SONOSAX SX-S - Manual (Page 3)

81.
82. Traditional professional mixing consoles are all based on the same input structure. The signal from the microphone goes through a phase reversal switch and then to a
pad to attenuate the signal before going to the first amplification stage. Some mixers even introduce a transformer before the first stage to simplify the circuits. Reducing
the signal level before amplifying it increases any noise. It also limits the range of input signal that can be accommodated before overload distortion. This type of circuit
has been OK for analog recording.
83. The new SONOSAX SX-S input stages do not reduce the microphone level before amplification. Instead we control the amount of amplification. No new noise is
introduced by this method.
84. By careful design of the input amplifier stages, it is now possible to handle a significant increase in the input level before overload. Conventional input stages require the
operator to do a delicate balancing act between the input gain control and the channel fader to prevent unexpected input overload or so much gain that the noise
comes up. Thus, heretofore unattainable low noise input figures and high input headroom figures are a reality.
85. The new SONOSAX SX-S input modules have a new profile. The "Limiter Threshold", "AUX Level" and "PAN" controls have been recessed. This removes any obstacles
beside the P&G faders. Functionally the input modules are the same as they have been for over a decade. The electronic components and the circuitry are modern. The
functionality was perfected many years ago. The SONOSAX SX-S still has the best limiter in the industry and equalization control equaled by none.
86. The new SONOSAX SX-S input module has mini-switches on the back to change several parameters of its operation. The "High Pass" filter can be switched in or out of
the signal path with the "Equalization" or it can be in the circuit all the time. The ON/OFF switch can actually turn the power to the channel OFF to preserve the batteries,
or it can be a "Mute" switch which can activate the channel without a pop in the signal. The switch to select "Phantom 12V" or "T12V " power is of course still there.
87. The new modules are prefitted with connectors for VCA operation and the installation of the four Channel Matrix Module and the AUX Module.
88.
89. 3.1 SONOSAX SX-S Input Module Specifications:
90. GAIN
91. 85 dB
Fader at
+10 dB
92. 60 dB
Fader at 0 dB
93. 40 dB
Fader at 0 dB
94. 20 dB
Fader at 0 dB
95. 0 dB
Fader at -4
dB
96. Nom. input
level
97. 87 uV 98. 1.55 mV 99. 15.5 mV 100. 155 mV 101. 1.55 V
102. Max. Input
level
103. 2.57 mV 104. 12 mV 105. 120 mV 106. 1.2 V 107. 7.0 V
108. THD & N% 109. 0.028 110. 0.016 111. 0.01 112. 0.007 113. 0.007
114. CMRR at
1kHz
115. -103 dB 116. -103 dB 117. -104 dB 118. -95 dB 119. -78 dB
120. CMRR 20
Hz to 20
121. -85 dB 122. -85 dB 123. -85 dB 124. -80 dB 125. -60 dB
126.
127. Equivalent input Noise Ohm Source
128. GAIN
129. 85 dB
Fader
at +10
dB
130. 60 dB
Fader at
0 dB
131. 40 dB
Fader at
0 dB
132. 20 dB
Fader a
t0 dB
133. 0 dB
Fader at
-4 dB
134. Noise
linear
135. -129.3
dB
136. -128.4
dB
137. -125.6
dB
138. -110.5
dB
139. -91.4
dB
140. Noise
ASA A
141. -131.6
dB
142. -130.6
dB
143. -127.4
dB
144. -111.9
dB
145. -92.5
dB
146.
147. Bus Noise
148. 6 Channels assigned @ Gain Fader at -4 dB 149. -86 dBu
150. 1 Channels assigned @ Gain Fader at -4 dB 151. -91.4 dBu
152. 6 Channels assigned Faders Down 153. -89.5 dBu
154. Master Faders @ OdB, all channels off 155. -94.2 dBu
156. Master Faders Down 157. -95.5 dBu
158.
159.3.2 Installation Procedure
160. Disconnect the Neutrik and dual Bantam connector from the module circuit board and install them in the appropriate blank holes on the mixer's back panel.
161. First install the Neutrik connector with the lock towards the top of the SX-S, then install the Bantam plug with the cables oriented towards the top of the mixer.
162. Install the module into the appropriate slot, reattach the three connectors and connect the module to the ribbon connector.
163. If the mixer is fitted with an Aux module and / or Matrix module connect J-5 tothese modules.
164. Before reattaching the cover, select mute or power mode with S-4, Lo frequency cut with EQ-switch or continuous with S-5 and "Phantom " or " T12V " with Switch S-8.
165.
166.3.3 Phase reversal
167. Reverses signal phase without reversing mic powering.
168.
169.3.4 HI / CAL / LO Switch position
170. The Cal position is calibrated for unity gain if faders are at zero. For example a Line Input of + 6 dBu will output + 6dBu. The Gain control has no effect in this position.
The HI position gives 20 to 75 dB range of the Gain control Faders at unity gain.
171.
172.3.5 LO position
173. The LO position gives 7 to 42 dB range of the Gain control Faders at unity gain.
174.
175.3.6 Equalizer
176. The SONOSAX SX-S equalizer is equipped with the following filters:
• L.F. CUT : low frequency filter at fixed slope 12 dB per octave. The cutting frequency is progressively adjustable from 20 Hz to 500 Hz. NOTE: The EQ in switch
can be configured to include the LO frequency cut or not depending on the position of S-6 on the circuit board
• 80 Hz and 8 kHz : bass and treble adjustement
• M.F : medium frequency adjustement, from 200 Hz to 8 kHz.