIX2 output. The signal is derived after the L-R MIX faders.
This means that the position of the L-R MIX faders also change the signal level at the MIX2 output.A typical
use for this control would be sending the main stereo signal to, maybe, another area or room where the volume
needs to be controlled. Or using the crossover feature (45) the MIX2 output could supply a sub bass speaker
system using additional amplifiers. The AFL switch monitors the signal after the MIX2 level control. The yellow
LED illuminates when the switch is pressed.
45.100Hz CROSSOVER.
This is a stereo 2 way crossover set at 100Hz. When activated the L-R MIX signal routes though the high pass
section so only signals above 100Hz feed the internal amplifiers. The MIX2 signal is routed through the low pass
section of the crossover so only signals below 100Hz are available at the MIX2 output.
This is the ideal way of expanding the power of the Horizon when a larger system is required. The internal amplifiers
will produce up to 1000W per channel of mid/high signals and the MIX2 output can connect to external sub bass
amplifiers/speakers of unlimited size.
The switch has an LED which illuminates when the crossover is active.
46.Left & Right MIX faders.
60mm travel faders that adjust the level of signals supplying the MIX output and both the internal amplifiers.
47.NINE BAND GRAPHIC EQUALISER (GEQ)
30mm travel faders that boost and cut signals by 9dB in the following frequency bands: 63Hz, 125Hz, 250Hz,
500Hz, 1kHz, 2kHz, 4kHz, 8kHz, 16kHz. Signals after the L & R MIX faders feed the GEQ so that level adjustments
can be made to compensate for excessive boost or cut.
Typically used for overall tone adjustment to compensate for room acoustics ornon ideal speaker positioning.
When the GEQ switch is pressed thegraphic equaliser is activated and the LEDs onthe fader shafts illuminate.

10
17
All selections of the DSP are stored even when the Horizon is powered off. However, so that no setting is lost,
wait a few seconds after the last DSP change before turning off your Horizon.
48a: PROGRAM SELECTION In reverb mode (48b) select any one of the 8 effects. The corresponding LED
illuminates to confirm selection. In delay mode (48c) adjust the delay time from 10ms to 120ms. The LEDs
show the increase/decrease of the delay time. If regen (48d) is also required (in delay mode) the LEDs shows
the amount of regen added in a range of 10-90%
48b REVERB sets the DSP to reverb mode
48c DELAY sets the DSP to delay mode
48d REGEN if in delay mode regen can also be added.
48e TO AUX 1 control- Allows the output from the DSP to feed the AUX1 bus providing effects for the on stage
monitor system.
48f TO AUX 2 control- Allows the output from the DSP to feed the AUX2 bus providing effects for the on stage
monitor system.
48g DSP ON switch turns on or off the DSP. In the on position the green LED illuminates. The DSP can also be
turned on and off via the supplied foot switch. See Foot Switch Socket (59) for more details.
48h DSP fader- feeds the output of the DSP to the L-R MIX.
49.AUX HI control
High frequency control providing 15dB of cut and boost 12kHz with a shelving response.
48.DSP controls
50.AUX MID controls
Mid frequency control providing 15dB of cut and boost at 2.5kHz with a peaking response.
51.AUX LO control
Low frequency control providing 15dB of cut and boost at 60Hz with a shelving response
52.AUX NOTCH FILTER
When active provides a 9dB of attenuation (cut) between 100Hz and 7kHz. The frequency cut is a narrow band
(notch) so has little audible affect on the sound.
This helps reduce feedback when the AUX output is used for on stage monitor systems.
The yellow LED illuminates when the filter is active.
53.AUX AFL switch.
The AFL switch monitors the signal at the AUX output. The yellow LED illuminates when the switch is pressed.
54.AUX FADER
60mm travel faders that adjust the level of signal to the AUX output.
55.12V LAMP SOCKET
Socket for use with the supplied LED goose neck lamp. Warning: Only use the goose neck lamp supplied to avoid
damage to your Horizon.
.
56.USB socket
Type B socket that is compatible with USB 2.0 standard. Two channels of digital audio can be recorded or
played back from a computer.
2
Use only good quality speaker cables with a minimum 1.0mm / 17 AWG core size for cable lengths up
2
5 metres. For longer lengths 2.5mm / 16AWG core size should be used to minimise cable losses.to

Loud speaker power ratings
To use the full power potential of the Horizon only use good quality speakers of the correct power rating and
4 ohm impedance. Budgetspeakers will be lesssensitive (not as loud)and may not cope with the high power
levels. Your dealer should be able to advise the most suitable types. If using 8 ohm speakers the power output
from the Horizon will drop by 40% so rate the speakers accordingly. The internal amplifiers of the Horizon have
clip limiter circuits which help reduce audible distortion when exceeding maximum power output. However,
damage can occur to loudspeakers if the Horizon is constantly over driven ie. If the red LEDs marked 1000W
on the AMP bargraphs are constantly illuminated.
Ventilation
The Horizon, although very efficient produces heat when used at high volume levels and uses a temperature
controlled fan to removethis heat so don't worry if warm air comes out of the cooling grille on the rear panel.
To allow the Horizon to function correctly and reliably, never place the rear of the unit closer than 100mm (4")
to a wall or object and keep the front air intake, just below the faders, free of any obstruction.
Feedback
Occurs when a microphone picks up sound from the loudspeakers connected to the Horizon and feeds it back
to the speakers - not very nice! The following points can help reduce this problem:
a).Keep microphones away from the front of the loudspeakers.
b).Don't use too much MID and HI tone control on channels used with microphones. These controls tend to
boost sounds that can cause feedback.
c).Microphone technique is important. Encourage the users to sing/talk directly into and not too far away from
the microphone.
Sound Sources
Most sound sources can be used with the Horizon although there are some exceptions:
Guitars generally have a very low signal output and not ideally suited to the jack inputs on the Horizon.
Finding it difficult to get enough volume and a good tone from the instrument is the typical problem. A guitar
pre-amplifier (DI box) should be used as it not only provides the guitarist with the right facilities but its output
will match the Horizon input perfectly.
Some microphones fitted with jack plugs may have too low a signal output. A clue to this is if the channel gain
and faders have to be set high or at maximum to get a good volume level and a hissing sound can be heard
from the loudspeakers. If this is the case the only solution is to use a better quality microphone with a balanced
wired XLR type connector.
Headphones
The best headphones to use with your Horizon are studio grade 250-400 ohm impendence types with covered
ear pad design. These give good clarity and reduce the ambient noise. Most types can be used with varying
results although 50 ohm impendence or lower should be avoided. Headphones are ideal when setting up,recording,
play back or just getting to know the controls on your Horizon.
11 16
The OUTPUT switch selects the source of the signal to be recorded. In the L-R MIX position the signal before
the MIX faders and GEQ is sent to the computer. For example, a live performance could be recorded as the
signal level is not altered by the MIX faders and not affected by the GEQ. In the DSP 1-2 position both DSP
buses can be routed to the computer. Useful for using computer based effects.
The INPUT switch selects where signals from the computer will be routed. In the P/BACK position the signal
routes to thePLAYBACK levelcontrol and on to the L-R MIX ideal forbackground music. In theCH11/12
(Horizon 2012) or CH19/20 (Horizon 2020) position the signal is routed to the adjacent stereo input channel.
This provides all the input channel facilities for playing backing tracks etc.
57.PLAYBACK input
RCA phono sockets
Connects to mp3, CD, computer devices for play back of pre-recorder material, although any line level source
can be used. The signal is routed to the PLAY BACK level control and on to the L-R MIX.
58.RECORD output
RCA phono sockets
The signal is sourced before the MIX faders and GEQ useful for example, recording a live performance as the
signal level is not altered by the MIX faders and not affected by the GEQ.
59.Foot Switch (FS) 1 & 2 sockets
¼” TS jack socket.
For the connection of an on/off latching foot switch to turn on or off DSP1 or DSP2. If only one foot switch is
connected to FS1 socket it automatically controls both DSPs. This function lets the performer turn off all effects
between songs so that clearer announcements can be made.
A suitable foot switch is supplied with the Horizon with an in built LED to indicate when the DSP is off.
60.DSP 1&2 SEND sockets
¼” TRS jack socket.
The DSP controls from each channel are mixed and then routed to the DSP effects and the output send sockets.
This is provided for the connection of external effects processors. The returning signal from the processor would
be connected to a stereo input channel.
61.AUX 1&2 SEND sockets
¼” TRS jack socket.
Aux output to feed on stage monitor systems. They can also be used to feed zones for different areas or functions
that require a different mix to the L-R MIX output.
62.AMP INSERT sockets
¼” TRS jack socket.
Insert point enabling the signal to the internal amplifiers to be routed to an external processor (such as that
required for certain speaker systems) and returned. The signal to the socket is sourced after (post) the L-R
MIX faders and the GEQ.
63.MIX2 OUTPUT sockets
¼” TRS jack socket.
Output from the MIX2 level control (44). If only the L/MONO socket is used the stereo signal is automatically
summed (mono'ed) making it suitable for, say, a single sub bass speaker system.

66.A.C. power input socket and fuse.
Use only the A.C./mains cable provided and check the product is suitable for use on your local supply.
See technical specification for fuse rating.
67.A.C. POWER switch
Turns on and off your Horizon
68.+48V PHANTOM POWER switches
Individual switches to supply +48V in two banks: mono and stereo input channels. Selection is confirmed when
LEDs (41) on the front panel Illuminate.
Caution: Before switching on or off the +48V, ensure all faders are at minimum travel to prevent loud clicks or
thumps getting to speakers as it could damage them.
Only use the +48V on the channel banks that require it (ie when using condenser microphones).
69.SPEAKER OUTPUT sockets.
For the connection of speaker cables via 2pole or 4 pole industry standard connectors.
Warning: the minimum speaker load is 4 ohms. Loads lower than this must not be used.
70.Cooling fan.
The speed of the fan is determined by the power or volume being used. When no signal or low power is used the
fan runs at minimum speed for low noise operation. Do not obstruct the fan grille.
General hints and tips.
Using the vocal compressor is a great way to add a professional edge to your performance although don't be
tempted to over compress your voice as it will sound very 'squashed' and lifeless. Also due to the way all
compressors work they do add gain to the channel. This can show up in the form of feedback so be aware of
the speaker positions to your microphone.
The DSP effectsbuilt into the Horizonhave been developed byStudiomaster over a number ofyears as the
most suitable for live vocals. Generally most users find VOCAL1 the best all round setting as it combines a
quality reverb with a delay giving a big effect. Keep it subtle by not adding too much of the effect as swamping
your voice with reverb will not only make it sound distant but also lose some of its character.
You may have noticed following the setting up of each channel that we set the fader to the '0' position each time.
This is for a reference point and in use you will choose to position the channel faders to achieve the best blend
or mix of the different inputs.
The NOTCH FILTER although a very effective tool should be used alongside all the other feedback reduction
techniques such as monitor speaker placement, working volume levels, microphone placement & type etc.
Always position the PA speakers in front of any microphones. This will help achieve a high volume level before
feedback problems occur.
A common problem when setting up a PA is the vocal mic(s) picking up not only your voice but other sound sources
on the stage like drums, guitars etc. A uni-directional mic, such as the Studiomaster KM range, picks up the majority
of sound from the front, much less from the sides and very little from the rear. This gives better isolation from
sounds either side of the performer and good sound rejection when using monitor speakers. The vocalist should
avoid standing in a position with loud sound sources directly behind them, such as a drum kit, as it will be difficult
to avoid picking up this sound along with their vocal.
When setting up the mix, concentrate on getting a clear vocal sound which is above the level of the backing
instruments. Avoid the singer 'competing' with the other instruments or backing track otherwise clarity will
suffer and the singer will have to work a lot harder to be heard.
The AMP POWER switch in normal use would be set to 100% so you can set the volume level to the performance
requirement. The Horizon contains two heavy duty amplifiers that can be driven continuously at maximum
output ie. the red 1000W LEDs on the AMP bargraphs briefly flashing. However, when working at lower volume
levels, the L-R MIX faders will appear very sensitive as small adjustments will increase the volume levels
significantly. By setting the AMP POWER switch to a lower level 40% or 15% you will find the MIX faders are
much easier to make subtle volume changes.
Cleaning your Horizon
Switch off your Horizon and remove the A.C. power cord / mains lead.
Wipe the external surfaces with a damp cloth.
Visually check the fan grille on the rear panel and the air intake below the faders for dust and dirt build up.
If build up has occurred or they appear blocked, use a vacuum cleaner with suitable nozzle to remove.
Keep all connectors and sockets dry and do not use harsh or abrasive cleaning agents and solvents
12
15
64.INSERT L-R sockets
¼” TRS jack socket.
Insert point enabling the signal to the L-R MIX output and the internal amplifiers to be routed to an external
processor (such as a program limiter, 1/3 octave graphic equaliser) and returned. The signal to the socket is
sourced after (post) the L-R MIX faders and the GEQ.
65.L-R MIX OUTPUT
3 pin Male XLR
MIX output providing connection to additional amplifiers or for zoning to powered speakers.
The signal is compatible with balanced or unbalanced connections.
66 67 68 70 69

Connect suitable speakers and connect the mains lead/A.C. power cord to an appropriate power outlet.
We now need a signal source and for this exercise an mp3 or CD player with suitable leads should be used.
Connect it toa Stereo input channel using the L/MONO andR sockets. Switchon the Horizon using the
POWER switch (67) located on the rear panel which will be confirmed by the POWER LED (40) illuminating.
Switch on the signal source and press theselected channel PFL button. You may see the MIXbargraph LEDs
start flickering. Turning the LINE GAIN control (22) slowly clockwise will increase the number of bargraph LEDs
illuminating. The bargraph is calibrated in dB(decibels) so as areference aim to get thepeaks of the music
illuminating LEDs between the 6 and 12dB segments. This has now set the gain of the Stereo channel for optimum
signal to noise ratio and the PFL button can be switched off.
Raise the Stereo channel fader to the '0' position. Slowly move the L-R MIX faders and sound will be heard
through the speakers. Spend a few minutes getting familiar with the controls by trying the following: Turn the
BAL control to the left and then right and you will hear the sound move from the left speaker to the right. Slowly
turn the EQ controls (23,24,25) and you will hear noticeable changes in the different frequency bands. Now
switch in the Graphic Equaliser (44) and move the various slider controls to hear the subtly different tonal changes
in the sound.
Setting up a microphone
That is the basic set up completed to playback recorded music so let's move on to a microphone channel. Before
starting, lower the L-R MIX faders to the minimum position. Connect a microphone to channel 1 XLR input. If it
is a condenser microphone switch on the mic channel +48V switch (68). Switch onthe channel PFL button so
that the signal can be visually monitored on the MIX bargraph. Talk or sing into the microphone and slowly turn
the GAIN control until the SIG LED (16) illuminates and the bargraph peaks around the 6dB to 12dB segments
if the PEAK LED (15) is also fully illuminated reduce the GAIN slightly. Raise the Channel fader to the '0' position
and slowly raise the L-R MIX faders to the required volume level. Like the Stereo channel set up you may want
to take some timeto hear the differenttone adjustments that the EQsection (6,7,8) can offer. Note that ifa lot
of boost is added to the EQ you will see the bargraph level increase, possibly to the 15dB segment. To compensate
for this carefully turn the GAIN control anticlockwise until the signal falls to the 6dB to 12dB segments again.
Like wise if you cut the EQ controls you will see the bargraph level fall so turning the GAIN clockwise will compensate
for this. Experimentation is recommended!
Getting sound out of your Horizon
Before starting make sure controls are set to the following positions. This is to avoid the sound/signal not
appearing where it should!
All front panel switches in the 'up' position.
Level controls (red, orange, blue colour) fully anticlockwise
EQ, Pan & Bal controls (white) central.
All faders are down.
The Amp Assign switch (39) should be set to the top, L & R position.
Finally the AMP POWER switch set to 15%
Adding Effects
With a mic channel setup for a vocal the next stage is to add an effect to enhance the voice. Turn the orange
control labelled DSP1 on the channel being used so the pointer is at the 3 O'clock position. Now we need to
set up the DSP1 controls, first with a reverb sound effect. Turn the PROGRAM SELECTION (48a) so that the
VOCAL1 LED illuminates. Press the REVERB button (48b) and then DSP1 ON button (48g) both confirmed
with their adjacent LED illuminating. Talk or sing again and slowly raise the DSP1 fader (48h) until you can
hear the effect. Turning the PROGRAM SELECTION control will step through all 8 programs to help you find
one that suits your voice the best. Now try a delay by pressing the delay button (48c). The PROGRAM SELECTION
control now adjusts the delay length by turning it clockwise to increase the delay and anticlockwise to shorten it.
Raising the DSP1 fader to the top of its travel will let you hear the repeats of the delay very distinctively. Finally
if you want to add more repeats to the delay effect press the REGEN button (48d). Again the PROGRAM SELECTION
CONTROL, in this mode, will increase or decrease the number of repeats. Like all effects, it is worth taking
time to listen to all the combinations and decide what suits your voice or the material being sung. DSP2 is
identical to DSP1 and will be set up in the same way. Now you have a music channel and a mic channel set
up you could sing to a backing track or Karaoke CD to get familiar with your Horizon. Other input channels
can be set up for vocals, instruments, samples etc in exactly the same way.
Using the channel compressor
There is one more important feature that is a must in any live vocal performance and that it the VMS vocal
compressor (3). The humanvoice changes immensely involume when singing and a compressor helps
even this levelout by increasing thevolume of quiet partsand reducing the volumeof the loud parts. The
result is a more even sound that is not as thin as the uncompressed voice resulting in a more professional
performance. To set up the compressor return tothe input channel beingused and press the PFL button.
This is so that thesignal level can be monitored on the MIX barograph. This is also agood opportunity to
connect a set of headphones so that you can clearly hear the results. Push the button located in the compressor
section to the ON position. Sing the loudest part of a song and adjust the channel GAIN control so that the
first 2-3 LEDs, marked Gain Reduction on the compressor section, flash. You can compare the voice with
and without the compressor by turning it on and off whilst singing. You will also see on the bargraphs a more
even volume with the compressor on. If you find that the sound it getting a bit squashed, reduce the GAIN
control slightly and likewise if you feel you need a little more compression, turn the GAIN control up a little.
Once you are happy with the setting, turn off the PFL button and raise the channel fader until you get to the
required volume level and add a DSP effect.
Connecting Stage Monitors
Now you are nowfamiliar with the controls required toget the input signalthrough the Horizon and outto
the loudspeakers, there may be a requirement to get sound on stage so the performers can hear themselves
too. For this we need to familiarise ourselves with the AUX (auxiliary) controls. With the inputs and faders
set up as described, have a look at the blue aux controls on each channel. Think of them as rotary versions
of the channel fader that mix all the signals from the input channels together. The only difference is that
instead of going through the L-R MIX faders and onto the loudspeakers, they exit on their own dedicated
AUX output sockets. These can be connected to an amplifier and stage monitor speakers pointed toward
the performers. Two completely individual AUXmixes can be achieved using AUX1 andAUX2 controls.
To help control and add tone to the AUX outputs a 3 band EQ (49,50,51) and an AUX NOTCH FILTER (52)
is provided. The EQis used in a similar way tothe input channel EQ butthe NOTCH FILTERcan be very
useful in reducing feedback on the stage. When increasing the volume to the monitor speakers eventually
feedback from the microphones on stage will start. Press the ACTIVE button to activate the NOTCH FILTER
and slowly turn the filter control until the feedback is eliminated.
13 14
Using your HORIZON
Refer to connector wiring section for cable type and pin wiring, page 17.