How this works

Edit any quantity, model, or status. Changes save automatically and propagate to the Dashboard, the Channel Map, the Hookup SOP, and the Sign-Off page. Click + Add to extend a category. Click × to remove. Click a category header to collapse.

Channel rows scale with your wireless channel count. Fill in cast member names during mic-up.

Wireless out-of-box & sync

• PTU-7000-4B unboxed: 1 receiver, 4 bodypacks, 4 headsets, 4 lavs, 4 antennas, 8 AA, power adapter, 1/4" cable — all present.
• Both BNC antennas snapped onto receiver, vertical orientation.
• Receiver powered, all channels light up.
• 2× AA installed in each bodypack with correct polarity (verify yourself — don't trust the kid).
• Each bodypack IR-synced to its receiver channel (frequency match confirmed).
• Headset/lav capsules plugged into bodypacks (mini 3-pin TA4F XLR, screw collar tight).
• Auto-scan run on each channel; clear UHF frequency locked with SET.
• NEW WIRELESS PAIR: 2 added bodypacks IR-synced to clean frequencies (no overlap with existing 4 channels).
• Shure BLX bodypacks (from carry case): TA4F connector confirmed clean, no bent pins. Mute slide tested.

Bench audio test

• Each receiver channel XLR out tested — audio passes to mixer/headphone amp.
• Mute switch on every bodypack tested.
• Range test — talk while walking 50 ft from receiver, no dropouts.
• Wired SM58 tested into mixer — passes audio cleanly.
• Existing portable battery PA fully charged (24-hour soak) and tested at half-volume.
• Existing 8-ch powered mixer — every channel passes signal, no scratchy faders, no idle hum.
• Cast monitor combo amp — clean signal at low level, no buzz.
• Chauvet 4BAR Quad + SlimPar bar fixture power on; both foot pedals respond (tap test).
• All XLR cables continuity-tested; bad ones flagged & set aside.
• Music source bench-tested: phone playlist plays through Ch 6/7 line input, stereo verified.
• USB/SD media playback tested on mixer's onboard player (FAT32 stick, MP3/WAV).

Wireless Receiver Rack

Bodypack · TA4F (Mini-XLR) Connection

2A — Wireless receiver(s) → mixer

1. Take 6× XLR 25 ft (M-F). Label with masking tape: RCVR CH1, RCVR CH2, RCVR CH3, RCVR CH4, WL CH5, WL CH6.
2. Phenyx receiver back panel has 4 individual XLR outputs — one per channel. Plug male end into rcvr Ch 1 XLR out.
3. Run cable to mixer. Plug female end into mixer Ch 1 XLR/mic input.
4. Repeat for Ch 2, 3, 4. Each Phenyx channel gets its own mixer channel — never combine.
5. Two new wireless bodypacks (additional set): receivers feed mixer Ch 5 + Ch 6 if you have channels free; otherwise reassign per channel map.

2B — Wired SM58 → mixer

1. Boom stand at stage front, height ~5 ft.
2. Snap SM58 into mic clip on boom.
3. XLR 25 ft, male into SM58 base, female into next available mixer mic channel.
4. Mute at the board until needed.

2C — Music source → mixer

1. Stereo 1/8" → 2× 1/4" TS cable.
2. 1/8" end into headphone jack of phone/tablet/laptop running playlist.
3. Two 1/4" ends into mixer Ch 6 (left/red) and Ch 7 (right/white) LINE inputs.
4. Pan Ch 6 hard left, Ch 7 hard right.
5. Alternate: Use the mixer's onboard USB/SD slot — see Music Playback tab.

2D — Mixer → portable PA

1. XLR 25 ft, male into mixer Main Out (Mono XLR if available, otherwise use Left only).
2. Female end into portable PA Mic/Line input (XLR or 1/4" combo jack on rear panel).
3. Stereo XLR Mains: use Left only for mono PA — running mono is fine for speech.

2E — Mixer → combo amp (cast monitor)

1. 1/4" TRS instrument cable, 10 ft.
2. Mixer Aux 1 Send output → combo amp 1/4" line input. NOT speaker out. NOT headphone jack.
3. Combo amp tone knobs: bass at 12 o'clock, mids at 12, treble at 11 (cut highs to reduce feedback).

2F — Lighting power & foot pedals

1. 4BAR Quad: IEC into surge-protected outlet on a separate circuit from mixer (if available).
2. SlimPars: same — separate circuit prevents 60 Hz hum bleed-through.
3. Foot pedal #1 (Chauvet RF wireless): 9 V battery fresh, station within 100 ft of 4BAR.
4. Foot pedal #2 (DMX/auxiliary): connect per fixture-specific run.

Sequence — execute for every active channel

1. Press PFL button IN on the channel being set.
2. Talent speaks/performs at full performance volume.
3. Slowly rotate TRIM CW until the PEAK LED flickers red on loudest peaks.
4. Back off TRIM ~3 dB. PEAK should rarely flash, never stay solid.
5. Release PFL (button OUT).
6. Repeat for every active channel.
7. Set each active channel fader to 0 dB unity.
8. Set HPF / low-cut at 80 Hz on every vocal channel.
9. Adjust LEFT and RIGHT MAIN faders together to set room volume.

1. House at show level. All cast mics live, faders at unity.
2. One channel at a time, slowly bring channel up beyond unity until it just begins to feedback.
3. Identify the freq (sharp ringing tone — usually 2–4 kHz in a gym).
4. Pull that frequency 3–6 dB on the channel EQ (use mid-sweep on the mixer if available).
5. Bring channel back to unity. Repeat for each channel.

Feedback Frequency Map (squeal → cut here)

• HIGH squeal (~2 kHz): cut 1 kHz / 4 kHz sliders
• MID honk (~500 Hz): cut 350 Hz slider
• LOW howl (<150 Hz): cut 80 Hz slider
• Always first: pull mic away from monitor.

Channel Strip Anatomy · Top to Bottom

Field Condition Reference · This Unit

Master Section · Graphic EQ · Output

Field Condition Flags · This Unit

Pre-Flight Checklist · Before Power-On

• All channel faders 1–8 → ∞ (bottom)
• EFFECT, LEFT MAIN, RIGHT MAIN faders → ∞
• All TRIM (red) → fully CCW (minimum gain)
• All SEND/EFF (blue) → 0
• All PAN (yellow) → center detent
• HI / LOW EQ knobs → 0 (flat)
• Graphic EQ (5 sliders) → 0 dB (flat)
• AUX / EFF RETURN / DELAY → 0
• PHANTOM (+48V) OFF — LED dark
• PHONE LEVEL → 0
• Speaker cables landed BEFORE applying power

EQ Reference · Per Source Type

Always cut before you boost. Boosting eats headroom and invites feedback.

Effects Routing

• Channel SEND/EFF (blue) routes that channel's signal to the onboard FX engine.
• Master EFF RETURN sets the wet signal level returned to the mix.
• Master DELAY sets the delay time / mix.
• Vocal reverb starting point: channel SEND/EFF at 2-3, master EFF RETURN at 3, master AUX RETURN at 0.
• This unit's EFFECT return fader is disabled. Verify wet signal via PFL before relying on FX live. If no wet signal, run vocals dry.

Master Output & Level Targets

• L/R LED meter target: signal averages in green +0 zone, peaks tickle yellow +4. Sustained red +7 = clipping at master bus, correct immediately.
• LEFT and RIGHT MAIN faders run together at approximately 0 dB unity for normal operation.
• To reduce room volume, pull MAIN L/R together. Do NOT pull individual channel faders for room volume.

FADERS DOWN → TRIM W/ PFL+PEAK → CHANNEL FADERS TO UNITY → MIX W/ MAIN
Phantom only for condensers · Cut before boost on EQ · Watch the meters, not the room

Path A · Onboard USB/SD Media Player (easiest)

1. Format a USB stick or SD card to FAT32.
2. Drop MP3 or WAV files onto it. Number them 01_intro.mp3, 02_scene1.mp3, etc. for predictable order.
3. Insert stick/card into slot at the top of the master section.
4. Press PLAY/PAUSE.
5. PREV / NEXT skips tracks.
6. EQ button cycles preset EQ profiles for the player only — does NOT affect mic channels.

Path B · Phone / Laptop Line-In (most flexible)

1. Stereo 1/8" → dual 1/4" TS cable.
2. 1/8" end into headphone jack of phone/tablet/laptop.
3. Two 1/4" ends into mixer Ch 6 (left) + Ch 7 (right) LINE inputs on the back panel (not the front XLR/mic).
4. Pan Ch 6 hard L, Ch 7 hard R.
5. Set TRIM as you would any other channel — but don't expect PEAK to flicker on quiet music. Aim for steady -6 dBFS on transients.
6. Mute Ch 6/7 at the board between music cues.

Path C · USB Audio (CH8/USB · digital)

1. Many of these powered consoles route Ch 8 through a USB-B port labeled CH8/USB on the back panel.
2. USB-B cable from mixer to laptop USB-A.
3. Laptop sees the mixer as USB Audio output device. Select it in the OS sound settings.
4. Audio routes to mixer Ch 8 — set the channel fader and trim like any line source.

Where the Media Player Lives

Step 1 · Verify Model on the Bar

Control Panel Anatomy

Rear Panel Reference

Equipment Identification

• Model: Chauvet DJ 4BAR Quad (item code 10031614). Verify label on top of bar reads MODEL: 4BARQUAD.
• LED engine: 28 × Quad-color RGBA LEDs, 3.5 W each (7 LEDs per pod × 4 pods).
• Power draw: 80 W @ 120 V / 60 Hz.
• Voltage range: 100-240 VAC, 50/60 Hz auto-ranging.
• Fuse: F 1.6 A, 250 V — REPLACE WITH IDENTICAL TYPE ONLY.
• Beam: 14° / Field: 23°.
• Strobe rate: 0-20 Hz; PWM 1310 Hz.
• Weight: 12.2 lb · Dimensions: 46.7 × 12.8 × 4.8 in.
• Max ambient: 104°F (40°C). Convection cooled, IP20 indoor only.
• Required clearance: ≥20 in (50 cm) ventilation around fixture.

Field Condition Flags

Mode Configuration · 4 Sub-Procedures (~3 min total)

Step 1 · Enable IR / Footswitch Reception

Step 2 · Set Sound-Active Program

Snd2 = recommended for student events (smooth multi-color wash). Snd5-Snd6 for high-energy dance segments only.

Step 3 · Set Sensitivity

Adjust during sound check: barely reacts → raise to u 70-80. Pulses on every minor sound → drop to u 30-40.

Step 4 · Set Master Dimmer

L.255 = full output (gym/large room) · L.180 = ~70% (smaller rooms) · L. 1 = nearly off.

Blackout · Foot Pedal Operation

1. Operator stands within 100 ft of fixture with footswitch pedal accessible.
2. Display shows current mode (e.g. Snd2) — fixture in normal sound-active operation.
3. MC steps to microphone — operator TAPS Pedal 4.
4. Lights extinguish in <1 second; display shows FOOt indicating footswitch capture.
5. After speech, operator TAPS Pedal 4 again; lights resume immediately.

Practice the speech-to-music handoff once before doors open.

• RF — walked stage with each pack hot; receiver shows solid 4-5 RF bars on all channels.
• Audio — each cast mic clear at FOH and back row; no hum, buzz, or crackle.
• Music — phone playlist plays through PA in stereo, no distortion.
• Monitor — cast on stage hears themselves clearly from upstage combo amp.
• SM58 — wired backup mic at stage front passes signal.
• Lighting — 4BAR + SlimPars on; both foot pedals tested; sound-active chasing.
• Cable safety — every audience walking path checked; zero exposed cables.
• Spare batteries staged at FOH (ready for pack swap-out).
• Wired SM58 confirmed muted at board, ready for emergency live.
• Show file / cue sheet in hand at FOH.

If it's STILL broken after all 5 steps

• Swap wireless mic for wired SM58-class into CH1 XLR. If wired works, wireless system is the issue.
• Check receiver's audio level/squelch menu — some units have output level that may be turned down.
• Bypass the speaker — plug headphones into the PHONES jack. If headphones sound great but speaker quiet, amp section or speaker cable is the problem.
• Check speaker impedance — back of speaker says 8Ω, amp says 4Ω-16Ω = compatible. Verify nothing else paralleled to that output dropping below 4Ω.
• Check the SEND/EFF Assign button (top of master section) — if pushed in when you don't want FX, can route signal weirdly.

90% of "quiet + noisy" sound problems are gain staging, not broken gear.

Audio

Lighting

• Master fader to -∞; all channels muted.
• Power-DOWN order: PA off → combo amp off → bodypacks off → wireless rcvr off → mixer off.
• PHANTOM (+48V) OFF — wait 10 seconds before unplugging condenser mics.
• Pull bodypacks from cast. Switch OFF. Pull batteries (corrosion kills packs in storage).
• Disconnect cables at gear end first, then run end. Coil over-under, velcro, label.
• Lighting: last song fades — operator activates blackout via pedal/remote.
• Wait minimum 60 seconds for LED housing to cool before powering off lighting.
• Lighting power off: rear switch OFF → unplug IEC at WALL FIRST, then at fixture.
• Coil cable in figure-8 pattern (prevents kinking).
• Inspect 4BAR mic grille for confetti/dust; gently clear with compressed air if needed.
• Foot pedals: remove batteries (9V from 4BAR pedal, batteries from 2nd pedal if applicable).
• Cable ramp rolled, gaff tape onto end-tab, stands packed.
• Inventory check vs Step 0 list — anything missing flagged.
• Photos of all packed cases taken for next-show reference.

Post-Event Log

Anomalies to log:

Image Sources

Photos consolidated from: bench-test uploads (May 2026), Mixer_Fix_Walkthrough.html, Mixer_Interactive.html, Lights_4BAR_Walkthrough.html, and Mixer_Training_Deck.pptx. All images compressed to ≤700px max dimension at JPEG 78% quality for offline embedding.

Operator competency demonstration

Each operator must demonstrate competency before independent operation. The training officer signs below to certify.

Final readiness summary

Operator's Bottom Line

Faders down → trim with PFL and PEAK LED → channel faders to unity (0 dB) → mix with MAIN.
Phantom only for condensers, only after the mic is plugged.
Cut before boost on EQ. Watch the meters, not the room.
Two foot pedals, two lights, six wireless channels — own them.