I N S T R U C T I O N M A N U A L
Index:
1.......................................................................................................................Introduction
2.......................................................................................................................Features at a Glance
3.......................................................................................................................Front & Rear Panel
4.......................................................................................................................Front & Rear Panel Description
5.......................................................................................................................Product Care Instructions
6.......................................................................................................................Technical Specifications
7.......................................................................................................................Set-Up Diagram
Platinum Series
For more details please refer given EFX list in user manual.
REVERB ON
(Master/Group)
L-R(Master)
ASSIGN 2
MASTER/
LISTEN
REVERSE ECO + REVERB
57-64 97-98 & 105-106
1.5 sec. - 8.5 sec.
25-32
ROOM
100 msec. - 500 msec.
DISPLAY
DELAY
EFFECT TYPE
REVERB REGEN
DELAY 1
121-127 129-178 & 209-218
230-240 & 219-220
DELAY 2
DISPLAY
DELAY
EFFECT TYPE
20 msec. - 700 msec.
90 bpm - 150 bpm
0.5s - 3.0s 0.2s - 1.8s300 msec. - 2.0 sec.
AUDITORIUM
17-249-161-8
HALL
49-52
GATE 1
REVERB
41-4833-40
PLATE 2
PLATE 1
DISPLAY
DELAY
EFFECT TYPE
1.2s - 15.0s 1.0s - 7.5s 0.2s - 0.6s
53-56
0.15s - 0.45s
GATE 2
(Override
Assign 1)
8.8.8.
REVERB ON
MASTER/
LISTEN
For more details please refer given EFX list in user manual.
REVERSE ECO + REVERB
57-64 97-98 & 105-106
1.5 sec. - 8.5 sec.
25-32
ROOM
100 msec. - 500 msec.
DISPLAY
DELAY
EFFECT TYPE
REVERB REGEN
DELAY 1
121-127 129-178 & 209-218
230-240 & 219-220
DELAY 2
DISPLAY
DELAY
EFFECT TYPE
20 msec. - 700 msec.
53-56
0.15s - 0.45s
GATE 2
0.5s - 3.0s 0.2s - 1.8s300 msec. - 2.0 sec.
AUDITORIUM
17-24
9-161-8
HALL
49-52
GATE 1
REVERB
41-4833-40
PLATE 2PLATE 1
DISPLAY
DELAY
EFFECT TYPE
1.2s - 15.0s 1.0s - 7.5s 0.2s - 0.6s
90 bpm -
150bpm
20 input mixer
PLATINUM 12F
X
8.8.8
PLATINUM BASIC MK-1
28 input mixer
• 3 Band EQ with mid-sweep on mono channel.
• Mon-Ster Input for full Flexibility.
• 2 Aux Sends / 1Stereo Aux Returns.
• 2 Aux, 1EFX, 1 Mon rotary control on each channel (Total 4 Aux sends).
• Listen (PFL) & Group / Master routable switch per channel.
• Stereo 7 Band Graphic EQ switchable to Master / Monitor.
• Globally switched +48V phantom power.
• L/R pan control on each channel.
• 12 Segment L/R LED meter for Master, PFL & Monitor Level.
• Separate master fader control for Group, Monitor & L/R output.
• 1/4’’ jack for Line out & monitor output.
• Balanced XLR & 1/4” Jack Master output.
• Stereo Tape In/Tape Out, Headphone out with rotary volume control.
1
1. Introduction
Thank you for buying the Studiomaster Professional Platinum Series Mixer.
To ensure maximum performance & safety, please follow this instruction manual carefully.
Please retain this manual for future reference.
For any complaint, feedback or testimonials please contact our distributor / dealer.
Retain the cartons for future use should the product require servicing / maintenance.
2. Features at a Glance
Models Available :
Platinum Basic MKI : 16 Mic/12 Line + 4 Mono/Stereo.
Platinum MKIII : 16 Mic/12 Line + 4 Mono/Stereo.
Platinum 12Fx: 12 Mic/10 Line + 2 Mono/Stereo.
Platinum MK III Additional Features:
• 16 bit (32 bit internal) digital stereo EFX with user editable parameters.
• High quality 147 preset effects with 4-memory switch and on board help.
Platinum Series Summary :
Platinum Basic MKI Platinum MKIII Platinum 12Fx
Inputs 16 Mic + 12 Line + 16 Mic + 12 Line + 12 Mic + 10 Line +
4 Mono/Stereo 4 Mono/Stereo 2 Mono/Stereo
Effects processor Provision to connect Internally available Internally available
External Effect processor
Graphic Equalizer Available Available Unavailable
Effect Section:
Digital Processor Unavailable Available Available
Storing & Recalling memory Unavailable Available Available
Stand by function Unavailable Available Available
Aux Muting Unavailable Available Available
7 segment Display Unavailable Available Available
Effect Send Return Available Unavailable Unavailable
2
3. Front & Rear Panel - Platinum Basic MK-I
PLATINUM BASIC MK-1
28 input mixer
1
2
3
4
13
24
18
21
14
22
14
19
20
14
23
17
5
6
7
8
9
10
11
12
15
16
0
I
POWER
240V 50Hz T3.15AL 250V AUX 1
R-OUT L-OUT
EFFECT SEND / RETURN
R-IN L-MONO IN
AUX 2 MON
L R
LINE OUT
LEFT
RIGHT
OUTPUT
PLATINUM basic MK I
WARNING:
SHOCK HAZARD - DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
CAUTION: REPLACE FUSE ONLY WITH
SAME TYPE AND RATING
FUSE: T3.15AL 250V RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
SERIAL NO. R
OUTPUTS
3
-VE
2
+VE
SCREEN
1
MIC INPUT
3
-VE
2
+VE
SCREEN
1
LINE INPUTS / OUTPUTS
SCREEN
BALANCED
+VE-VE
UNBALANCED
SCREEN
SIG
32 31 30 29 28 27 26 25
3
Front & Rear Panel - Platinum MKIII
PLATINUM MKIIi
I
SERIAL
NUMBER
HERE
0
POWER
240V 50Hz T3.15AL 250V AUX 1 AUX 2 MON LEFT RIGHT
LINE OUT
R
LEFT
RIGHT
OUTPUT
OUTPUTS
3
-VE
2
+VE
SCREEN
1
MIC INPUT
3
-VE
2
+VE
SCREEN
1
LINE INPUTS / OUTPUTS
SCREEN
BALANCED
+VE-VE
UNBALANCED
SCREEN
SIG
WARNING:
SHOCK HAZARD - DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
CAUTION: REPLACE FUSE ONLY WITH
SAME TYPE AND RATING
FUSE: T3.15AL 250V RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
For more details please refer given EFX list in user manual.
REVERB ON
L-R(Master)
ASSIGN 2
MASTER/
LISTEN
REVERSE ECO + REVERB
57-64 97-98 & 105-106
1.5 sec. - 8.5 sec.
25-32
ROOM
100 msec. - 500 msec.
DISPLAY
DELAY
EFFECT TYPE
REVERB REGEN
DELAY 1
121-127 129-178 & 209-218
230-240 & 219-220
DELAY 2
DISPLAY
DELAY
EFFECT TYPE
20 msec. - 700 msec.
90 bpm - 150 bpm
0.5s - 3.0s 0.2s - 1.8s300 msec. - 2.0 sec.
AUDITORIUM
17-24
9-161-8
HALL
49-52
GATE 1
REVERB
41-4833-40
PLATE 2
PLATE 1
DISPLAY
DELAY
EFFECT TYPE
1.2s - 15.0s 1.0s - 7.5s 0.2s - 0.6s
53-56
0.15s - 0.45s
GATE 2
(Override
Assign 1)
8.8.8.
(Master/Group)
33
44
43
37
36
34
45
38
39
42
40
41
35
46
4
Front & Rear Panel - Platinum 12Fx
REVERB ON
MASTER/
LISTEN
For more details please refer given EFX list in user manual.
REVERSE ECO + REVERB
57-64 97-98 & 105-106
1.5 sec. - 8.5 sec.
25-32
ROOM
100 msec. - 500 msec.
DISPLAY
DELAY
EFFECT TYPE
REVERB REGEN
DELAY 1
121-127 129-178 & 209-218
230-240 & 219-220
DELAY 2
DISPLAY
DELAY
EFFECT TYPE
20 msec. - 700 msec.
53-56
0.15s - 0.45s
GATE 2
0.5s - 3.0s 0.2s - 1.8s
300 msec. - 2.0 sec.
AUDITORIUM
17-24
9-161-8
HALL
49-52
GATE 1
REVERB
41-48
33-40
PLATE 2PLATE 1
DISPLAY
DELAY
EFFECT TYPE
1.2s - 15.0s 1.0s - 7.5s 0.2s - 0.6s
90 bpm -
150bpm
20 input mixer
PLATINUM 12F
X
8.8.8
OUTPUTS
3
-VE
2
+VE
SCREEN
1
MIC INPUT
3
-VE
2
+VE
SCREEN
1
LINE INPUTS / OUTPUTS
SCREEN
BALANCED
+VE-VE
UNBALANCED
SCREEN
SIG
I
SERIAL
NUMBER
HERE
0
POWER
240V 50Hz,
30W Max
T3.15AL 250V
AUX 1 AUX 2 MON LEFT RIGHT
LINE OUT
R
LEFTRIGHT
OUTPUT
WARNING:
SHOCK HAZARD - DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
CAUTION: REPLACE FUSE ONLY WITH
SAME TYPE AND RATING
FUSE: T3.15AL 250V RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
PLATINUM 12F
X
5
Balanced XLR
Pin 1
Pin 2
Pin 3
Ground
Hot (+ve Phase)
Cold (-ve Phase)
Balanced TRS
Tip
Ring
Sleeve
+ve Phase
-ve Phase
Ground
Un-Balanced TRS
Tip
Sleeve
Signal
Ground
4. Front & Rear Panel Description
MIC/LINE CHANNEL: Control panel diagrams are reproduced at the rear of this manual and it is recommended that
these be consulted when familiarizing yourself with the location and function of the controls.
Each MIC/LINE channel is fitted with balanced XLR Mic and balanced ¼” jack Mic inputs. Do not use the Mic and Line
socket at the same time. 48V phantom power may be applied globally to all Mic/Line channels by pressing the recessed
48V switch in the master section of the console. Dynamic microphones wired for balanced operation may be used when
phantom power is active.
Unbalanced microphones must not be used in any channel when phantom power is active.
MIC INPUTS: This electrically balanced XLR input is designed to accept low impedance balanced signals from
microphones.
LINE INPUTS: The line input will accept line level balanced or unbalanced signal using ¼” stereo (TRS) Jack. The line
input is designed for instruments like Keyboards, Guitars, Drum Machines & other electronic instruments.
GAIN CONTROL: This knob is used to gain both MIC & Line inputs signals. Please do not operate at high gain levels
as this distorts the signal & leads to audio clipping.
EQ SECTION: The Platinum series has 3 Band Equalizer with mid-sweep Mono inputs and 3 Band Equalizer on Stereo
channels. The EQ is designed to be easy yet effective to use. It can be used to cut or boost certain frequencies to achieve
a particular tone, or to eliminate any unpleasant characteristics.
• HF Control: The HF control can be used to cut or boost up to +/- 15dB at 12 kHz.
Tip: This frequency band can be used to brighten up high frequencies.
• MF Control: The MF control can be used to cut or boost up to +/- 15dB at 2.5 kHz.
Tip: This frequency band can be used to enhance presence in vocals. Mid frequency variation is from 350Hz to 6KHz.
• LF Control: The LF control can be used to cut or boost up to +/- 15dB at 60Hz (Mono) & 45Hz (Stereo) Input.
Tip: This frequency band can be used to get a punchy bass response.
EFX CONTROL:
• Adjust the level of the channel signal being fed to the External effects processor. (Only for Platinum Basic MKI)
• Adjust the level of the channel signal being fed to the internal effects processor. (Only for Platinum MKIII & 12Fx)
AUX SECTION: The AUX is provided to be used with external effect processors like reverb and delay units, compressors,
gates etc. It can also be used for on stage monitoring or as an input in to a recorder.
(MON) Monitor control to provide a pre-fade send for use in setting up stage monitor mix.MON:
•
•
AUX 1: Post-fade send control which adjusts the level of the channel signal being sent to the AUX output socket. This
would normally be used to drive an external effects unit.
AUX 2: Pre-fade send control which adjusts the level of the channel signal being sent to the AUX 2 output socket. This
would normally be used to setup a send stage monitor mix.
PAN/BAL Control: This knob can be used to pan/balance the incoming signal between the left and right output channel.
WARNING: While using the condenser MIC, please insert the microphone rst & then only switch on the
phantom supply.
1)
2)
3)
4)
5)
6)
7)
8)
6
MONITOR FADER: Controls the overall level of the Monitor mix originating from the channel MONITOR controls. The
monitor signal is available on the rear panel of the console to feed an external power amplifier. In Split mode, both the
main PA mix & the monitor mix are mono. This mode of operation is perfect for small club or pub gigs where you need a
simple system.
PEAK LED: Indicates that the channel signal is too highand is in danger of clipping. If the peak LED flashes more then
very briefly on the loudest signal peaks, reduce the channel GAIN control setting until it flashes only on the loudest signal.
LISTEN SWITCH: When a LISTEN button is down the signal overrides the source selected by the METER/PHONES
SELECT switch, allowing signals to the meters and heard via the PHONES output. When this button is down the PEAK LED
lights, and remains on, to show listen is selected.
L/R OR GROUP SWTICH: Routing button to direct the channel signal either directly to the Left/Right Mix or via the
Group fader. This enables Group sounds (such as drum Mics) to be controlled in level by the Group fader rather than living
to adjust several channel faders simultaneously. If the Group facility is not required, this button might be used as a channel
mute. For Mute operation, the Group fader must be fully down.
CHANNEL FADER: Controls the level of the channel signal fed either to the Group or Left/Right bus, depending on the
setting on the L-R/ GROUP button. These faders feature a special taper which gives far better control than a conventional
log taper around the most important center or “0dB” position.
MON: STEREO (MONO: STEREO) CHANNELS: The MON:STER (Mono Mic/stereo line) channel is similar to the
Mic/Line channel except that its accommodates stereo signal when working at line level. Additionally, it is equipped with
single Mic input which has it’s own gain control; the Mic signal is mixed with the stereo Line Inputs allowing both sets of
Inputs to be used. The overall level being controlled by the channel fader is in the usual way. Both the Mic & stereo line
inputs share the same channel EQ & AUX send settings. The Equalizer features three-fixed band (MF @ 2.5kHz) & the Pan
Control is replaced by a balance control. If a line level signal is fed into the Left input only, the channel will function as
mono channel with the balance control.
GRAPHIC EQUALIZERS: (Only for Platinum Basic MKI & MKIII) - The graphic equalizers provide seven bands of
precision tone control across the whole audio Spectrum. In normal operation, the upper Graphic Equalizer affects the left
output channel and the lower graphic the right, Though graphic may be used to produce Eq effects, in the context of PA,
They normally help to compensate for poor venue acoustics or to cut troublesome frequencies where feedback is a
problem. If the Graphic Equalizer is not required to correct venue problems, it may be assigned to the group bus allowing
equalization to be applied only to those signals that need it, For example, you might want to feed all your drum mics to the
Group, assign the Graphic Equalizer to group and use the equalizer to improve the sound of the drum kit. In SPLIT mode,
where the PA runs in mono (and with the Graphic Equalizer assigned to amp L-R, the upper equalizer looks after the main
PA mix and the lower one is assigned to the Foldback output. This is exceptionally useful as the close proximity of the stage
monitors to the performers can often aggravate feedback problems. Again, the Graphic Equalizers can be used to pull
back troublesome frequencies. As a role, Graphic Equalizers are used to cut rather than boost. Applying a significant
amount of boost to any part of the audio spectrum increases the risk of feedback at that frequency.
Graphic Fader: (50Hz, 150Hz, 330Hz, 1kHz, 2.5kHz, 5kHz & 10kHz) Each fader has a centre detent or click stop
to indicate the neutral (flat) setting. Each fader prints the frequency at which it operates. This is the centre point of a narrow
band of frequencies covered by the fader. Each band overlaps slightly with the next to provide total cover of the whole
audio spectrum. Up to 12dB of cut or boost can be applied although, under normal circumstances, only a fraction of this
range will be used. (See Graphics Assign)
GROUP FADER: Controls the overall level of any channels routed to the stereo Group. This is a valuable feature for
controlling sets of instruments or sounds such as drum mics or backing vocals.
Graphic Assign 1 Switch: When switch is released the Equaliaser gets assign to L-R (Master) output. When switch is
pressed the equaliser gets assign to Group Signal.
Graphic Assign 2 Switch: When switch is released the Equaliaser gets assign to L-R (Master) output. When switch is
pressed the equaliser gets assign to Mono Output.
9)
10)
11)
12)
13)
14)
15)
16)
7
LEFT & RIGHT FADER: To control Master (L/R) output levels.
17)
18)
19)
20)
21)
22)
23)
24)
25)
26)
STEREO AUX INPUT: Provides a useful extra stereo line input. Any stereo line signal can be connected, stereo drum or
keyboard sounds, CD or the return from an external stereo processor.
Un-Balanced TRS
Tip
Sleeve
Signal
Ground
MASTER (L/R) OUTPUT: This output is used to connect the master output of the mixer to the amplifier or powered
speakers. The output level is determined by the master fader (L/R). Wiring configuration is as follows :
Pin 1 = Ground Pin 2 = Hot (+ve Phase) Pin 3 = Cold (-ve Phase)
Note:- For connector wiring information please refer page no. 14.
LINE (L/R) OUTPUT: This ¼” 3 pole jack socket is used to connect the master output of the mixer to the amplifier or
powered speakers. The output level is determined by the master fader (L/R). Wiring configuration is as follows :
Sleeve = Ground Tip = Send (To Effects) Ring = Return (To Console)
TO MON CONTROL - Adjusts the amount of stereo Aux Input signal going to the Foldback Mic. This allows any External
effect to be heard in the Foldback Mic.
LEVEL CONTROL - Adjusts the level of the signal from the stereo Aux Input jacks.
PLAYBACK/RECORD: The Platinum series mixers have 2 stereo RCA connectors for recording or playback.
•
•
•
Record: This RCA output is provided to record master mix on to a recording media like tape machine, hard disk
recorders and computer based audio interfaces etc. The output level of this determined by the master L/R fader;
alternately the input level on the recording medium can be used for the same.
Playback IN: This RCA input is provided to connect external devices like CD player, iPod’s, MP3 players etc.
Playback Switch: To toggle between the two record mode & Playback mode.
Please Note: Do not press the layback button while recording, especially when using the same device for recording &
play back, this will send the output signal back to the input & cause oscillations.
P
+48V PHANTOM POWER SWITCH & LED: Connects 48V phantom power to all mono channels mic inputs. For use
with +48V Phantom powered mics or DI boxes. See Options page for alternative arrangements. The Switch is released to
prevent accidental operation and should be operated using a ballpoint pen or a similiar instruments. A red warnings LED
indicates that the phantom power is turned on . When phantom power is active all microphones should be plugged in
before the console is switched on. Before using +48V Phantom power always check the microphones is suitable for +48V
Operation. Unbalanced microphones must not be used in any channel where phantom power is active.
HEADPHONES
METERS: The two bargraph meters normally monitor the Left and Right output levels.
• In Split mode, the left meter follows the main PA mix and the right follows the monitor Level. (Only for MKI & MKIII)
Meter/Phones Select Switch: Switches the meters and phones to monitor either the Main PA(L-R) or the MON
(MONITOR) Mix. When any LISTEN buttons are down, their signals will be monitored.
Phones Control: Adjusts the headphone level as per requirements when soloing a certain channel from the Main
Mix or while monitoring your mix.
8
Sleeve = Ground Tip = Send (To Effects) Ring = Return (To Console)
AUX OUTPUT: The Aux Sends are the main outputs from Aux Sends 1 & 2 to effects units or monitor systems, they
contain the sum of all signals sent from the Aux controls on the input channels. The Aux Master Sends are ¼” 3 pole jacks.
Digital Effects and Control: (Only for Platinum MKIII & Platinum 12Fx) - The PLATINUM MKIII has a high
quality stereo processor that can provide many different Fx & delay effects. In addition, the user may also choose from
pre-set EQ curves with the EQ button. The REGEN fader enables the user to control how long echoes take to die away
on Delay settings.
EFX TYPE / DATA ENTRY CONTROL: Normally this is used to select a different effect pre-set. Turning the control
scrolls through the available effects, the effect number is shown on the display. The effect selected when the console is
switched off is recalled when the console is turned back on.
AUX MUTE SWITCH AND LED: (Only for Platinum MKIII) - Mutes the AUX send output. A yellow LED indicates
that the AUX send is muted. This is used to disable any external equipment connected via AUX send.
DELAY SWITCH AND LED: When the delay button is pressed the green LED lights & the display shows delay effects.
REGEN can be activated in this mode.
STANDBY SWITCH AND LED: (Only for Platinum MKIII) - Mutes the Left-Right & MON (monitor) outputs. This is
particularly useful for turning off the sound system without disturbing any other control settings. When standby is selected
red STANDBY LED is illuminated.
PEAK LED: Indicates the input to the effects section is overloading. If this occurs, the channel FX controls Should be
backed off until the light no longer flashes. The effects processor has a “soft overload” input stage to provide a safety
margin before distortion becomes audible.
Send Input: 1/4” stereo jack socket. Stereo servo balance left & right output.
Return Input: 1/4” stereo jack socket. Stereo balance with Left in / Mono input for both left & right output.
Stereo balance with right input for right output.
L-OUT L-MONO IN
R-OUT
EFFECT SEND / RETURN
R-IN
EFFECT SEND RETURN: (Only Platinum MKI) -
POWER ON SWITCH: Switches the unit on and off.
AC INLET: Use the supplied AC cord to connect the unit to AC mains. Make sure voltage and frequency stated on the
unit matches with your local AC supply.
AC HOLDER: The Fuse can be accessed by the fuse holder. To change the fuse, unplug the AC cord first, pull out the
fuse clip and replace the fuse only with a fuse of same voltage and rating. If the fuse blows again after replacement,
hand over the unit to qualified service personnel.
MON (MONITOR) OUTPUT: This ¼” 3 pole jack socket is used to monitor the output of the mixer to the amplifier or
powered speakers.
The output level is determined by the mono fader.
In Split mode, both the main PA mix & the monitor mix are mono. This mode of operation is perfect for
small club or pub gigs where you need a simple system.
27)
28)
29)
31)
30)
32)
33)
34)
35)
36)
37)
38)
EFX FADER: (Only for Platinum MKIII & Platinum 12Fx) - Controls the overall output level of the internal effects
processor fed into the stereo mix Individual effects input levels are controlled by means of the channel Fx controls.
9
WARM / BRIGHT LED: The Warm and Bright status LED’s indicate which FX Eq setting has been selected.
REGEN SWITCH AND ON LED: Enables the regeneration control. This function is only available on delay setting.
When the green Status LED is illuminated, Regeneration is active.
REGEN: This fader controls the amount of regeneration on a delay setting. A center detent is provided as typical
Starting position for ‘echo’ effects.
EFX TO EQ SWITCH: Steps through four EQ option of Flat (off), bright, warm or warm + bright.
NOTE : The effects processor has an overload indicator marked PEAK. If the PEAK LED flashes more than occasionally
the effect will distort. If this occurs turn down FX control knob on inputs channels. The FX fader controls the output of the
effects unit so will not prevent an overload.
Effect Type SEE DISPLAY
Aux send On/Off AUX MUTE + LED
Delay On/Off DELAY + LED
Effects processor On/Off FX + LED
Effects EQ setting WARM + BRIGHT LED’S
Regen On/Off REGEN + LED
Stand by On/Off STANDBY + LED
STORING & RECALLING MEMORIES: (Only for Platinum MKIII) - There are memory buttons numbered MEM
1-4, these provide a quick way to store & recall up to four different set-ups. For example, you might have one set-up with
a long, warm reverb for ballads, one with echo for your Elvis impressions, another with a shorter reverb for regular pop
songs and one with no effects for making announcements between songs.
To store the console settings as a memory
• Press one of the MEM (Memory) buttons, the LED will light
• For delay effects press the DELAY button, the DELAY LED will light.
• Select the effect using the EFX TYPE/DATA ENTRY control
• The effect number or delay time will display.
• Select Aux Mute, Regen, EFX, EFX EQ or Standby, the selected LED.
Press one of the MEM buttons, the LED will light.
• For delay effects press the DELAY button, the DELAY LED will light
• Select the effect using the EFX TYPE/DATA ENTRY control.
• The effect number and effect bank indicator will be dispalyed.
• Select Aux Mute, Regen, EFX, EFX EQ or standby, the selected LED’S will light.
• Press the MEM button again to store the settings and return to normal operation.
GETTING STARTED WITH THE EFFECTS
• Connect a Microphone to an input channel.
• Press the FX button - check green LED Illuminates.
• Set FX fader to 0 dB.
• Turn FX knob on the input channel clockwise until you get desired effect level.
• Select the desired effect using FX TYPE button and DELAY button if required.
• If REGEN is required when using DELAY press REGEN button - check green LED illuminates.
• Adjust REGEN fader until required REGEN is achieved.
• If more adjustment is needed press FX EQ button.
REVERB ON SWITCH: Switches the effects processor on or off. A green status LED indicates the effects are active.
EFX TO MON (Monitor) Control: This fader controls the amount of effect added to the MON (monitor) mix. A center
detent is provided as a typical starting position.
39)
40)
41)
42)
43)
44)
45)
To recall the memory settings
• Press one of the MEM buttons, the LED will light
• This will now recall your stored set-up regardless of current console settings.
To overwrite a set-up, simply repeat the above procedure.
10
DISPLAY SECTION: (Only for Platinum MKIII & Platinum 12Fx)
Display section consist of 7 segments LED display and different effects bank with corresponding LED’s near the banks.
Turning the effect select control, 7 segments display will show the selected EFX number & its corresponding effect LED will
be illuminated. Turn the effect select knob until you get your desired effect. The display no. and the corresponding effect
bank is given below.
Auditorium (1.2s - 15.0s)
Plate 1 (0.2s - 1.8s)
Plate 2 (1.0s - 7.5s)
Gate 1 (0.2s - 0.6s)
Gate 2 (0.15s - 0.45s)
Hall (0.5s - 3.0s)
9-16
33-40
41-48
49-52
53-56
1-8
1
2
3
4
5
6
Effects
Sequence Effects Nos Effects Bank
46)
The Delay Effect can be selected by pressing DELAY button. The display no. & the corresponding effect bank is given below.
To select the effect
• Turn the DATA ENTRY control to the right.
• For delay effects press the DELAY button, the DELAY LED will light.
• Select the effect using the DATA ENTRY control.
• The effect no. & effect bank indicator will be displayed.
• Select AUX MUTE, REGEN, EFX, EFX EQ or STANDBY, the selected LED’s will light.
SETTING UP A PA: In most small and medium sized venues, the PA works as a sound reinforcement system, helping to
boost the sound of on-stage instruments amplifiers (and possibly drum kits) as well as handling all the vocals and acoustic
instruments, Because of the wide range of sounds, the PA speakers need to be able to reproduce the full audio spectrum,
but their main job will be to lift the vocals and acoustic instruments over the level of the back-line. For smaller venues, it’s
sometimes easier to use low powered back line amplification and mic it up. This reduces spill from the back-line amplifiers
into the vocal mics making the mix easier to control. If the room is very reverberant, getting a clear vocal sound can be
difficult. Because of the way in which sound is reflected, the FX may sound the same wherever you are in the room,
whereas the vocal sound from the speakers will get quieter the further away you are. Once you get so far back in the
room that the reverberant sound overwhelms the direct sound, vocal clarity is compromised. The choice and positioning of
loudspeakers is critical in projecting a clear sound. .
The main PA speaker cabinets should be positioned in front of the vocal mics so as to reduce the risk of feedback & should
be set up on stand so that the sound is being absorbed by the front row audience. The ideal position is to have the
speakers slightly over the audience’s head height, angled slightly downwards so as to concentrate all the sound on the
audience and not the back wall or ceiling. Also angle the speakers away from the sidewall if possible. As well as making
the most use of the unavailable power, this will also reduce the effect of room reflections making the sound clearer, even in
troublesome rooms.
Reverse (100 msec. - 500 msec.)
Reverb Regen
Eco + Reverb
Reverb (300 msec. - 2.0 sec.)
Room (1.5 sec. - 8.5 sec.)
Delay 1 (20 msec. - 700 msec.)
Delay 2 (90 bpm - 150 bpm)
57-64
121-127
97-98 & 105-106
17-24
25-32
129-178 & 209-218
230-240 & 219-220
7
8
9
10
11
12
13
Effects
Sequence Effects Nos Effects Bank
11
Power amps, whether for main PA or monitor use, need enough power to deliver a clean signal, at the full rated power of
loudspeakers, This is because once an amplifier is driven into clipping, it produces a lot of high frequency harmonics,
MICROPHONES: Dynamic cardioid microphones are usually chosen for live work because they are robust, they
produce a full, confident sound, & their cardioid response helps prevent feedback by keeping unwanted sounds out of the
mic. Platinum consoles are designed to work with low impedance microphones so that long cable lengths won’t
compromise the sound quality. Both balanced & unbalanced microphones may be used although balanced mics provide
a better immunity to interference.
Monitor systems are also prone to feedback, especially as they are so close to performers. Careful positioning of the
monitor speakers, so as little sound as possible gets back into the stage mics, will help considerably, When using split
mode, one of the on-board graphic equalizers may be used to fine tune the monitor mix in the same way as for the main
PA. If the graphic equalizers are not used to compensate for room acoustics, or if a separate equalizer has been patched
into the insert point to handle this task, the on-board graphic equalizers may be assigned to the group mix allowing
specific groups or instruments or vocals to be treated independently of the rest of the mix. As a rule, avoid extreme EQ
settings, and if you can use cut rather than boost to achieve the desired result, feedback if less likely to be a problem.
When doing the pre-gig sound check, set the maximum safe vocal operating level first & then balance the instruments to
the vocals rather than attempting to work the other way around. Once the maximum safe level before feedback has been
found, back off the master faders slightly so as to leave al little power in hand. Finally, select a vocal Fx or echo setting
though be aware that in a typical venue, there may already be quite a lot of Fx so you may not need to add as much as
you think.
A common problem is that the vocal mic doesn’t just pick up the singer, it picks up sound from all along its axis, so anything
going on directly behind the singer will also be picked up, to some degree. If you put the drums or a loud guitar amp
behind the singer, whenever you turn up the vocal level you will increase the level of that as well. A microphone also
‘hears’ some of the ground generated by the PA system itself, either directly from the speaker cabinets or reflected from
the walls. If too much sound from the PA gets back into the mic it will build up in level resulting in the familiar squeal known
as feedback.
Feedback has to start at a particular frequency and, as you might expect, this is influenced by the room acoustics. Speakers
or mics with peaky frequency responses also provoke feedback at the frequencies where they have most gain. The Platinum
has two on-board graphic equalizer which can be used to ‘pull down’ troublesome frequencies. The best way to set up the
system is to slowly increase the sound level until feedback just starts to occur, then use the graphic EQ to pull that frequency
down in level slightly. Graphic equalization can’t provide a complete cure for feedback, but used carefully, it can enable
you to squeeze those extra few vital dB’s out of the system. Switching off mics when they are not in use also reduces the risk
of feedback.
MONITORING: Stage monitors may be thought of as a separate sound system, comprising power amplifiers & speakers,
running from the monitor output of the mixing console. The most important job of a small monitor system is to ensure that
the vocalists can hear themselves properly. For smaller venues it’s rarely necessary to feed much in the way of instruments
back through the monitor system. Stage monitors often take the form of floor-standing, wedge-shaped speaker enclosure,
and they must be fitted with high quality, full-range speaker systems, otherwise feedback will almost certainly become a
major problem. .
DO NOT SWITCH ON YET! READ THIS SECTION FIRST.
SAFETY INSTRUCTIONS
• Make sure this product is suitable for use on your local supply Voltage. The voltage is printed on the rear panel.
Only use the AC power cord /Mains lead supplied with the product.
• Do not attempt to remove screws or panel. There are no user serviceable part inside
• Do not operate the unit next to heat source such as radiators. If the unit gets damaged or appears to have developed
a fault refer to the sevice information section for details
• Do not use your mixer in environments having a high humidity or where liquids or objects may accidentally enter the
console.
• Always ensure the Ventilation slot is clear and never remove the main earth to cure a buzz or hum caused by faulty
wiring. If external signal processors or effect processor is being used, these should also be connected & switched on
before the mixer is powered up.
• In the event that the rear panel fuse blows, replace it only with the same type and rating of fuse (see technical
specifications). If a fault occurs that replacing the external fuse does not cure, return the unit to your dealer or to an
authorized service agency. Do not attempt to replace the internal fuse yourself, as this could be dangerous and will
void the warranty.
5. Product Care Instruction
12
13
6. Technical Specifications
Nominal Gain (Mic/Line/Stereo Line)
Max Gain (Mic/Line/Stereo Line)
Input Levels Sensitivity
Mic (Gain Min/Gain Max)
Line (Gain Min/Gain Max)
Stereo Line (Gain Min/Gain Max)
Input Impedance
Mic Input
Line Input
Main Output level (Nominal/Max)
Main Output Impedance
Frequency Response
Total Harmonic Distortion
Signal to Noise Ratio
Clip indication
Equalisation
Mono Mic [Treble/Mid (with sweep)/Bass]
Stereo Mic/Line (Treble/Mid/Bass)
Graphic Equalizer (±12dB)
EFX
Phantom supply
Power supply
Power Consumption
Dimensions (W x D x H)mm
Net Weight (Kgs.)
Fuse
60dB/40dB/20dB
75dB/55dB/35dB
-10dBu / -60dBu
+8dBu / -40dBu
+6dBu / -24dBu
Typically 2KΩ Balanced
20KΩ (Balanced)/10KΩ (Unbalanced)
+0dBu (0.775V RMS) / +22dBu (10V RMS)
<30Ω
20Hz to 20KHz (+0/-1 dB)
<0.006%
-78dB
5dB prior to true clip
±15dB @ 12KHz/350Hz-6KHz/60Hz
±15dB @ 12KHz/1.6KHz/45 Hz
50Hz, 150Hz, 330Hz, 1KHz, 2.5KHz, - - -
5KHz, 10KHz
- - - 32 bit Multi EFX processor
+48V
150V~250V AC/50Hz
30W Max
725 x 440 x 126 564 x 442 x 124
12.7 10.4
T3.15AL 250V
Platinum Basic MKI Platinum MKIII Platinum 12Fx
14
EFX Description:
15
For more details please refer given EFX list in user manual.
REVERB ON
(Master/Group)
L-R(Master)
ASSIGN 2
MASTER/
LISTEN
REVERSE ECO + REVERB
57-64 97-98 & 105-106
1.5 sec. - 8.5 sec.
25-32
ROOM
100 msec. - 500 msec.
DISPLAY
DELAY
EFFECT TYPE
REVERB REGEN
DELAY 1
121-127 129-178 & 209-218
230-240 & 219-220
DELAY 2
DISPLAY
DELAY
EFFECT TYPE
20 msec. - 700 msec.
90 bpm - 150 bpm
0.5s - 3.0s 0.2s - 1.8s300 msec. - 2.0 sec.
AUDITORIUM
17-24
9-161-8
HALL
49-52
GATE 1
REVERB
41-4833-40
PLATE 2
PLATE 1
DISPLAY
DELAY
EFFECT TYPE
1.2s - 15.0s 1.0s - 7.5s 0.2s - 0.6s
53-56
0.15s - 0.45s
GATE 2
(Override
Assign 1)
8.8.8.
Stereo Keyboards
Stereo Pre Amp
Guitar
Microphones
Drum Kit
Bass Guitar
Di Box / Pre Amp
Stereo Effect
Two Track
TAPE
Band Set-up
Backing Vocals
Vocals Horns / Percussion Stereo Keyboards Stereo Keyboards
Big Band Set-up
For more details please refer given EFX list in user manual.
REVERB ON
(Master/Group)
L-R(Master)
ASSIGN 2
MASTER/
LISTEN
REVERSE ECO + REVERB
57-64 97-98 & 105-106
1.5 sec. - 8.5 sec.
25-32
ROOM
100 msec. - 500 msec.
DISPLAY
DELAY
EFFECT TYPE
REVERB REGEN
DELAY 1
121-127 129-178 & 209-218
230-240 & 219-220
DELAY 2
DISPLAY
DELAY
EFFECT TYPE
20 msec. - 700 msec.
90 bpm - 150 bpm
0.5s - 3.0s 0.2s - 1.8s300 msec. - 2.0 sec.
AUDITORIUM
17-249-161-8
HALL
49-52
GATE 1
REVERB
41-4833-40
PLATE 2PLATE 1
DISPLAY
DELAY
EFFECT TYPE
1.2s - 15.0s 1.0s - 7.5s 0.2s - 0.6s
53-56
0.15s - 0.45s
GATE 2
(Override
Assign 1)
8.8.8.
Stereo Effect
Two Track
TAPE
7. Set-Up Diagram
16
NOTE:-
If Studiomaster Professional PLATINUM Series console develop a serious fault, do not attempt to rectify it yourself.
Please take to your nearest dealer for service. Service work should only be carried out by qualified and experienced
service engineers.
Studiomaster Professional reserves the right to make modications to its products without notice.
Ring - Negative / Cold / - Ve phase
Tip - positive / Hot / + Ve phase
Tip
Ring Sleeve Sleeve - Screen / Ground / Earth
Pin 2 positive /Hot/ +Ve phase-
Pin 3 - Negative / Cold /-Ve phase
Pin 1 - Screen / Ground / Earth
To connect a balanced microphone to a mic input,
wire the 3 pin XLR as above
To connect balanced equipment to an input or output,
wire the ¼” TRS jack as above
Tip - Signal
Tip
Sleeve Sleeve - Screen / Ground / Earth
Pin 1 - Screen / Ground / Earth
Pin 3 - Link to Pin 1
Pin 2 - positive /Hot/ +Ve phase
To connect an unbalanced microphone to a mic input,
wire the 3 pin XLR as above, +48V must not be used
when unbalanced mics are connected to the console
To connect unbalanced equipment to an input or output,
and to connect a footswitch use a ¼” TS jack wired as above
Tip - Signal
Sleeve - Screen / Ground / Earth
Tip & Ring linked together
Sleeve - Not connected
To connect to the record or playback sockets, wire the
phono (RCA jack) as above.
To bypass a channel Send/Return or Amplifier insert,
wire a ¼” TRS jack as above
Connector Wiring Information
LITMA2F8 REV. 3
is a registered trademark of Audioplus in India. © Copyright Audioplus, 2008. All rights reserved.
unauthorised reproduction or use of logos, images or design elements is strictly prohibited by law. No part of the
compilation may be reproduced in any manner or translated without written permission.
Any
A1/A2, Giriraj Industrial Estate, Mahakali Caves Road, Andheri (East), Mumbai - 400 093. India
Tel.: / Fax: 022 - 26871453
E [email protected] W www.audioplus-india.com/www.studiomasterprofessional.com
022-42869043 / 4286 9076
* Design and specification are subject to change without notice.
Range of Studiomaster Professional Products.
SM 100XLR
TRIO 100
SM 200XLR
SM 300I
SM 400XLR
SM 500XLR
SM 600XLR
SM 650XLR
SM 800C
SM 900C
SBM 10
SBM 20
Flex 2
Flex 4
Wired Microphones
Wireless Microphones
Crossovers
Processors
Mixers
BR 12 Series
BR 28 Series
BR 48 Series
ER 11 Series
ER 31 Series
ER 58 Series
KR 12 Series
GR 12 Series
MR 12 Series
TR 47 Series
SX-2
SX-321
SX-421
SX-521
SDX-4
DD 1000
SEQ 152
SEQ 312
Multi 3
SFX 8
SPS 8
Phantom 11
Passive Speakers
~ S-Series
~ Fire Series
~ DYS Series
~ XVP Series
~Aria Series
~Line Array System
S5215
S5225
S8018
S8118
S8028
S8128
S9022
Fire 51
FIRE 51A
Fire 55
Fire 84
DYS-208
DYS-12M
XVP1540
XVP1540M
XVP 1560
XVP 2585
XVP 25A2
XVP 1808
Aria 8
Aria 12
Aria 15
SLA-40
Powered Speakers
Active Monitors
~ B Series
~ OP Series
~ SUB Series
B 200
B 400 (Black & White)
B 400U
B 400UB
O 215
O 415
O 415U
O 515
O 12SUB
O 15SUB
O 18SUB
Sat 5
Sat 10S
SS 10B
SS 20S
WS 10
Stabilizers
Sound Box
Speaker Stands
SPA 25FX
SPA 80FX
SVC - S1000
SVC - S2000
SVC - S3000
SVC - S5000
SVC - S8000
SVC - S10000
Basic CUB
Basic CUBU
Basic CUBS
DJX 300 (Black & White)
Playmix 300
DJX 325
DJX 626
DJX 825
DJX 925
DJX 975
DMX 5
Diamond Club 6.2
Diamond Club 8.2
Diamond Club 8.2EFX
Diamond Club 12.2
Diamond Club 12.2EFX
Diamond Club 12.2USB
Diamond Club 16.2
Diamond Club 16.2EFX
Diamond Supreme 7
Diamond Supreme 12
Diamond Supreme 12U
Diamond Supreme 16U
C 142
C 182
C 142EFX
Platinum Basic MKI
Platinum MKIII
Platinum 12Fx
Diamond Pro-3 12.3
Diamond Pro-3 16.3
Pro 16.6
Pro 24.6
EP 7
AiR 2
AiR 4
AiR 6
AiR 8
AiR 12
AiR 16
AiR 24
AiR X 10
AiR X 14
AiR X 18
~ Basic Series
~ DJ Mixers
~ Diamond Club Series
~ Diamond Supreme Series
~ Club 2000 Series
~ Platinum Series
~ Diamond Pro-3 Series
~ ProVI Series
~Air Series
Amplifiers
DJA 100
DJA 550
DJA 1000
DJA 2500
DJA 3200
DJA 4000
PA 1.5
PA 2.0
PA 3.0
PA 4.5
PA 6.0
PA 7.5
DPA 2000
DPA 3200
DPA 4500
DPA 5000
Road 7
Arena 20
Arena 30
ARC 120A
~ DJA Series
~ PA Series
~ DPA Series
~Arena Series
~ IndustrialAmplifier
Component Speakers
~ S-Series
~ E-Series
~Titan Series
SWF 18120
SWF 18100
SWF 1880
SWF 1560
SMB 1545
SMB 1530
SMB 1230
SHF 0104
SHF 0210
EMB 1225
EMB 1530
THF 0208
TMB 1535
TMB 1555
TWF 1580
AiR Pro 24
AiR Pro 36
Aura 14
MP 4000
MP 2000
~ CD/USB Media Player
/