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RU

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NU

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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 1REVERB

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.

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

17-249-161-8

HALL

49-52

GATE 1REVERB

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 mixerPLATINUM 12F X

8.8.8

PLATINUM BASIC MK-1

28 input mixer

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

• 16 Channel Mixer (Mono XLR 16 Mic / 12 Line + 4 Mon/Ster).

• 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.

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

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

17-249-161-8

HALL

49-52

GATE 1REVERB

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 KeyboardsStereo Pre Amp

Guitar

Microphones

Drum Kit

Bass Guitar

Di Box / Pre Amp

Stereo Effect

Two Track

TAPE

Band Set-up

Backing VocalsVocals Horns / Percussion Stereo Keyboards Stereo KeyboardsBig 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 1REVERB

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

3

Front & Rear Panel - Platinum MKIII

PLATINUM MKIIiI

SERIAL

NUMBERHERE

0

POWER

240V 50Hz T3.15AL 250V AUX 1 AUX 2 MON LEFT RIGHT

LINE OUT

R

LEFTRIGHT OUTPUT

OUTPUTS

3

-VE

2+VE

SCREEN

1

MIC INPUT

3

-VE

2+VE

SCREEN

1

LINE INPUTS / OUTPUTS

SCREEN

BALANCED

+VE-VEUNBALANCED

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 250VRISK 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

17-249-161-8

HALL

49-52

GATE 1REVERB

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.

(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 - 1.8s300 msec. - 2.0 sec.

AUDITORIUM

17-249-161-8

HALL

49-52

GATE 1REVERB

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 mixerPLATINUM 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-VEUNBALANCED

SCREEN

SIG

I

SERIAL

NUMBERHERE

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 250VRISK 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 first & then only switch on thephantom supply.

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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 conventionallog 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 ispressed 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 ispressed the equaliser gets assign to Mono Output.

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7

LEFT & RIGHT FADER: To control Master (L/R) output levels.17)

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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 awayon 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 INR-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 theunit 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 thefuse 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.

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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 DISPLAYAux send On/Off AUX MUTE + LEDDelay On/Off DELAY + LEDEffects processor On/Off FX + LEDEffects EQ setting WARM + BRIGHT LED’SRegen On/Off REGEN + LEDStand 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.

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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

1-81

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 theroom 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:

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

LEFTRIGHT OUTPUT

PLATINUM basic MK IWARNING: 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 250VRISK 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-VEUNBALANCED

SCREEN

SIG

32 31 30 29 28 27 26 25

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 modifications to its products without notice.

Ring - Negative / Cold / - Ve phaseTip - 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 / EarthPin 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

LITM

A2

F8 R

EV. 3

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unauthorised reproduction or use of logos, images or design elements is strictly prohibited by law. No part of the

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Any

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* Design and specification are subject to change without notice.

Range of Studiomaster Professional Products.

SM 100XLRTRIO 100SM 200XLRSM 300ISM 400XLRSM 500XLRSM 600XLRSM 650XLRSM 800CSM 900CSBM 10SBM 20Flex 2Flex 4

Wired Microphones

Wireless Microphones

Crossovers

Processors

Mixers

BR 12 SeriesBR 28 SeriesBR 48 SeriesER 11 SeriesER 31 SeriesER 58 SeriesKR 12 SeriesGR 12 SeriesMR 12 SeriesTR 47 Series

SX-2SX-321SX-421SX-521SDX-4

DD 1000SEQ 152SEQ 312Multi 3SFX 8SPS 8Phantom 11

Passive Speakers

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~ Fire Series

~ DYS Series

~ XVP Series

~Aria Series

~Line Array System

S5215S5225S8018S8118S8028S8128

S9022

Fire 51FIRE 51AFire 55Fire 84

DYS-208DYS-12M

XVP1540XVP1540MXVP 1560XVP 2585XVP 25A2XVP 1808

Aria 8Aria 12Aria 15

SLA-40

Powered Speakers

Active Monitors

~ B Series

~ OP Series

~ SUB Series

B 200B 400 (Black & White)B 400UB 400UB

O 215O 415O 415UO 515

O 12SUBO 15SUBO 18SUB

Sat 5Sat 10S

SS 10BSS 20SWS 10

Stabilizers

Sound Box

Speaker Stands

SPA 25FXSPA 80FX

SVC - S1000SVC - S2000SVC - S3000SVC - S5000SVC - S8000SVC - S10000

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DJX 300 (Black & White)Playmix 300DJX 325DJX 626DJX 825DJX 925DJX 975DMX 5

Diamond Club 6.2Diamond Club 8.2Diamond Club 8.2EFXDiamond Club 12.2Diamond Club 12.2EFXDiamond Club 12.2USBDiamond Club 16.2Diamond Club 16.2EFX

Diamond Supreme 7Diamond Supreme 12Diamond Supreme 12UDiamond Supreme 16U

C 142C 182C 142EFX

Platinum Basic MKIPlatinum MKIIIPlatinum 12Fx

Diamond Pro-3 12.3Diamond Pro-3 16.3

Pro 16.6Pro 24.6EP 7

AiR 2AiR 4AiR 6AiR 8AiR 12AiR 16AiR 24AiR X 10AiR X 14AiR X 18

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DJA 100DJA 550DJA 1000DJA 2500DJA 3200DJA 4000

PA 1.5PA 2.0PA 3.0PA 4.5PA 6.0PA 7.5

DPA 2000DPA 3200DPA 4500DPA 5000Road 7

Arena 20Arena 30

ARC 120A

~ DJA Series

~ PA Series

~ DPA Series

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~ IndustrialAmplifier

Component Speakers

~ S-Series

~ E-Series

~Titan Series

SWF 18120SWF 18100SWF 1880SWF 1560SMB 1545SMB 1530SMB 1230SHF 0104SHF 0210

EMB 1225EMB 1530

THF 0208TMB 1535TMB 1555TWF 1580

AiR Pro 24AiR Pro 36Aura 14

MP 4000MP 2000

~ CD/USB Media Player