Studiomaster PAX10+ User manual

USER
GUIDE
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1Introduction
1Read the User Guide
1Unpacking
2Safety Instructions
3Controls & Features - PAX10+
3Controls & Features - PX10+
4Controls & Features - PAX12+
6Controls & Features - PX12+
7 Applications
8Trouble Shooting
9Technical Specification
10 Warranty
11 Service Information
12 Glossary of Terms
INDEX
INDEX
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1
INTRODUCTION
Thank you for buying this Studiomaster product.
The Studiomaster PAX+ and PX+ range are compact,
powerful stage monitors designed for the working
musician. Stage or wedge monitors are an essential part
of a live performance letting the performer hear what’s
happening on a noisy stage. The PAX+ range offers ultra
clear sound quality yet takes up little room making it ideal
for large and small venues.
READ THE USER GUIDE
Despite the sophisticated design of the PAX+ and PX+
monitors, they are very easy to use. To get the best from
your new purchase, we recommend you read this User
Guide before getting down to any serious work.
It also contains important safety information as well as
practical hints.
UNPACKING
Remove your Studiomaster product from its packaging
and ensure that along with this User Guide you have an
A.C. power cord / mains lead and a warranty card.
Retain the packing carton in the eventuality that the unit
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 any way.
WARNING
THESE PRODUCTS ARE CAPABLE OF VERY HIGH
SOUND LEVELS AND PROLONGED EXPOSURE CAN
RESULT IN HEARING DAMAGE.
EXPECT THE BEST
EXPECT THE BEST
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2
1. Make Sure you have the correct product for your local
supply voltage. This will be marked on the side panel
of the PAX+ monitor.
2. Only use the A.C. power cord / mains lead supplied
with the 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 screws or panels on your
monitor. 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. Do not allow objects or liquid to enter the unit.
8. This equipment must not be exposed to dripping or
splashing and no objects filled with liquids should be
placed on top of it.
9. Write the serial number in the box provided in the
Service Information part of this manual for future
reference.
10. 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)
READ THIS BEFORE YOU USE YOUR PRODUCT
SAFETY INSTRUCTIONS
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Controls & Features - PAX10+
1. LINE input : TRS jack socket suitable for use with
balanced or un-balanced line level signals as supplied
by the outputs of mixing consoles, CD players,
keyboards.
2. LINK socket : TRS jack socket wired in parallel with
the LINE input. This facility allows the linking of the
input signal to many PAX+ powered monitors.
3. VOLUME control : Sets the overall sound level of the
monitor. Too much volume can result in a distorted
sound, feedback or hearing damage. Always turn the
VOLUME control fully anti-clockwise before turning the
power on or off.
Features - PX10+
This is an extension (unpowered) loudspeaker cabinet for the
PAX10+. Use a suitable Jack to Jack speaker grade cable to
connect to the PAX10+. The socket to power the additional
monitor is located on the side panel of the PAX10+ and marked
EXTENSION SPEAKER. To avoid damage it is recommended
that only a PX10+ passive monitor should be used with a
PAX10+ powered monitor. However, other speaker cabinets can
be used providing they have the correct power rating and are 8
ohms impedance or above.
It is also recommended that the PX10+ only be used with the
PAX10+ although it can be used with other monitor systems and
amplifiers provided its power rating is not exceeded.
EXPECT THE BEST
EXPECT THE BEST
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Controls & Features - PAX12+
1. MIC input : XLR type connector, suitable for use with
balanced dynamic microphones.
2. LINE input : TRS jack socket suitable for use with
balanced or un-balanced line level signals as supplied
by the outputs of mixing consoles, CD players,
keyboards.
3. LINK socket : TRS jack socket wired in parallel with
the LINE input. This facility allows the linking of the
input signal to many PAX+ powered monitors.
4. GAIN control : Increases or reduces the signal
connected to the MIC or LINE inputs for providing the
correct level to the internal amplifier. For high signal
levels (example : the output of a mixing console) use a
lower GAIN setting. For lower signal levels (example :
speech from a microphone) use a higher GAIN setting.
Note that if too much gain is applied the POWER /
PEAK LED will change colour from green to orange
indicating possible distortion. If this is the case, reduce
(turn anti-clockwise) the GAIN control slightly.
5. HI, MID, LO controls : Very useful for changing the
characteristics or tone of the sound. For simplicity or
for new users set these controls to the centre (12
o’clock) position, which effectively turns off or
bypasses the tone section completely.
However, to get the best out of your monitor or just
want to experiment read on
HI : Similar to the treble control on a HI-FI system can
increase or decrease sounds in the treble range.
Adding a little HI on playback (CD/MP3) can add
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brightness to the sound.
MID : This is where the PAX12+ tone controls differ
from those on a HI-FI. As the name suggests it can
increase or decrease sounds in the middle range. A
powerful control, especially on a stage monitor, it can
help ‘lift’ the vocal range through a noisy stage
environment giving clear monitoring to the singer.
LO : Again, like the tone controls on a HI-FI can
increase or decrease the sounds in the bass
frequencies. In the playback of music it helps make the
bass section more prominent. For microphones, doing
the opposite and removing a little bass can help
reduce the ‘popping’ sound often apparent when using
a microphone too close to the mouth.
For best results, try to avoid extreme control settings
as it can reduce sound quality and add to feedback
problems.
6. NOTCH FILTER and switch : When using stage
monitors the biggest problem is getting sufficient
volume without feedback. Feedback occurs when a
microphone picks up the sound from the speaker
system or monitor, amplifies it and sends it back to the
microphone. Generally, the start of feedback tends to
be at one frequency, depending on the placement and
room acoustics. The notch filter works like a tone
control but removes or cuts a narrow band of sound.
Once switched on (when the yellow LED is illuminated)
rotate the NOTCH control until you ‘find’ the feedback
frequency which should remove it completely allowing
a little more volume to be used. Note that adding too
much volume will start feedback at another frequency,
so care should be used.
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EXPECT THE BEST
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6
7. VOLUME control : Sets the overall sound level of the
monitor. Too much volume can result in a distorted
sound, feedback or hearing damage. Always turn the
VOLUME control fully anti-clockwise before turning on
or off the power.
8. POWER/PEAK LED : Normally illuminates green to
indicate the PAX12+ is switched on. However, should
too high a signal be applied by the GAIN or tone
controls, the LED will change colour to orange
indicating that distortion may occur. If this happens,
reduce the GAIN control slightly or turn down the
sound source.
Features - PX12+
This is an extension (unpowered) loudspeaker cabinet for the
PAX12+. Use a suitable Jack to Jack speaker grade cable to
connect to the PAX12+. The socket to power the additional
monitor is located on the side panel of the PAX12+ and marked
EXTENSION SPEAKER. To avoid damage it is recommended
that only a PX12+ passive monitor should be used with a
PAX12+ powered monitor. However, other speaker cabinets can
be used providing they have the correct power rating and are 8
ohms impedance or above.
It is also recommended that the PX12+ only be used with the
PAX12+ although it can be used with other monitor systems and
amplifiers provided its power rating is not exceeded.
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7
STAGE MONITOR
The primary role of the PAX+ is to provide sound monitoring for
performers on stage. The compact size and baffle angle of the
PAX+/PX+ series allows them to be used close to the performer
giving clear monitoring without excessive volume.
For singers, if only one monitor is to be used, place it in front of
the mic stand so the speaker grill is facing directly up at you. Use
microphones with a cardioid response, such as the Studiomaster
KM series, as they tend to be less sensitive to sounds behind the
microphone grill (off axis).
If a powered and passive monitor are used together for one
performer arrange them either side of the microphone stand in a
‘V’ pattern.
KEYBOARD, DRUM and REHEARSALS
PAX+ monitors do not have to be used just on the floor. By
raising them up you get a much more localized sound, thus
reducing sound spill into other microphones. The PAX12+ also
features a speaker stand adaptor adding to its flexibility. For
example a pair could be positioned each side of a drum kit
supplying a clear sound to the drummer.
SMALL PA
This applies mainly to the PAX12+ as it features a MIC input.
When placed on a stand the PAX12+ could be used as the PA at
rehearsals or even for announcements in small venues.
WHEN SHOULD I BE USING THE MONITOR
APPLICATIONS
EXPECT THE BEST
EXPECT THE BEST
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8
No Power On Led.....
Check A.C. power cord/mains lead is connected to wall
supply and switched on
Check A.C. power cord/mains lead is fully pushed into the
PAX+ side panel socket
Check the PAX+ is switched on
Check the A.C. fuse (on the side panel, inside the power
inlet connector). Always replace with the same type and
rating
UK only - Check fuse in mains plug
No sound.....
Check the signal source (from mixer, CD player etc) is
working
Check the VOLUME control is not in the minimum
(anti-clockwise) position
For the PX passive monitor, check that a suitable jack to
jack speaker lead is connected to the PAX+ powered
monitor
Distorted sound.....
Excessive volume will result in the amplifier overloading
and distorting. Reduce the volume.
The signal source is too high. Reduce at the mixing
console or other sound source.
Extreme tone control settings can overload the amplifier.
Reduce control setting by turning them toward the centre
(12 o’clock) position.
WHY IS IT NOT WORKING!
TROUBLE SHOOTING
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9
EXPECT THE BEST
EXPECT THE BEST
FACTS & FIGURES
TECHNICAL SPECIFICATION
PAX10+
Speaker 10” custom design, high output
HF Unit High frequency tweeter
Finish Black carpet covering, corner protectors, feet, handle
Power output @ 1% THD 80W @ 8 ohms, 120W @ 4 ohms (with PX10+)
Distortion (amplifier) 0.008% (80W @ 8 ohms)
MAX SPL 114dB
Input impedance 10k ohms balanced compatible
Input sensitivity -10dBu
Power supply230V model :230V +/-10%, 50/60Hz, 3.15A MAX
115V +/-10%, 50/60Hz, 6.3A MAX
Size (w x h x d) 470mm x 300mm x 365mm
Weight (net / ship) 13kg (28.6lb) / 15kg (33lb)
PX10+
Speaker 10” custom design, high output
HF Unit High frequency tweeter
Finish Black carpet covering, corner protectors, feet, handle
Power 80W @ 8 ohms MAX
Size (w x h x d) 470mm x 300mm x 365mm
Weight (net / ship) 10.5kg (23.1lb) / 12.5kg (27.5lb)
PAX12+
Speaker 12” custom design, high output
HF Unit High frequency tweeter
Finish Black carpet covering, corner protectors, feet, scoop handle
Power output @ 1% THD 120W @ 8 ohms, 150W @ 4 ohms (with PX12+)
Distortion (amplifier) 0.008% (120W @ 8 ohms)
MAX SPL 116dB
Input impedance Mic : 6k ohms balanced, Line : 33k ohms balanced
Input sensitivity Mic : -30dBu, Line : -10dBu
Equalisation Hi : 12dB @ 5kHz Q=2, Mid : 15dB @ 1.5kHz Q=0.9,
Lo : 12dB @ 90Hz Q=3.6
Notch filter -12dB @ 300Hz to 6kHz, Q=3.3, switchable with LED
Power supply 230V model :230V +/-10%, 50/60Hz, 4A MAX
115V +/-10%, 50/60Hz, 8A MAX
Size (w x h x d) 553mm x 380mm x 450mm
Weight (net / ship) 16kg (35.2lb) / 19kg (41.8lb)
PX12+
Speaker 12” custom design, high output
HF Unit High frequency tweeter
Finish Black carpet covering, corner protectors, feet, scoop handle
Power 100W @ 8 ohms MAX
Size (w x h x d) 553mm x 380mm x 450mm
Weight (net / ship) 13.3kg (29.3lb) / 16.3kg (35.9lb)
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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 or
your original sales receipt.
Model :
Serial Number :
Purchase Date :
Purchased From :
Note : THIS WARRANTY DOES NOT AFFECT YOUR
STATUTORY RIGHTS
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ARE YOU COVERED?
WARRANTY
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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 in this guide. If this does not solve the problem
or if 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.
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EXPECT THE BEST
EXPECT THE BEST
In Accordance with our progressive product development, Studiomaster / Studioking Limited
reserve the right to change features and specifications without prior notice.
HOW TO GET MY PRODUCT REPAIRED
SERVICE INFORMATION
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ASSIGN To switch or route a signal to a specific signal path.
ATTENUATE To reduce or make quieter.
AUX /AUXILIARY An additional means of sending a signal to external equipment generally
without affecting what is going on in the main mix.
BALANCE The relative level of signals.Also refers to the left / right position in a stereo
mix.
BALANCED A3 wire system for connecting audio which has 2 wires for the audio (HOT
and COLD) and a totally separate connection for the screen. Balanced
circuitry is widely used in audio equipment from inexpensive dynamic
microphones to top quality studio devices. The balanced system is used as
it cancels interference in the connecting cables resulting in a clearer signal.
BANDWIDTH Bandwidth is the range of frequencies that will pass through a piece of
equipment.Audio signals typically contain frequencies from 20Hz to 20kHz.
BUS Acommon conductor that carries a signal, or number of signals, through a
mixing console.
CLIPPING Distortion caused by a signal exceeding the maximum level that the
equipment can accommodate.
COLD The negative phase of a signal. With a simple unbalanced two wire signal
one wire is positive (HOT) and the other is negative (COLD).
COMPRESSOR An electronic device used to control the rate that the level of a sound
increases above a set threshold point.Acompressor can usually also be
used as a limiter to keep signal levels from overloading the input of a piece
of equipment.
D.I. Direct Injection. Often a small ‘D.I. box’ is used to send a signal directly from a guitar or bass
into the mixer to avoid the need for a microphone to capture the sound. It
also ensures a high quality signal into the mixer.
DECIBEL (dB) Alogarithmic ratio used to represent voltage or power gain. The reference to
which the ratio is made is usually stated. 0dB means that the input and the
output are at the same level.
DECIBEL (dBA) Alogarithmic measure of sound intensity. In this case 0dB is the lower
threshold of human hearing. 100+dBAis ‘loud’. Long term exposure to high
level sound can ultimately cause hearing damage. Normal speech, such as
in a quiet office is typically around 60dBA. 120dBAis normally quoted as the
threshold of pain.
DELAY An effect – now normally produced by digital means e.g. DDL(Digital Delay
Line) or DSP (Digital Signal Processing). The effect unit ‘samples’ the signal
and ‘replays’ it later. The delay time can be adjusted to give widely different
effects.
DETENT Asoft ‘click’ in the travel of a rotary control usually indicating the centre
point.
DRY Asignal which has not been processed by an effects unit.
ECHO The effect produced when sound is reflected off hard surfaces. Often
reproduced artificially using electronic equipment (see DELAY).
EFFECTS SENDS Any outputs from a channel or console that can be connected to external
equipment for extra sound processing. Usually effects sends are post fader
so any level changes to the main mix also affect the signal sent for
processing.
EFFECTS Any device that alters a sound. Can be anything from a simple foot pedal to
a sophisticated studio effects processor.
E.I.N. Equivalent Input Noise.Atechnical specification used to measure the noise
of a gain stage, usually the microphone preamplifier.
EQUALISATION (E.Q.) Tone controls.Also in the case of analogue tape recording and vinyl records,
frequency dependent gain used to correct limitations of the recording /
playback process.
FADER Volume control, often a linear or slider type volume control.
FEEDBACK The deafening 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 the
venue, where the main mixing console is situated.
FLAT (E.Q.) When the signal has not been adjusted using the equaliser (e.q.) controls.
FOLDBACK Sound which is sent from the main mixing position back to the stage so that
performers can hear it. Often with a large sound system a totally 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. An equaliser that uses a row 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.
HIGH PASS FILTER (HPF) Afilter that cuts only the sound below a pre-determined frequency. Usually
used where the only contribution that sound below that point will make is
rumble or hum.
HOT The positive phase of a signal. With a simple unbalanced two wire signal one
wire is positive (HOT) and the other is negative (COLD).Also a ‘hot’ signal is
a term used to indicate a signal with an unusually large level.
HERTZ (Hz) Ameasurement of frequency. 1Hz =1 cycle per second.
HEADROOM The amount of level (above the nominal operating level) that the equipment
can accommodate before distortion occurs.
IMPEDANCE Similar to resistance, but includes the effect of circuit capacitance and
inductance which affects a.c. signals like audio.
INSERT Apoint in the signal chain where external equipment can be attached or
‘inserted’.Abasic send/return on a single socket uses a cable with a t
three-pole (stereo) TRS jack split off to a pair of two-pole (mono)TS jacks,
often called a Y-cable (see Appendix for wiring details).Asignal can be sent
to the input of a processor and returned to the channel before it is routed to
the main mix. Processors connected to insert points tend to be ‘serial’
GLOSSARY OF TERMS
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devices such as graphic equalisers or compressors.
JACK PLUG (SOCKET) Probably the most widely used connector for audio signals (see TS and
TRS). ¼” (6.35mm) jacks are used for ‘professional’ applications, 3.5mm
and 2.5mm jacks are often found on ‘consumer’ equipment.
KILOHERTZ (kHz) A measurement of frequency. 1Hz = 1cycle per second, 1kHz = 1000Hz
LEVEL The size or ‘amplitude’ of a signal, at any given point, in an audio system.
LIMITER A device used to prevent the signal level exceeding a set threshold. Most
compressors can do this when their ‘ratio’ control is set to infinity
(maximum). Good quality amplifiers often incorporate internal limiters to
prevent excessive distortion (clipping) caused if they are overdriven.
LINE LEVEL A standard reference level (voltage) used to simplify the interconnection of
equipment. Typically semi pro equipment is –10dBV (100mV) whilst pro
equipment is +4dBu (1.23V) and often balanced.
Line level can be anything from 100mV to 4V (-15dBu to +15dBu).
MIDI Musical Instrument Digital Interface. An industry standard which allows
suitably equipped instruments and equipment to communicate with each
other. Often used to play a sound module from a separate keyboard or
sequencer.
MIC LEVEL The very small output level of a microphone, typically around 1-30 millivolts
(mV). A millivolt is 1/1000 of a volt.
MIC PREAMP A very high quality ‘pre-amplifier’ that increases the tiny voltage from a
microphone up to the internal operating level of the mixer.
MONO Single channel sound source reproduction (short for monaural, meaning
‘one ear’).
MONITOR Either the ability to hear signals within a console or the speakers used by
performers to hear on-stage.
NOISE Any sound you didn’t want. Usually refers to the ‘hiss’ produced by high gain
settings or poor quality equipment.
OHM ΩA unit of electrical resistance. 1000ohms = 1k ohm
(or 1000Ω= 1kΩ)
PAN The PAN control is used to set the Left / Right balance of a sound in stereo
mix. Derived from the film industry term (panorama) where a camera would
swing round to follow the action and the sound recordist had to pan the
sound to follow the camera.
PARAMETRIC A type of equalisation where the frequency and range (the ‘Q factor’) of the
control is variable in addition to the cut and boost.
PFL Pre Fade Listen. A function which allows the operator to monitor (usually on
headphones and on meters) a signal even when the channel output fader is
at its minimum level position.
PHANTOM POWER Some types of microphone, known as condenser or capacitor microphones,
need external power to operate. Although some use a battery, the majority
draw this power from the mixing console to which they are connected. A
switchable +48V supply is provided by Studiomaster consoles which covers
all types of condenser mics.
DO NOT use phantom power when working with unbalanced microphones
or any other unbalanced equipment plugged into the XLR sockets. If in
doubt check with the microphone manufacturer.
PHONES Headphones (also known as ‘cans’).
PHONO (RCA JACK) A simple, unbalanced two-pole connector used for connecting hi-fi and other
line level equipment including some multitrack recorders.
POST FADE Signal taken after (post) the fader.
PRE FADE Signal taken before (pre) the fader.
REVERB Reverberation. A series of very closely spaced echoes which continue 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
produced by electronic devices. Churches and concert halls are often
specifically designed to be highly reverberant to enhance the type of music
usually performed there.
REGEN Regeneration. The control used to increase the amount of artificial echo that
continues after a sound has finished.
RETURN The connectors and controls used to bring a signal which has been
processed externally back into the mixer.
SEND The connectors and controls used to send a signal, to be used externally, out
of the mixer.
SIGNAL TO NOISE The ratio used to describe the relationship between the level of a signal and
the background noise that accompanies it.
SHELVING The characteristic of a type of equalisation where all frequencies above (or
below) the quoted figure are unaffected.
STEREO Two channel sound reproduction where the two signals are sent to separate
left and right speaker systems.
SWEEP EQ An EQ system which allows the centre frequency of the cut and boost control
to be adjusted over a wide range to achieve the most effective result.
TRS Tip, Ring, Sleeve, ¼” three pole jack plug. Often referred to as a stereo jack
plug. Used for balanced line signals, insert (send / return) points and stereo
headphones.
TS Tip, Sleeve, ¼” two pole jack plug. Often referred to as a mono jack. Used for
unbalanced signals.
UNBALANCED Two wire connection protocol using one signal and one screen conductor.
WET A signal which has been processed using an effects processor.
XLR Extra Low Resistance connector - a three pin connector widely used for
balanced microphones. They are also used for line level balanced signals
and are sometimes used for high power amplifier speaker outputs. 4, 5, and
6 pin XLRs also exist for specialist applications.
13
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