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****** Page 1 ****** ONNNER’S BK-i632

****** Page 2 ****** INTRODUCTION Congratulations — you have just made one of the “best buys” of your audio career. The Electro-Voice BK,1632 was designed to deliver exceptional performance at an affordable price. The BK-1632 provides the flexibility and sonic quality required by today’s working musician. The five mixing busses and channel patch pants enable the use of multiple effects and processors. The prefade listen or solo system is invaluable for fine-tuning the mix. Vocalist will find the reverb to monitor send useful in providing a “wet mix” for stage monitors. With the addition of on-board phantom power. any dynamic or condenser microphone can be used without separate power supplies. The BK-1632 is a welcome addition to the growng family of Electro-Voice electronic products. The engineers at Electro-Voice have put 30 years of audio know-how and pride into the BK-1632.

****** Page 3 ****** @BK-1632 STEREO MIXER INTRODUCTION INPUT CHANNEL CONTROLS Table of Contents TABLE OF CONTENTS 2. 3. 4. 5. 6. REAR PANEL INPUT CONNECTORS IA 1B IC ID IE II IJ AND FUNCTIONS Trim EQ Controls Effects Reverb Send Monitor Send Auxiliary Send PAN pot PFL Channel Fader Channel Clip LED Channel Patching Insert Jack 3A 3B 3C 3D 3E 3F Balanced Low-Z Mic Input High-Z Line Input Effects Return AUX Return Effects IN Monitor IN REAR PANEL OUTPUT CONNECTORS OUTPUT SECTION CONTROLS 4A 4B 4C 4F Sub R Right Subgroup Output Sub L -— Left Subgroup Output Main Output Monitor Output Effects Send AUX Send 2A 2B 2D 2E 2F 2G AND FUNCTIONS Effects Master Send Effects Return Level Effects PAN Auxiliary Master Send Auxiliary Return Level Auxiliary PAN Reverb Section 2G-1 Reverb Level 2G-2 Reverb PAN 2G-3 Reverb to Monitor 2H Master Section Controls 2H-1 Left Submaster 2H-2 Right Submaster 2H-3 Main Master 2H-4 Monitor Master 2J 2K 2L 2M 2N 20 2P 20 2R Meter Assignment Switch LED VU Indicators Subgroup Insert Jack Lamp Connector Power Indicator Phantom Power Switch Phantom Power Indicator Phone Gain Headphone Jack TROUBLESHOOTING WARRANTY SCHEMATIC DIAGRAMS SPECIFICATIONS SIGNAL FLOW DIAGRAM one

****** Page 4 ****** @BK-1632 STEREO MIXER GENERAL SPECIFICATIONS Specifications FREQUENCY RESPONSE Mic Input to An Output, EQ Flat, All Faders Nominal 20-20,000 Hz 1 dB TOTAL HARMONIC DISTORTION — +4 dBut, 20-20,000 Hz at +20 dBu. 20-20.000 Hz NOISE — (20-20,000 Hz with 150-ohm input impedance) —128 dBu EIN-equivalent Input nose. mlc tnput (theoretical minimum nose is —130 dBu across 150 ohms) —90 dBu residual at main out (all faders down) —90 deu residual at monitor out INPUT CHANNEL EQUALIZATION — ± 15 dB shelving at 100 Hz ± 12 dB peak/dip at 3 kHz ± 15d3 shelving at 10 kHz MICROPHONE INPUTS — Low balanced — 2 reference postwe Maximum input level: +6 dBu (1.5 V) Input Impedance at t kHz 4.4 kQ Common Mode Rqection Ratto, Typical: —65 dB Mtnimum, 60-10.000 Hz: -50 dB LINE INPUTS High impedance, balanced tip positive Maximum input level: +24 dBu (12 Input impedance; 70 kC2 PEAK INDICATOR THRESHOLD + 15 dBu MAXIMUM VOLTAGE GAIN dB 85 dB 75 dB 75 db 52 d2 82 Left Insert — MiC In to Man Out MIC In to Montor Out MIC In to Sub Out Mic In to Insert Jack MIC In to EFX Send — Line In to Man Out 60 dB 50 dB Line In to Monitor Out 50 dB Line In to Sub Out 27 Line In to Insert Jack 57 dB Ltne Jn to EFX Send 50 dB Lne to Aux OUT CROSSTALK 75 dB typical — Adjacent inputs, 1 kHz —75 dB typical Input to output. 1 kHz —50 dB minimum Atl combinations. 20-20,000 Hz LAMP CONNECTOR — BNC connector. 12.6 V ac!O.20 amps maxtrnum PHANTOM POWER 48 V dc at pins 2 and 3 on mic connector, 3.4 kC2 source restance LEVEL DISPLAY — to-segment I ED In 3 dB steps: Range: dB to +9 dB Reference +4 dBu Response: Full wave. average responding HEADPHONE OUTPUT t— Output: 20 mw Into 8 0 Frequency Response: SO•15 kHz dB PFL (pre fader listen): Swit&aable for Input and output channels AUX SEND Input Channels: Switchable pre- or post•fader and EO DIMENSIONS Height: 130 mm (505 in) Depth: 460 mm (18.125 Width; 832 mm (3275 in.) NET WEIGHT 16,e kg (37.0 lb) POWER REQUIREMENT 25 Watts Maximum Available for 95-130 vets. 60 Hz OUTPUTS Right Insert EFX Retum EFX Input Monitor Input Aux Retum Input-Channel Inserti Aux Input LINE LEVEL INPUTS MAXIMUM LEVEL +20 d3u + 20 dBu +40 dau +29 dBu +20 dBu +5 dBu +29 dBU INPUT IMPEDANCE 100 kO 16 ko 10 kO IA k Flat EQ. I k Max. Boost EO 10 kO Main Monitor Left Sub Right Sub Left Insert Right Insert EFX Send Input-Channel Insert Aux Out t, O dBu is 0775 wits. RMS MAXIMUM’ LEVEL +20 d8u +20 dBu +20 dBu +20 dBu +20 dBu +20 dBu +20 dBu +20 d8u +20 dBu MINIMUM LOAD 600 0 600 600 Q 600 600 0 600 n 2000 Q 600 INTERNAL IMPEDANCE 50 50 50 50 50 Q 50 a 100 50 1. Requires a source impedance of 100 or less. two


****** Page 6 ****** EM BK-1632 STEREO MIXER TRIMS 5′ o ‘S O O EFXfREV<C; . MONITORY.} POST; cup€i FIGURE 1 four IJ CHANNEL PATCHING INSERT JACK IA — TRIM IBl — HIGH EQUALIZER 1B2 — MID EQUALIZER 1B3 LOW EQUALIZER IC — EFFECTS REVERB SEND ID — MONITOR SEND AUXILIARY SENS PREPOST SELECT IF — PAN POT IG — PFL SWITCH & LED II — CLIP LED IH — CHANNEL FADER — Input Channel Functions Input Channel Controls SECTION 1.0 1.0 INPUT CHANNEL CONTROLS (Figure 1) The input channel is the beginning of the signal process- ing phase of the mixer. Each input channel will accept one signal source which may be then equalized, have reverb or other effects added, sent to a monitor system, and last but not least, sent to the main system for the audience to hear. Each input has a low impedance microphone input (the a-pin XLR or Cannon connector) and a high impedance mic or line input (1/4 in. phone jack). The line input will accept signals from an instru- ment, high-impedance microphone, tape machirre, elec- tronic drummer or almost any other audio source. Always make sure that the channel fader (sec. 1 H) or master faders (sec. 2B) are down before plugging or unplugg- ing input sources. I TRIM The TRIM control adjusts the gain or amplification of the input amplifier. This is necessary to accom- modate the wide varation in signal strength presented to the mixer by the almost endless variety of signal sources vocal rncs, instrument mics, tape machines, etc. The TRIM control allows you to optimize the amplification for each individual input source. This results in the best signal-to-noise ratio no hiss) and at the same time, best freedom from overload distortion. The TRIM control is used to match the gain of the first preamp stage to the signal strength of the source being run through the channel. To get the cleanest, quietist operation from the board it is important that the TRIM control be properly set. To set up a mix, first set all TRIM controls at "0" (minimum). Set all the input and subgroup slide faders at ' Then adjust the TRIM controls for a rough mix (see sec. 1 1), and do the fine tuning with EQ and faders as necessary. Whenever possible, it is best to try to maintain that "straight line" rela- tionship between all faders. When this is done, all the levels within the console are very close to being optimized for the best noise and distortion perfor- mance. Once the correct TRIM setting is establish- ed, make all volume adjustments with the appropriate channel fader (sec. 1 H). In general, the lowest noise operation (greatest dynamic range) Will be obtained when the TRIM control IS set at a point just below where the CLIP light would flash. ****** Page 7 ****** 1B. BK-1632 STEREO MIXER EQ CONTROLS l. Equalization can be more simply described as sophisticated tone control The EQ circuits used in the BK-1632 have a substantial amount of boost and cut capability. This wide range can be a bonus when dealing with instrument signals, poor acoustics or other problems. Use them sparingly, however, for the best results, 1. HIGH EQ 10 kHz SHELVING TYPE dB Controls the treble content of the input signal. Turning the control counterclockwise decreases the amount of treble, clockwise increases it. 2. MID EQ 3 kHz PEAK/DIP dB IF. Controls the midrange content of the input signal. Turning the control counterclockwise decreases the amount of midrange, clockwise increases it. 3. LOW EO 100 Hz SHELVING TYPE dB Controls the bass content of the input signali Turning the control counterclockwise decreases the amount of bass, clockwise increases it. EFFECTS/REVERB SEND The EFFECTS/REVERB send control determines how much of that input signal is sent to the internal spring reverb and/or external effects. It is affected by the channel EQ controls (sec. 1B) and the channel fader (sec. 1 H). Turning the control clockwise increases the amount of reverb and/or effects applied to that input signal; counterclockwise decreases the amount. Since each channel has its own EFFECTS/REVERB send, some channels can have reverb or effects and others none. Note that since the internal reverb and external effects .share a common send, they will always have the same sources. That is, it is not possible to have only reverb on one input source and only effects on another input source at the same time (unless the insert point is used). It is possible to have reverb and effects simultaneous- ly on both input channels, however. The EFX/REVERB send may also be used as mono send. This might be useful for a tape recorder send, for instance. EQ Controls D. MONITOR SEND The monitor send control sets the level of that input signal in the monitor mix. It is independent of all input channel controls except TRIM control (sec. IA). It is not affected by the channel EQ controls or slide fader. Thus, it is independent oft and not affected by, changes in the main or house mix. AUXILIARY SEND The auxiliary send control sets the level of that input signal in the auxiliary mix and is switchable PRE- POST-EQ and fader. In the PRE position it serves as another "MONITOR OUT" and in the POST position, another V' EFFECTS OUT." The auxiliary send may also be used as a send for recording. PAN POT Short for V' panoramic potentiometer. " This control allows you to place the channel's input signal within the stereo image by assiging more or less of the signal to the left or right submaster controls. Turning the panpot to the left of center moves the apparent source toward the left channel, turning it to the right moves the source toward the right chan- nel. Centering the control makes the apparent source centered between the channels. If all inputs are panned center, the result is mono. Proper use of the PAN control cna sometimes help to control acoustic feedback in a sound reinforcement system by ' 'panning" a mic away to the loudspeaker on the opposite side of the stage. p FL PFL (Pre-Fader Listen) allows the operator to monitor any pre-fader signal individually or in com- binations, through the headphone output. To activate the PFL simply depress the appropriate switches. The status indicator will light indicating the pre-fader signals being monitored. In the normal position (all PFL switches off) the headphone circuit monitors the output of the "Left'i and "Right" Submaster outputs. The audio level at the HEADPHONE jack (2 R) is controlled by the PHONE GAIN control (2 Q), CHANNEL FADER The side fader controls the output level of the chan- nel as it is fed to the subgroups. The control should be normally set at the '*0" mark. With all controls five ****** Page 8 ****** 2L1 11. E! BK-1632 STEREO MIXER v 20 set to their designated normal operating points, the circuits in the board are optimized for minimum noise and distortion. In other words, the signal levels are high enough to keep noise from creep- ing in and low enough to ensure plenty of headroom and freedom from clipping distortion. If the fader must run wide opten to get enough level, turn up the TRIM control or increase the setting-of the left and right submaster controls. Conversely, if the fader must be pulled way back to get the right level, the TRIM control or stereo submasters should be adjusted. Adjust the TRIM control if the CLIP LED lights, otherwise adjust the stereo submasters. For optimum performance, the channel FADERS (sec. IH) should be run close to the '80" mark. CLIP LED The channel CLIP LED monitors the input channel circuit for clipping or overload (both before and after the EQ section). If it lights, you are bordering on distortion. You'll hear this in the output as a harsh, blaring sound on volume peaks. This might be caused by excessive boost in the channel equalization controls (sec. 1B), or a TRIM control setting that is too high for the input signal (sec. IA). Generally, readjusting the TRIM control (sec. IA) will suffice. CHANNEL PATCHING INSERT JACK (one supplied with the unit) This space -saving (two-connectors-in-one) jack allows you to add external signal processing gear to a particular channel, without disturbing any of the other channels. A 3-conductor (stereo) phone plug is used for both the output from the channel preamp, and for the return to the mixer's output stages from the external processing device. The diagram indicates how a channel patching cord should be wired. This cable can also be purchas- ed from any of several audio cable manufacturers. : INSERV' Clip LED 91BK-1632 2MC 20 EFTSENDZ< EFR EFX HOW TO WIRE A CHANNEL PATCHING CORD RED CABLE FROM ACCESSORY RING PHONE PLUGS STEREO pHONE PLUG TO ACCESSORY GROUND SE SHIELDED AUDIO CABLE •21-1 SUBL RIGHTE MONITOR to SENOG,O AUXT*ETURNÄ AUXOANV 2H 20 SUBR METER.Z 2 ASSIGN" REVIEVEL!ZI: . PFL MAIN POWEfW HEADPHONEF PHONE GAIN' REVIO MON.' MONITOR B-ACK CABLE The channel patching jack can be used with equalizers, limiters, compressors, external reverb or dealy systems and the like. Just be sure the device you want to patch in has line level unbalanc- ed inputs and outputs. The signal at the insert jack can drive loads of 2,000 ohms or greater, and the external processing device should have a low out- put internal impedance (100 ohms or less). A nominal input signal is a level of +4 dBu; the maximum level is +20 dBu. six FIGURE 2 Output Section Controls and Functions ****** Page 9 ****** STEREO MIXER SECTION 2.0 2.0 20. OUTPUT SECTION CONTROLS (Figure 2) EFX SEND The EFX (effects) SEND control sets the level of the signal appearing at the effects send output jack (sec. 4E) going to any type of outboard effects device(s) such as delay, phase, flanger, etc. It does not affect the signal being sent to the internal reverb system. The source for this signal is via the individual effects/reverb send level controls (sec. IC) on input channels 1 through 16. EFX RETURN The EFX RETURN level control determines the amount of externally generated effects signals in the main mix. This signal is mixed into the left and right stereo sub channels via the EFX PAN control (sec. 20). EFX PAN The EFX PAN control directs the signal coming from the effects return level control into the left and/or right sub channels. The control works in an identical way to the input channel PAN control. AUX SEND The AUX (auxiliary) SEND control sets the level of the Signal appearing at the AUX SEND output jack (sec. 4F) to any outboard device. The PRE-POST select switch on the channel input will allow you to determine if you want the outboard device to be affected by the channel equalization and fader. In the "PRE'S position, the AUX SEND signal is not affected by the channel EQ and fader. In the "POST" positiont the AUX SEND signal is affected by the channel EQ and fader. AUX RETURN The AIJX (auxiliary) RETURN control sets the level of the input signal that is directed to the left and right sub channels through the AUX PAN control (sec. 2F). The AUX RETIJRN is one of the input locations that can be used to "stack" mixers without using up an input channel, AUX PAN The AUX (auxiliary) PAN control directs the signal coming from the AUX input into the left and or right sub channels. The control works in an identical manner to the input channel PAN control. 21-1. Output Section Controls REVERB SECTION Reverberation is the natural decay of sound in a closed space (a room). The internal reverb system uses springs to realistically simulate this effect. The reverb section gets its input signal from the EFX/REVERB send controls on the input channels (sec. C). 1. REV LEVEL The REV (reverb) LEVEL control adds rever- beration to the left and right sub channels from any input channel signal whose EFX/REV control is turned up. Turning the control to the right increases the amount of reverb present in the left and right sub outputs. 2. REV PAN The REV (reverb) PAN control directs signal from the REV LEVEL control to left or right sub bus. The control works in an identical manner to the input PAN control. 3. REV TO MON The REV (reverb) to MON (monitor) control adjusts the level of the signal from the internal reverb to the monitor bus. Turn the control clockwise to increase the reverb level at the monitor bus, MASTER SECTION CONTROLS The master section controls affect the subgroup, main, and monitor output levels. The use of subgroups can be demonstrated by this example: If the input channel PAN controls are set fully clockwise for all the vocal microphones, then we will have assigned the SUB R slider as a "vocal submaster". If we raise or lower the SUB R control we can set the proper vocal level in the mix while preserving the input channel balance set among the vocalists. 1. LEFT SUBMASTER Controls the volume of the left stereo output channel. It is also used as a subgroup master, 2. RIGHT SUBMASTER Controls the volume of the right stereo channel. It is also used as a subgroup master. MAIN MASTER 3. The MAIN (monaural) output is an equal mix of the left and right stereo outputs. the MAIN MASTER controls the volume of the output. 4. MONITOR MASTER Controls the volume of the monitor output signal. The monitor output is a mix of the individual channel monitor sends. seven ****** Page 10 ****** 21. 2J. 2K. 2M. 20. 2P. eight BK-1632 STEREO MIXER PHONE GAIN The PHONE GAIN control sets the level at the HEADPHONE jack. Any signal selected by depressing a PFL switch will be monitored through the headphone jack. With no PFL switch depress- ed, the headphone circuit monitors the left and right sub outputs in stereo. METER ASSIGNMENT SWITCH A push-push switch is provided to allow the user to select the points in the circuit which are monitored by the LED VU indicators. When the switch is depressed, the indication will be the audio level at the left sub and right sub outputs. In the other (non-depressed) position, signal level at the main and monitor outputs will be shown. LED VIJ INDICATORS A vertical row of tan light-emitting diodes is used to indicate signal level at selected points in the circuit (see assignment switch). This type of display is free from overshoot (ballistic) problems of mechanical meters, and is highly visible under poor lighting conditions. Each Indicator is calibrated in volume units, such that 0 dB corresponds to an out- put of 1.23 volts, which is +4 dBu, a standard in the industry. The mixer provides 16 dB of headroom above this level for superior sound reproduction. It may be necessary in some cases to reduce the sensitivity of equipment fed by the mixer, such as a power amplifier, to prevent over- driving it. A gain control on the amplifier is usually provided for this purpose. SUBGROUP INSERT JACK This jack provides a convenient point to add signal processing devices to the complete left/right submaster mix. The jack is wired the same as the channel insert jacks, The output can drive 600 ohms or greater unbalanced loads up to +20 dBu and the inputs can accept +20 dBu before clipping. LAMP CONNECTOR A BNC type socket is provided on the right hand Side of the mixer panel to accommodate a Littlite * gooseneck lamp, and allow operation of the board under dark conditions. The 1 B-inch long series is available from many professional sound dealers, and attaches without tools. The voltage at the socket is 12.6 V ac at a maximum of 0.2 amps. POWER SWITCH The power switch is used to turn on and off the ac main power. POWER INDICATOR This LED is illuminated when the ac main power is on. PHANTOM POWER SWITCH This switch turns on and off the phantom power supply. The phantom power supply provides power Phone Gain for condenser-type microphones through the microphone cable. When switched on, it produces 48 volts dc (with 3.4 K-ohm source impedance) at pins 2 and O on all of the microphone input connec- tors. Pin 1 (the shield conductor) provides the ground return path. This will power standard condenser microphones and will not affect most dynamic microphones. When switched on or off, the voltage will ramp slowly up or down; it takes a few seconds to reach full level. This prevents unwanted transients from reaching the microphone inputs. 20. PHANTOM POWER INDICATOR This LED ind icates when phantom power is present at the microphone inputs. SECTION 3.0 3.0 REAR PANEL INPUT CONNECTORS (Figure 3) The BK,1632 mixer can accept program material covering a dynamic range of over 100 dB. Except for the high gain mic input all of the line inputs can safely accept signals at least upto +20 dBu. (See Specifications for details). Several of the inputs that directly access the mix buses can be used to stack mixers together without using up an input channel. The stacking group includes the ALIX t EFX and MONITOR inputs. The EFX RET input may be used as another stacking input. For stereo subgroup stacking set EFX PAN to L and AUX PAN to R, and use EFX RET and AUX IN for left and right stacking, respectively. 3B. BALANCED LOW-Z MIC INPUT A 3-pin XLR-type ("Cannon' ') connector is used for balanced low impedance microphone inputs. The Mic Input is actively balanced; active balancing allows elimination of the input transformer (along with its limitations) while maintaining the RF and hum rejection of a good transformer coupled input. It is important that, during operation or testing of the mixer, all channel faders remain fully down whenever the mic input is not properly terminated with a microphone or equivalent 150-ohm source. An open mic invites the introduction of high noise levels which could produce lower quality sound or an incorrect test measurement. HIGH-Z LINE INPUT A standard 1/4-inch phone jack is used for balanced or unbalanced line level signals. Examples of line level signals include most electronic keyboards, synthesizers, turntables (With appropriate preamps), tape decks and the line outputs from other mixers. All input channel controls, including the variable GAIN control, affect the LINE input. Maximum input level before preamp clipping is 12 Vor +24 dB. If a sufficient sig nal level is not possible with the GAIN control in its furthest clockwise position, the input signal must then be treated asa mic level signal, and connected to the microphone input. If necessary, use an appropriate balancing transformer (EV Model 502CP or equivalent) or a direct box with the microphone (XLR) input. • Littlite is a trademark ot C.A.E., Hamburg, MI ****** Page 11 ****** MAIN OUTÜ MONITOROIJV MONITOR 30. BK-1632 STEREO MIXER 3F — MONITOR IN ELECTRO-VOICE% BUCHANAN/ MI*?:: 4910T •FOR PfOTECTION AGAINST FIRE– HAZARD REPLACE WITH SAMESJ•— REMPLACERPARUN 95-130 VAC—. 50/60 Hzaowe SLO.BLOWFUSE; 3G AUX IN EFFECTS RETURN Input Jacks 3E EFFECTS IN SUB SUBe:; EFX SENDS EFWRETURN O O 00 o c EFXGETURN PAN sue CdUS UX PAN sua aus STACKING GROUP* 3C EFFECTS RETURN MAIN OUT SEND* SD AUX RETURN FIGURE 3 The EFX RET jack accepts line level input signals which can be set with the EFX RET level and the EFX PAN front panel controls. This jack may be used as a stacking input or a second auxiliary input. AUX RETURN The AUX RETIJRN jack is used for signals to be fed to the subgroup buses. The signal is controlled by the AUX RETURN and AUX PAN front panel functions. The AUX RETURN is part of the "stack- ing group" EFFECTS IN The EFX IN jack will put line level signals directly onto the effects bus. Crosstalk and buffering pro- — Input Jacks tection are provided by the input circuit, signal level is controlled by the external source. The EFX IN is part of the "stacking group MONITOR IN The MONITOR IN jack will put signals directly onto the MONITOR bus. Crosstalk and buffering protec- tion are provided by the input circuit; signal level is controlled by the external source. The MONITOR IN is part of the "stacking group' AUX IN The AIJX IN jack will put signals directly onto the AUX bus. Crosstalk and buffering protection are provided by the input circuit; signal level is controlled by the external source. The AUX IN is part of the 'istacking group" nine ****** Page 12 ****** BK-1632 STEREO MIXER 4C — MAIN OUTPUT 4A — RIGHT SUBGROUP OUTPUT 4B LEFT SUBGROUP OUTPUT Output Jacks c BK'1632i ELECTRO-VOICES; BUCHANAN; CONTINUED-VF' TYPE as REMPLACER FUSIBLE 50/60 Hz30Wö •v 0 4 AMPQ50Vfif- • SLO.BLOWFUSE' 4D — MONITOR OUTPUT SECTION 4.0 MAIN MONITOROUT MONITORIN3 SUB@J AUX Aux RETURN • SUB SENtm EFX RETURN Aux LINE JNO a s o BAES LO.W MtCtNå EFX RETURN PAN STACKING 4E EFFECTS SEND SUB L BUS SUB R eus MAIN OUT 4F — AUX SEND FIGURE 4 4.0 REAR PANEL OUTPUT CONNECTORS (Figure 4) All output connections are line level, unbalanced, and made through standard 1/4-inch phone jacks. Each out- put is capable of driving 600 ohms or more to a max- imum level of +20 dBu. (See Specifications for details). In the BK-1632 mixer all signal paths maintain polarity; that is, a positive going signal at any input or insert point will produce a positive going signal at the appropriate output. SUB R RIGHT SUBGROUP OUTPUT This output is derived by summing all of the inputs (channels and external) assigned to the right subgroup bus. A PAN control rotated fully clockwise to the "R" position will assign that signal only to the right bus. 4B. ten SUB L LEFT SUBGROUP OUTPUT This output is the left subgroup equivalent of the Sub R output. Output Jacks MAIN OUTPUT The MAIN output is a 50/50 mix of the right and left subgroup outputs. Since the BK-1632 is a true subgroup mixer, all signals that appear in the main mix must come through the subgroup channels. MONITOR OUTPUT The MONITOR output signal is the sum of all of the input channel monitor sends and the external monitor input signal. EFFECTS SEND The EFFECTS SEND output signal is the sum of all of the input channel EFX/REV sends plus any signal coming through the EFX IN. AUX SEND The AUX SEND output signal is the sum of all of the input channel AUX sends (PRE- or POST-EQ and fader) plus any signal coming through the AUX IN input. ****** Page 13 ****** BK-1632 STEREO MIXER SECTION 5.0 5.1 5.0 5A. TROUBLESHOOTING IN CASE OF DIFFICULTY 1. 2. a. 4. 5. 6. 7. Don't panic, be systematic, change one thing at a time. Check the obvious!!! Verify input connections. Check all cables. Many system problems are caused by poor cables. If there are no lights, check ac power source, power switch and power fuse. If the problem is one of a "dead" input, verify by trying the same source in another input. Verify problems by substituting the bad part with one that works. Do this by moving the cable from the one that works to one that doesn't. Fuses that blow instantly on turn-on are a sign of internal distress and mean that you should refer the unit to "qualified service personnel". Don't panic, be systematic, change one thing at a time, Check the obvious!!! Warranty SERVICE AND WARRANTY INFORMATION WARRANTY (Limited) — All ElectroA/oice products are guaranteed against malfunction due to defects in materials and workmanship for a specified period begin- ning at the date of original purchase. If such a malfunc- tion occurs, the product will be repaired or replaced (at our option) without charge during the period and under the limitations stipulated in the data sheet or owner's manual for that individual product, if delivered prepaid to the proper Electro-Voice service facility. The unit will be returned prepaid. Warranty does not extend to finish, appearance items, or malfunction due to abuse or opera- tion under other than specified conditions, nor does it extend to incidental or consequential damages. Some states do not allow the exclusion or limitation of incidental or consequential damages, so the above exclusion may not apply to you. Repair by other than Electro-Voice or its authorized service agencies will void this guarantee, A list of authorized warranty service centers is available from Electro-Voice, Inc., 600 Cecil Street, Buchanan, MI 49107 (AC/616-695-6831); Electro-Voice, Inc., 3810 148th Avenue, N.E„ Redmond, WA 98052 (AC/20&881-9555); and/or Electro-Voice west, 8234 Doe Avenue, Visalia, CA 93291 (AC120g-651-7777), This war: ranty gives the customer specific legal rights, and there may also be other rights which vary from state to state. FACTORY SERVICE ADDRESS Electro-Voice, Inc. Service Department 3810 148th Avenue. N.E. Redmond, WA 98052 (206) 881-9555 eleven ****** Page 14 ****** BK-1632 STEREO MIXER SECTION 6.0 6.0 SCHEMATIC SERVICE INFORMATION 1. Resistance values are indicated in ohms unless othemtise specified. .000,000) 2. Capacitance values are shown in microfarads unless otherwise noted. Picofarads) 3. All voltages are refered to ground under the fol- lowing conditions. DC: No signal except where indicated. AC: Rms 4. PRECAUTION a) All components marked must be re- placed only with original type specified by the manufacturer, electro-voice and installed as the original with spacers and positioned away from adjacent components where applicable. b) All soldering must be down in a professional manner using solder with resin core only. c) All covers, shield and insulating spacers must be replaced before returning appliance to customer. d) A damaged power supply cord must be re- placed before returning appliance to cus- tomer. e) A dielectric test consisting of 1500V AC 60Hz is to be applied between both blades of the power supply cord attachment plug and the exposed conductive surface of the appliance for a period of not less than one second be- fore returning to appliance to customer. f) The-24A&-e marked resistors are mounting above the P.C.B. on sleeves. LM 3915 CONNECTION DIAGRAM Schematic 1 o 2 PIN NO. KTD880 7815 7915 KTC1815 KTA 200 KTC 200 KTA 970 8 7 6 5 18 17 16 15 14 13 12 11 10 B IN G 2 c G IN 3 o 3 1 2 3 4 1 2 3 4 5 6 7 8 9 (C) TOP VIEW 072D NE 5532 TA 7555BP 1. LED NO. 1 4. DIVIDER 5. SIGNAL INPUT 6. DIVIDER 7. REFERENCE OUTPUT 8. REFERENCE ADJUST 9. MODE SELECTOR twelve 10. LED NO 10 11. LED N09 12. LED NO 8 13. LED NO 7 14. LED NO 6 15. LED NO 5 16. LED NO 4 17. LED N03 18. LED NO 2








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