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User manuel for laney theatre th10-2 and th16-2
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0% found this document useful (0 votes)
69 views24 pagesTH10-2, TH16-2
User manuel for laney theatre th10-2 and th16-2
Uploaded by
Nino KatzboneCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
/ 24
Laney
THEATRE SERIES
POWERED MIXERS
USERS MANUAL
MODELS
TH16:2
AND
TH10:2
pd Laney
Models: TH10:2 & TH16:2
PAGE 3
PAGE 4
PAGE 5
PAGE 6
PAGE 8
PAGE 10
PAGE 11
PAGE 12
PAGE 13
PAGE 14
PAGE 15
PAGE 16
PAGE 17
PAGE 18
PAGE 22
PAGE 24
INDEX
SAFETY INFORMATION
PANEL LAYOUT
CONNECTING UP
MIC/LINE CHANNEL
STEREO LINE INPUT CHANNEL
STEREO AUXILIARY RETURNS
GRAPHIC EQUALISER
INSERTS
MASTER MONITORS
DIGITAL EFFECTS
BACK PANEL
LEAD CONNECTIONS
BLOCK DIAGRAM
SETTING UP
TROUBLE SHOOTING
TECHNICAL SPECIFICATION Laney
THANK YOU,
We at Laney are extremely pleased that you have selected a THEATRE powered mixer and we
wish to reinforce your judgement by ensuring you get off to a flying start by including this
comprehensive user manual to assist you in getting to know your equipment.
PAGE3
Before switching on, please read this manual carefully since whilst you may well be an
experienced user no two brands are the same, and on reading this manual you will become
aware of the subtle advantageous differences that Laney offers over its competitors.
UNPACKING
On unpacking your mixer please check carefully for any signs of damage that may have occurred
whilst in transit from the factory, to your dealer. In the unlikely event that there has been damage
please repack your unit in its original carton and consult your dealer.
We would strongly advise you to store away your original transit carton since in the unlikely event
that some time in the future your unit should develop a fault, you will be able to return it to your
dealer for rectification securely packed.
IMPORTANT SAFETY INFORMATION
Your mixer should be fitted with a three pin ‘grounded’ (or ‘earthed’ plug. Please make sure that
the mixer is powered from a ‘grounded/earthed’ outlet.
if changing or fing a plug yourself, ensure that the applicable wiring code is adhered to, for
example in the UK the cable colour code for connections are as follows:
EARTH OR GROUND . GREEN/YELLOW
NEUTRAL BLUE
UVE BROWN
The mixer should never be exposed to moisture or weiness under any circumstances since this
would represent a possible shock or fire hazard, and may cause expensive damage fo your
valuable possession
In the unlikely event that a fuse should blow, it is imperative that you or your engineer, use a
correctly rated replacement
Details of the fuse required is printed on the rear panel of the mixer, please take special care to
use a time delay’ fuse wherever stated. PANEL LAYOUT MODELS: TH16:2 & TH10:2 PAGE 4
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PAGES
TYPICAL CONNECTIONS
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MONITORS OR T
HEADPHONES
REAR CONNECTIONS
PUBLIC ADDRESS SYSTEM
9 Laney
PAGE 6
(4 ue
6B
6c.
MIC / LINE CHANNEL (MONO)
y
2)
3)
5)
4)
6A)
68)
6c)
‘MIC INPUT (XLR)
‘The Input socket has been designed fo accept both balanced and unbalanced
signals from microphones with an_XLR input connector. Good quality iow
impedance condenser or ribbon mic's should be used for best performance and
these will ensure the best possible results both from hand held vocals or closely
miked acoustic instruments. High impedance mic’s may of course also be used,
however background noise may become unacceptable for delicate vocals.
PHANTOM POWER
-48v Phantom Power is available on all ‘mic’ channels for use with professional
condenser microphones. This is globaly switched to all mic channels. The switch is.
located on the facia. fap right corner, 42)
WARNING.
Phantom power must always be switched off when using unbalanced
microphones since the vollage present on the connecior may damage your
microphones
UNE INPUT (JACK)
The balanced line inpuls ate forall ine evel signals from DI boxes, keyboards,
drum and tape machines etc. Before using the line input socket ensure that all
microphones in the same channel are disconnected,
INSERT
Each mic channel has an insert socket where external FX may be inserted, The
insert points ‘post gain’ but ‘pre EG: The inser socket isa stereo jack. (Tip: send
and Ring: return,
MIC/UNE PAD
This switches to ine’ input or pads down the Mic signal when the input signal
istoo high,
GAIN
Controls the level of the input signal info the channel
EQUALISATION
‘The EQis a three band system where the Hi high), swept MID (middle) and Lo (ov)
frequencies can be individually adjusted
Hi Setinitially in the centre postion for a flat E@ response. High frequencies can
be boosted by turning the control clockwise thereby enabling a brighter and
crisper reproduction of top end frequencies from both vocals and
insiruments. Should unwanted noises be present such as hiss or distortion
then these can be reduced by turning the control anticlockwise thus cuting
the frequency response.
MID __ The middle frequencies are controlled by two knobs and these operate
SWEPT together providing o SWEPT MID EQ. The ‘gain’ control allows 15d of
cut and boost, and the frequency at which this occursis sel by he ‘req’
Control within the range 550Hz to §.5kHz. Vocal fequencies are mainly
the middie range.
Lo __This control treats the low frequency components and culs and boosts,
‘around the centre flat response position PAGE 7
Lo
10
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a2
(43)—
(48}—
MIC / LINE CHANNEL (CON’T)
7) MONITOR
The ‘mont control sets the amount of signal fo be sent to the master ‘monitor’
controls. This is se for pre fader operation and is mainly used forthe
‘foldback monitoring] system. The significance of the monitor signal being pre fade
is that the signal is unaffected by the channel fader position.
‘Should effects such as reverb be required at the stage monitor this can be applied
by the ‘mon’ control in the master Digital effects section. (see setting up)
8) AUXI
The ‘Aux’ controls set for ‘alter’ fader operation and may be used for other effects
in addition to the builtin digital unit
9) DIGITAL FX
The builtin digital effects unit has 127 programs to select from. The digital FX control
determines the evel sent to the the infernal FX unit The digital FX send is se for
‘ate fader operation Furer information on he dita FX can be found in the‘set
up’ section,
10) PAN
This control directs the channel signal either right or lef thus enabling the
position of he channel in the stereo image to be adjusted. EG: When the ‘Pan
control is turned full to the right (clockwise! the audable mixed sound will come
totally rom the right hand speaker.
TI) GRAPHIC
When pressed in the channel signal is directad to the master outputs via the & band
buillin graphic equaliser, the indicator iluminates,
12) SOLO
When the ‘solo’ is enabled, an after fade signal is sent fo the right meter and to the
headphones, allowing the channel gain to be set. the indicator illuminates) Solo
signals after fade but pre mute, so the channel can be set with the channel
switched off.
13) ON
The ‘on’ butlon allows the channel output signal 1o be turned on or muted as
required. In the unpressed position the channel signal can only be sent fo the
‘monitors [pre fader), or soloed
hen pressed in the channel signal is then routed to the master outputs and the
indicator illuminates.
14) FADER
The individual channel fader, sels the output level of he channel to be sent to the
MASTER let and right. The relationship between the ‘fader’ and the channel ‘Gain’
control is critical and this is explained more flyin the setting up procedures,
15) PEAK
When the peak lamp illuminates it indicates that the signal level in the channel is
approaching clipping distortion L
ono 5)
18)
7
PAGE 8B.
LINE INPUT CHANNEL (STEREO)
15) & 16) LINE INPUTS
Each stereo channel has two input jack sockets, one stereo (or lef) and the other
right and each will accept unbalanced line level sources such as keyboards, tape
machines and mult effects units.
17) MONO SWITCH
When depressed the left and right inputs are surnmed together.
GAIN
Controls the level of the input signal into the channel.
EQUAUSATION
Each channel has a three band EQ system where the Hi (high), NID (middle) and
Lo flow) frequencies can be individually adjusted.
Hi Sel initially in the centre position for a flat EQ response. High frequencies
can be boosted by tuming the control clockwise thereby enabling a
brighter and crisper reproduction of top end frequencies from both vocals
‘and instruments. Should unwanted noises be present such as hiss or
distortion then these can be reduced by turing the control anti clockwise
thus cutting the frequency response.
MID __The Mid’ control operates in a similar way to that ofthe ‘Hi
Vocal frequencies are mainly in the middle range.
lo This contiol treats the low frequency cornponents and cuts and
boosts around the centte flat response position.
MONITOR
‘The’mon’ control sets the amount of signal to be sent fo the master ‘monitor
controls. This is set for pre fader operation and is mainly used for the
‘foldbackimonitoring) system. The significance of the monitor signal being pre fade is,
that the signal is unaffected by the channel fader position and the effects signal
Should effects such as reverb be required at the stage monitor this can be applied
by the ‘mon’ control in the master Digital effects section
AUX1
‘The ‘Aux"' control is set for ‘post’ fader operation and may be used for other effects in
‘addition to the builtin digital rit, This control operates similarly to the monitor control,
DIGITAL FX
‘The builtin digital effects unit has 127 programs to select from. The ‘internal effects
control sels the effects signal for each channel individually. Further detailed
instructions for use are included in the intial setting up section of this manual
10) PAN
This control directs the channel signal either right or left hus enabling the
position of the channel in the stereo image to be adjusted. £G: When the Pan’
‘control is turned fully to the right (clockwise) he audable mixed sound will
‘eminate totally from the right hand speaker. LO
PAGE 9
LINE INPUT CHANNEL (CONT)
TI) GRAPHIC
When pressed in the channel signal is directed to the master outputs via the 8 band
builtin graphic equaliser and the indicator illuminates.
12) SOLO
\When ‘solo’ is enabled, an afler fade signolis sent o the right meter and to the
headphones, allowing the channel gain to be set the indicator iluminates). Solo
signal is after fade but pre mute, so the channel can be set with the channel
‘switched off
13) ON
The ‘on’ button allows the channel output signal to be tured on and off (MUTED) as
‘equred. inthe unpressed poston he channel signal can only be sent othe
‘monitors, (pre fader) and to the headphones (post fade,
When pressed in the channel signal is then routed fo the master outputs phe
indicator iluminates).
14) FADER
The individual channel fader, sets the output level of he channel mito be sent
{o the MASTER section. The relationship behween the fader’ and the channel
‘Gain’ controls critical and ths is explained more flyin the seting up
procedures.
15) PEAK
When the peak lamp illuminates it indicates that the signal level in the channel is.
‘approaching clipping distortion, PAGE 10
21
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STEREO AUXILIARY RETURN CHANNEL
10) PAN
This contiol directs the auxiliary retum signal either left or right
thus enatbling it 1o be positioned in the siereo image as
fequired. EG: When the ‘pan control is tumed fully fo the right
(clockwise) the audible retum signal wil eminatle torally trom the
light side speaker.
11) GRAPHIC
\When pressed in the auxiliary retum signal is directed to the
‘master outputs’ via the eight band buit in graphic equaliser,
The switch is accompanied by an indicator that iluminates
\when the ‘graphic'is pressed in.
12) SOLO
When the solo is enabled, an afer fade signal is sent fo the ticht
meter and fo the headphones, allowing the channel gain to be
set, Solo signal is atter facie but pre mute, so the channel can
bbe set with the channel off. An indicator that iluminates when
the ‘sola’ is pressed in.
13) ON
The ‘on’ switches allow the auniiary signal io be tuned on or
muted as reqired. In the unpressed position the signal can only
be sent fo the monifois [pre fader], oF soloed. When pressed in
‘ne signals then routed to the master outputs and the indicator
iluminates.
14) FADER
The individual fader set the output signal level of the auxiliary
channel to be sent fo the master outpuls.
20) AUXILIARY 1 & 2 RETURNS
The stereo auxiliary relums receive the relun signal from an,
effects unit or processor, Each retum has two inputs, one
sleteo [or mono left) and the other is mono fight
21) MONITOR
The ‘mon’ controls sets the amount of signal from the auxiliary
Telums 1 & 2 10 be sen! fo the master ouput faders.
22) AUXILIARY SENDS
Thisis the FX/AUx 1 output, Signal is sent here by al the Aux 1/Fx
sends on the mic & stereo output. Laney
PAGE 11
GRAPHIC EQUALISER
(GRAPHIC EQUALISER
MASTERS
er)
59
56)
57)
58)
59)
65)
55) GRAPHIC EQUALISER
The signal may be routed through the
gone ‘equaliser fiom any of the inputs.
is allows the user to use the graphic
equaliser as an ‘effect on a particular
instrument, of by assigning all inputs to the
graphic, as the ‘equalisation’ for the PA
system,
MASTER METERS
‘he 'master metets' show the signal level fo the power
‘amplifiers. The right meter showis the ‘solo’ level when the solo
is enabled.
SOLO ACTIVE
Solo active ilurninates when any solo button or butions ore
[Pfessed, if shows that the right meter is displaying the solo
level and the solo signal is On the headphones.
MASTER MUTES
These tum off the signal to the power amplifers. Red lamps
illuminate when muted,
MASTER FADERS
The master faders conirol the signal level 1o the power
‘ampiiers and fape output. isc acn rns
(32) 3) 34) (42)
MASTER INSERTS SY BY 82) 93 ‘
30) RETURN These form one ofthe raster inset loops. h the signal path
they come beforethe master fader and mutes, allowing any
31) SEND nde. generated by he unis ingetted here fauch os fever,
32) RETURN Compressor gutes-tc] fo be atlenuated!
33) SEND
34) TAPE OUT
Phono IRCA) sockels ate provided for he connection of tape / Dat machines
fouecording. Ine signal love controled by ihe masiet fader.
STEREO/AUX CHANNEL
35) STEREO AUXILIARY / TAPE INPUT
Phono (RCA) sockets are provided for signals from Tape / Dat machines, this
PINs Sis sancbie tor apy ine level sora
36) TO MONITOR
Controls signal level to monitors,
37) TO MASTER
Controls signal level to master faders.
38) GRAPHIC
When pressed in the stereo Aux / Tape is directed to the master outputs via
the band built in graphic equaliser and the indicator wil illuminate.
39) SOLO
\When ‘sols enabled, an ater fade signals sent tothe ght meter and to
the headphones, allowing the signal level o the masters fo be sel. The so}!
signal is after fade but pre on, so the level can be set with the channel off.
The indicator illuminates when ‘solo’ is pressed in.
40) ON
The ‘on’ bution allows the stereo Aux Tape signa o be tuned on or otf
(MUTED) as requited. In the unpressed position the channel signal can only
Be cent fo Ine Monto Je fade) ond to the soloed [post fader).
When pressed In ihe conn signals hen outed to Ie master Oupuls ond
the indicator illuminates.
SOLO IN PLACE
41) SOLO IN PLACE
unyese
Swiiches the contents of the solo bus 10 the master eft and right outpuls, This
Gliows individual channels or groups of channels fo be monit6ted in isolation
for the main mix, This is paricularly useful during a sound check. See ‘setting
up detals' for mote information.
This is a mix destructive feature and it is therefore unwise to enable ‘solo in
place’ during a performance. A large ted lamp iluminaies when ‘solo in
place's enabled,
36
‘37
{38
39
—= 40,
41 PAGE 13
MASTER MONITORS
23) MONITOR
The monitor ouput, should be taken trom this jack socket to a power
‘amplifier. The signal level to the moniter speaker is set by the monitor
24) FEEDBACK FREQUENCY
25) CUT
‘These controls form a notch filler for the reduction of feedback on the
monitors. If feedback occurs apply some cut, which should be swept up
and down using the frequency control until the frequency of feedback is
found, more cut can then be applied to reduce feedback further if
requited,
FReQueNcy ———> on
26) SOLO
When ‘solos enabled, an atter fade signal's sent fo the tight meter and to
the headphones, allowing the monitor output level fo be set. The solo signal
is affer fade but pre mute, so the monitor output level can be set wih he
channel muted
27) MUTE
The ‘mule’ switch allows the signal io the monitors fo be tumed on and off as
equited an indicator liuminaies when the monitor signal is muted
28) FADER
The acer sets ihe level of the signal to be sent fo the monitors.
MONITOR TO POWER AMPLIFIER (on rear panel)
Should you wish to use the mixer as a monitor mixer, the monitor signal can
be fed to the intemal amnpiiier using the monitor to power amplifier switch
which is located on the rear pane.
61) PHONES
Headphones can be connected here. The signal is controlled by the
headphone level conitol and master faders, solo is in operation the level is
Contalled by the solo source and headphone level control.
62) HEADPHONE LEVEL
‘Adjusis the headphone volume level.
Monon
—24
25
26
27
28 Laney
PAGE 14
DIGITAL EFFECTS
43) REVERB FOOTSWITCH
‘Amono footswitch may be connected here
‘and used for tuning on and off remotely,
the intemal digital sttects.
PROGRAM NUMBER
arash sasit | Dale a)
ra @
44) PROGRAM NUMBER
AAlook up table is provided fo enabie fas! ancl easy
selection of the 127 digital effects programs
45) PROGRAM
The selecied digital effects program is displayed here,
DIGHAL EFFECTS 46) DOWN
47) UP
eel Programs may be selected either up or down,
48) MUTE
j This is luminated whenever the efects are muted, ie; between
program selections by 47 & 48 or by footswitch,
49) MONITOR
Contiols the effects signal level to the monitar section.
50) SOLO
When ‘solo'is enatbled, an ater fade signal is sent 0 the right
meter and to the headphones, the indicator iluminates.
51) ON
The ‘on! button allows the channel output signal to be tumed on
‘and off (MUTED) as required. in the unpressed postion the effects
signal can only be sent to the monitors (pre fade), or soloed (after
fader)
\When pressed in the channel signal is then routed fo the master
‘outputs and the indicator iluminates.
52) GRAPHIC
When pressed in the effects signal is directed to the master
‘oulputs via the 8 band bull in grophic equaliser and the
indcaiorlluminates.
53) FADER
Sets the output level of the effects to be sent to the master
fader. Laney
PAGE 15
(67)
(65)
66)
(68)
(69)
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74
75
(76) | .
REAR PANEL
65) MONITOR TO POWER AMPLIFIER SWITCH
If you wish fo use the mixer as a monitor mixer, the signal to
the intemal power amplification comes from the monitor
section via this switch. The line ouls' would then be used for
the master L&R outputs.
66) LINE OUT (RIGHT)
67) LINE OUT (LEFT)
These are line level outputs driven by the master L & R faders.
The line outs can be used for driving additional power
amplifiers or mixing desks etc.
68) MASTER RIGHT INSERT
69) MASTER LEFT INSERT
These ate a second set of master inserts, they come
immediately before the line out in the signal path.
70) XUR LEFT
71) JACK LEFT
72) XLR RIGHT
73) JACK RIGHT
These ate the left and right speaker outputs, and are driven
either by the master L & ® or the monitor section depending
‘on the Position of the monitor fo power ampiier switch
Connections should be as follows:
MONO JACK
TIP: SIGNAL
SHIELD: GROUND
XLR
PIN 1: GROUND
PIN 2: SIGNAL
PIN 3: NOT CONNECTED:
The minimum load impedance should
not be less than 4 ohms each channel.
74) MAINS INPUT
‘Mains power input is connected here, ensure the mains/power
lead is always earthed.
75) MAINS POWER SWITCH
Tne mixer is tuned ‘on and off by this switch,
76) FUSE
In the event of failure itis imperative that the mains
Power fuse is replaced with the correct type and rating,
FAN APERTURE
This is the air outlet trom the mixer and should NEVER be
obstructed. Failure to observe this instruction could result
in the mixer shutting down due fo overheating.
In the event of thefmal shutdown the mixer should remain
Powered fo enable the fan to continue cooling the unit.
Afier thermal shutdown the mixer will automatically reset
when it has cooled fo a pre set working level,
77)
Apart from obstruction of the fan aperture overheating
may also occur should the input load impedance
be below 4 ohms. Laney
PAGE 16
LEAD CONNECTIONS
BALANCED MIC INPUT ~ MLR UNBALANCED MIC INPUT - LR BALANCED LINE INPUT
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UNBALANCED LINE INPUT ‘STEREO INPUTS & AUX RETURN WSERTS
SIGNAL LEFT sicna. —
SIGNAL SEND
GROUND. ——
SCREEN, Richt — SIGNAL
SIGNAL RETURN
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MAIN OUTPUTS & AUXSEND SPEAKER XLR OUTPUTS HEADPHONES:
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?:9 LHL 8 ZO LHL ‘SIUGOW AINV1 NV1d XOO18 SETTING UP YOUR MIXER PAGE 18
Introduction
To get the best possible performance from your mixer as with any piece of technology
there is a right and a wrong way to use it. Please read this guide as it will enable you to.
reap the best rewards from your investment,
What Are We Trying To Achieve? ? A Great Sound of course.
But how ! Well basically we are trying to achieve the greatest difference between signal
and noise.All mixers have what is called a ‘Noise Floor’ and our signal has to be as high
above this as possible, But as well as trying to get the best possible difference between
signal and noise we have to avoid the signal level being to high otherwise distortion will
occur. (see Fig 1) ‘Sone
sional |. --— ~~ a
itvel
TIME
In the next few pages is a guide to setting up your mixer so that it performs at its best.
1) Setting The Channel
Lets start at the beginning, setting the channel up correctly is one of the most important
parts of setting the mixer because if you get the this wrong you will end up with a signal
which is noisier than it should be or distorted.
1.1) Connect your input signal to a chosen channel.
1.2) Set input selector to line/mic for mic channels or mono/stereo for stereo channels
1,3) Increase the channel fader to 0dB
1.4) Enable Solo on the channel (Enabling Solo puts the channel signal on the headphones
and on the right master meter)
1.5) Now increase the channel gain control and watch the right master meter .Set the gain
control so the signal just causes the +6dB lamp to light at peaks in the signal
1.6) Now make sure the MASTER FADERS are at minimum ,your speakers are
connected ,switch your channel ‘ON’ and increase the MASTER FADERS (gradually or
you may get deafened). Now we are in business.
1.7) Adjust the EQ controls on the channel to obtain your required sound .If you find you
use a lot of boost in the EQ you may have to reduce the channel gain control so that the
signal just causes the +6dB lamp to light on the right master meter
1.8) Simple eh | now just repeat for all your inputs. Remember too turn each channel off
when you have finished setting up the channel and also to disable each channels solo
when you have finished
When this is done you have now set the gain of the channel to its best position , so the
signal level in the channel is as high above the noise floor as possible without any
distortion occurring, If at a later stage the input signal should increase to nearer the
clipping/distortion point the peak lamp will illuminate to warn you of this.If this happens
reduce your channel gain accordingly. PAGE 19
2) Mutes and On
The mute/on facilities make your mixer very flexible.If you were mixing for 2 or more
bands it enables to switch on only channels that are needed. As the “ON' button comes
after the fader, the level of the fader can be set at the sound check so when the channel is
needed it is enabled at the correct level.
3) Notes on Stereo Inputs/Stereo Auxiliaries
On our stereo inputs we give the user option of operating in 3 possible modes
3.1) A stereo input going in on a stereo jack
3.2) A stereo input going in on two mono jacks
3.3) As a mono input (ie the mono button enabled/or inputting on the socket labelled
mono on the auxiliaries)
You can on the stereo channels sum two mono inputs together if the need arises, these
ilities mean that the stereo inputs cater for the connection of any possible output
strument/tape /DAT machine.
4) Inserts
On the mic channels an insert point is provided for the addition of any effects such as
EQ,reverbs,compressors,gates etc. The insert is on a stereo socket which is configured as
tip/send,ring/return and shield/ground
It is possible to use an insert as a tape send .If you wish to do so, the tip and the ring on the
stereo jack plug will need joining together.
5) Soloing and Solo in Place
On all inputs and outputs there is the ability to “Solo'the signal, When a signal is soloed the
signal level is displayed on the right master meter and appears on the headphones. When
you are setting up, channel gain or the *mix' a problem you will probably encounter is
trying to keep everybody quiet ,we have thought of this, if you enable Solo in Place all the
channels will be muted and only ones which are Soloed will appear on master outputs, The
Solo signal is then under the control of the channel fader.
6) Monitor Mix
Should you require to make a monitor mix for someone, such as the lead vocalist. On the
channel strip is a MON' control this sends a signal to the monitor section. The signal sent
to the monitor section is unaffected by the channel fader. There are facilities to send a
signal to the monitor section from any of the inputs
In the monitor section there is :=
6.1) A feedback filter to reduce feedback if it occurs
6.2) The monitor can be soloed so the level can beeen on the right master meter and
heard on the headphones.
6.3) A Mute to cut the monitor output if required
6.4) A monitor fader to adjust the overall output level
7) Fx Sends (Aux | & DIGI FX)
Two Fx sends are provided for your use ,Aux 1 is a send to an external FX unit and DIGI
FX is a send to the internal digital effects unit Both sends receive there signal after the
fader so the relationship between the clean signal and effected signal remains constant
whatever the position of the channel fader PAGE 20
8) Guide to FX Processors
Various points are provided for connection of effects units to your mixer. This allows you
to treat an individual channel (channel insert) or group of channels (use auxiliaries) or the
whole mix (use the master inserts). FX processors can be divided into three basic types, a
brief introduction to which are provided below -
8.1) Dynamics processors such as compressors, gates and limiters. Gates let signal pass
and go into a muted state when there is no signal present This is useful for muting noisy
guitar amps or muting a vocalists intake of breath. There are usually attack,hold and
release controls to set the gates opening and closing times. Compressors , limiters and
expanders all effect the maximum and minimum excursions of the signal. If you decided
to compress a signal its maximum value would be limited. This would allow you to
increase the increase the average sound level, again compressors usually have attack, hold
and release controls.
8,2) Equalisers can be used to change the tonal characteristic, allowing enhancement of
individual/or groups of sounds or compensation for room acoustics. A graphic equaliser is
built in which can be used for either of these jobs
8.3) Reverbs /delay these can; a) create the sound of halls and rooms or b) delays can
create doubling effects or if the delayed signal is changed in phase chorusing and flanging,
type effects.
9) Digital Effects
An on board digital effects processor is built in for your use .It has 127 programs which
are varied enough to cater for most needs. The level to the Master left and right is
controlled by the effects fader and the usual soloing and routing facilities are provided
(MONO,GRAPHIC,ON).
Soloing is also provided for the digital effects so these can be heard in isolation. This is
useful as any distortion occurring in the digital effects can be detected by listening on the
headphones. If this does occur you should reduce the DIGIFX sends on the channels and
increase the EFFECTS fader.
Asa general guide the halls,rooms and plates are good on vocals ,but most instruments,
will also benefit from this effect. Percussive instruments sound good with gated reverbs
and reverse reverbs
10) Stereo Auxiliaries/FX returns
‘Three stereo auxiliaries are provided for the user .They like any other input have full
routing and soloing facilities
(ie ON,SOLO,GRAPHIC). They are commonly used as FX return but can be used for any
line level input.One of the auxiliaries is on phono (RCA) sockets suitable for the
connection of DAT/tape machines
11) Graphic Equaliser
Onall inputs there is the option of being routed straight to Master left and right or via the
8 band graphic equaliser. This gives us 2 distinct possibilities ~
L1H) All the inputs could be routed to the graphic ,this would mean the equaliser could be
used as EQ for the room or hall you were using AGE 21
11.2) Or alternatively as equalisation on a particular instrument or vocal. A graphic
balance control is provided on the Equaliser .This enables us to set a balance between a
channel routed to the graphics or the same channel routed directly to the master left and
right. That is if the graphic is set with a lot of sliders boosted and you route a channel to
the graphics there will be a jump in signal level, which may not be desired , this can be
removed by reducing the graphic balance control
‘A Peak lamp is also provided to indicate that distortion /clipping of the signal is
approaching. The graphic equaliser is a powerful tool for sound customisation but equally
can do serious. As a general rule try to avoid faders that are next to one another from
being set very differently. A good start which will work quite well for most venues is a
setting known as the ‘smiling face’, This is shown below
GRAPHIC EQUALISER
12) Mixing
By now we should have all our inputs connected channel eq's all set to sound good and
no overload problems. This means that its now time to start mixing, This is probably best
done progressively adding a channel at a time to the mix.
12.1) Reduce all your faders to minimum and switch all the channels ‘ON’ that you are
going to use.
12.2) Increase the first channel to between -10dB and OdB then increase the master faders
toa level that gives a comfortable volume .It is sensible to try and keep the channel faders
high and then adjust the master faders to suit (to get the best signal to noise ratio).
12,3) As you add each channel in the mix you may wish to adjust each instruments/vocals
position in the stereo image. This can be done using the channel pan pot. The level of each
instuments/vocal in the mix can be adjusted using the channel fader
This is done until a satisfactory mix is achieved It is normal to mix certain instruments
left, certain instruments right and the lead vocals central in the mix. It useful to listen to
pre-recorded music to get a feel for where to position instruments/vocals in the mix.
When your are happy with the mix all that you have to do is simply ‘MUTE! the master
left and right outputs. Switch off and return to the venue for the performance later.
During the performance you will probably have to adjust levels and eq to compensate for
changes in venue acoustics as the more people arrive, a singer may move closer to a mic
causing clipping of a channel or feedback may occur.A general guide to problems that
may occur is provided so most problems can be sorted quite quickly.
13) Master Inserts
Two sets of insert loops are provided for the connection of effects One set (on the front
panel) is before the master fader in the signal path this allows any noise generated by the
fx to be reduced by the master fader and mutes,this makes it more suited to Reverbs
which often generate a lot off noise. The other insert loop is located on the rear panel
these are more suited to quieter FX such graphic equalisers, compressors and limiters
which generate less noise, Should your loudspeaker system have a‘ controler'this is best
connected fo the insert loops on the rear panel PAGE 22,
14) Recording
Should you ever wish to record your mix the TAPE OUT sockets are provided. The output
level from these sockets is controlled by the master faders
15) Connection as a MONITOR MIXER
If the occasion arises where the mixer needs to be used as a submixer/monitor mixer the
output to the main mixer is taken from the LINE OUT sockets on the rear panel. The
power amp can then be fed from either the MASTER faders or the MONITOR fader
depending on the setting of the MONITOR TO POWER AMP switch, which is located on
the rear panel
‘The foregoing information should be used in conjunction with the set-up diagrams
and other information in this manual
Trouble Shooting Guide
M1602PD & M1002PD
Below is a simple trouble shooting guide. Should you have problems in either
setting up or at some future time,
check out the the problem by using the following suggestions.
NO SOUND
Is the power on ?
Are the power fuses blown/right type and rating?
Are the correct channels ‘ON’?
Are the Master L+R outputs muted?
Are the speakers connected?
Are your connectors wired correctly?
Is the MONITOR TO POWER AMP switch set correctly?
Check Solo in Place is not enabled
Have you connected your inserts correctly?
LOW OUTPUT
Is the channel gain set correctly?
Where is the channel fader set?
Where is the master set?
DISTORTED OUTPUT
Find what is causing the distortion
Is an input channel clipping? check using peak lamps and solo faclities. If so adjust input
eain/eq
Is graphic overloading ? check using peak lamp on graphic. If so adjust graphic balance
control
NO BASS
‘Cheek graphic / channel eq
NO TREBLE
Cheek graphic / channel eq PAGE 23
NO MONITOR OUTPUT
Is the monitor muted?
Is the monitor fader at minimum?
Are the monitor sends on desired channels turned up?
Are the monitor amps /speakers connected?
NO FX/AUXI OUTPUT
Are the Aux | controls turned up?
Are the channel faders up?
‘Are the channels turned on?
NOISY OUTPUT
Are unnecessary channels assigned?
Are channel gains set to their optimum?
‘Are Master faders high and channel faders low (Channel faders high,
master faders low is best / See setup guide)
GRAPHIC NOT WORKING
Are the desired channels assigned to the graphics ?
Are they switched ON.
Are their faders up ?
RIGHT METER SHOWING
BIG DIFFERENCE IN
OUTPUT LEVEL
Check all SOLO buttons are out. TECHNICAL SPECIFICATION
LANEY MODELS: TH10:2 & TH16:2
MIC CHANNEL
XLR
Max gin 1 66488
Min gain... . “ 2dBu
Pad, a as "2048
Input impedance samen von 2k (balanced)
keT(unbalanced)
LINE
Max gain. 20480
Min ex, -5dBu
Pad W0dBe, lodby
Input Impedance “47 (unbalanced)
22k (balanced)
Fader butfer obo
aap voces M4 (nominal)
valent inpt noise). 12948 (150R soures)
S01 TYP
Frequency Response 25tlz +2480, 20k +1-14B0
FQ
Wi 2a @ 12k
Swept Mid #-12dBu Sweepable S0OHz-S Skitz
Lovie124Ba@ #0Hte
STEREO.CHANNEL
Mox ea ono
Min gain. -60dBu
Max input level. nnn >s0V
Input Impedance. “atk
Fader ber oer
Distortion. <901% TYP
Frequency Response. 12S #-24Bu,20kMe 41-1485
Ti 4/:124Bu@ 12ktte
Mid +H12db0 @ 2klle
Lo 1/16diu @ 8012
Master Fader Bute, so § 6A
OUTPUT LEVELS.
Aux 1 send.
Mon send =
“Master inserts (pre fade)
{aller fade), cn dDgnomin
Lit tenner -t4dBu(nomninal)
POWER AMPLIFIER
Power rang 2°300W inlo 4 Ohms (RMS)
22008 into ROmi (RMS)
Distortion vox