User manual FOUR WINNS HORIZON

[. . . ] Objects have fallen onto, or liquid has spilled into the SR24·4 or SR32·4 Audio Mixer; or C. The SR24·4 or SR32·4 Audio Mixer has been exposed to rain; or D. The SR24·4 or SR32·4 Audio Mixer does not appear to operate or exhibits a marked change in performance; or E. The SR24·4 or SR32·4 Audio Mixer has been dropped, or its chassis damaged. [. . . ] 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 SR24·4. However, we've taken a stab at taking you through a few typical set-ups: Band in a Club, Church Installation and 8-Track Recording. We also threw in dedicated monitor mixer and audio/video configuarations to sweeten the pie. SOUND REINFORCEMENT The SR24·4 was definitely designed with sound reinforcement in mind. Here in Section 4 we'll give you the basic plan and some specific ideas for connecting the SR24·4 for sound reinforcement. 34 BAND IN A CLUB Here's the situation: you've got a four-piece band with drums, bass, guitar and keyboards. 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. (Please refer to the graphic on page 9. ) 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. (Please refer to the graphic on page 10. ) Also, there are three fixed microphones: one on each of the two lecterns or pulpits, and one on the altar. This is how we'll set it up: As you can see on page 10 the worship team band is routed to submix buses 1 & 2 and the three vocalists to submix buses 3 & 4. This allows you to set a good stereo balance on the music and then simply move the whole group up and down with a couple of (submix) faders. Use the L/R ASSIGN button on the submix strips to re-assign the worship team back into your main stereo mix. All the rest of the mics and sources are assigned directly to the main Left/Right buses. Aux 2 and 3 provide two different monitor submixes for the worship team or the chorale. The reverb sent on Aux 5 is being returned into stereo line inputs 23­24. You could simply bring the reverb back through a stereo aux return, but using a line input gives you EQ and more flexibility in routing. Set all the faders and the AUX SEND MASTERS to "U. " Depress the solo MODE switch to activate IN PLACE AFL. Now solo each input and adjust the TRIM control to obtain a good reading on the main meters. If you'd like to hear the channels as you solo them, you must use headphones or connect an amplifier and speakers to the CONTROL ROOM OUT jacks. Carefully raise the MASTER fader until you have the overall level that you desire in the main sanctuary speakers. [. . . ] Some low-key detective work will determine whether or not your mixer is really malfunctioning. First, it saves you downtime and embarrassment if, for example, you discover that the only thing wrong is an unplugged power cord. If you ship your mixer to Mackie and we can't duplicate the problem, you may get slapped with a service charge (plus shipping costs). We could write a whole manual on troubleshooting, but our main point is that there are a few obvious things you can easily look for: Power connections. [. . . ]