Page 1
R
LTO
PBM8.250/ MKII8.500
POWERED BOX MIXER
OWNER'S MANUAL
www.altoproaudio.com
Version 2.0 NOV. 2007
English
Page 2
CAUTION
RISK OFELECTRIC SHOCK
DO NOTOPEN
TO REDUCE THE RISK OF ELECTRIC SHOCK
PLEASE DO NOT REMOVE THE COVER OR
THE BACK PANEL OF THIS EQUIPMENT.
THERE ARE NO PARTS NEEDED BY USER
INSIDE THE EQUIPMENT. FOR SERVICE,
PLEASE CONTACT QUALIFIED SERVICE
CENTERS.
This symbol, wherever used, alerts you to the
presence of un insulated and dangerous voltages
within the product enclosure. These are voltages that
may be sufficient to constitute the risk of electric
shock or death.
This symbol, wherever used, alerts you to
important operating and maintenance instructions.
Please read.
Protective Ground Terminal
AC mains (Alternating Current)
Hazardous Live Terminal
ON: Denotes the product is turned on.
OFF: Denotes the product is turned off.
CAUTION
Describes precautions that should be observed to
prevent damage to the product.
1.
Read this Manual carefully before operation.
Keep this Manual in a safe place.
2.
Be aware of all warnings reported
3.
with this symbol.
4.
Keep this Equipment away from water and
moisture.
5.
Clean it only with dry cloth. Do not use
solvent or other chemicals.
6.
Do not damp or cover any cooling opening.
Install the equipment only in accordance with
the Manufacturer's instructions.
Power Cords are designed for your safety. Do
7.
not remove Ground connections! If the plug
does not fit your AC outlet, seek advice from
a qualified electrician. Protect the power
cord and plug from any physical stress to
avoid risk of electric shock. Do not place
heavy objects on the power cord. This could
cause electric shock or fire.
Unplug this equipment when unused for long
8.
periods of time or during a storm.
Refer all service to qualified service personnel
9.
only. Do not perform any servicing other than
those instructions contained within the
User's Manual.
To prevent fire and damage to the product,
10.
use only the recommended fuse type as
indicated in this manual. Do not short circuit
the fuse holder. Before replacing the fuse,
make sure that the product is OFF and
disconnected from the AC outlet.
WARNING
To reduce the risk of electric shock
and fire, do not expose this equipment
to moisture or rain.
Dispose of this product should
notbeplacedinmunicipalwaste
and should be separate collection.
MovethisEquipmentonlywithacart,
11.
stand, tripod, or bracket,
specified by the
manufacturer, or
sold with the
Equipment. When
a cart is used, use
caution when
moving the cart /
equipment
combination to
avoid possible
injury from tip over.
12.
Permanent hearing loss may be caused by
exposure to \ extremely high noise levels.
The US. Government's Occupational Safety
and Health Administration (OSHA) has
specified the permissible exposure to noise
level.
These are shown in the following chart:
HOURS X DAY SPL EXAMPLE
Small gig
8
6
4
3
2
1,5
1
0,5
0,25 or less
According to OSHA, an exposure to high SPL in
excess of these limits may result in the loss of
heat. To avoid the potential damage of heat, it is
recommended that Personnel exposed to
equipment capable of generating high SPL use
hearing protection while such equipment is
under operation.
The apparatus shall be connected to a mains
socket outlet with a protective earthing
connection.
The mains plug or an appliance coupler is used
as the disconnect device, the disconnect device
shall remain readily operable.
90
train
92
Subway train
95
High level desktop monitors
97
Classic music concert
100
102
105
110
115
Rock concert
Page 3
IN THIS MANUAL:
1. INTRODUCTION................................................................................1
2. FEATURES.......................................................................................1
3. QUICK START..................................................................................4
4. CONTROL ELEMENTS......................................................................5
5. INSTALLATION & CONNECTION......................................................12
6. PRESET LIST.................................................................................16
7. BLOCK DIAGRAM..........................................................................17
8. TECHNICAL
SPECIFICATIONS...........................................................18
9. WARRANTY..................................................................................20
1. INTRODUCTION
Thank you for purchasing the PBM8 8 channel powered mixer with 24-bit
digital multi-effect built-in. It is just one of the many products that a talented,
multinational Team of Audio Engineers and Musicians have developed with their great
passion for music. Your PBM8 is a remarkable compact powered mixer that doesn't
find many equals in the market today. With 6 microphone and 2 stereo MIC/Line-level
inputs for serious live performances, your PBM8 also includes a 24 Bit digital
multi-effect with 16 Factory Presets and 16 variations for every preset, for a total
of 256 different digital effects. There is a three bands EQ on all input channels and
separate Master EQ for Main Mix and Monitor Outputs. Use it for small Gigs, for
Church applications and for Conference.
Enjoy your PBM8 and make sure to read this Manual carefully before operation!
LT O
LT O
2. FEATURES
6 MIC/Line input channels with gold plated XLR and balanced Line inputs
2 Stereo input channels with balanced TRS jacks
Ultra-low noise discrete MIC preamps with +48V phantom power
Extremely high headroom offering more dynamic range
Each input channel with -20 dB PAD, PAN and level control
3-band equalizer on input channels
2 AUX sends for built-in or external effects, on-stage monitor mix, or
headphone mixing
Built-in feedback terminator
9-band graphic EQ for MAIN/MONITOR
256 position multi-effect
2-track recording IN/OUT (PHONO)
Headphone output
Stereo Line-level output
2 250 watt RMS amplifiers (For PBM8.250 MKII)
2 500 watt RMS amplifiers (For PBM8.500 MKII)
Output connector: 6.3 jack+4way-speakon
1
Page 4
SPOTLIGHT
0 B
PAD
0dB0dB 0 B 0 B 0 B dB dB dB dB
12KHz 12KHz 12KHz 12KHz 12KHz 12 Hz 1 KHz 1 KHz
15dB 15dB +15dB +15dB +15 B +15 B +15 B +1 dB
1 dB 5dB 5dB 5dB 5dB 15dB 15dB 15dB
0dB0dB 0 B 0 B 0 B dB dB dB dB
25KHz 2 5KHz 25KHz 2 5KHz 25KHz 2 5KHz 25KHz 2 5KHz
1 dB 5dB 5dB 5dB 5dB 15dB 15dB 15dB
15dB 15dB +15dB +15dB +15 B +15 B +15 B +1 dB
0dB 0 B 0 B 0 B dB dB dB dB
1 dB1 dB 5dB 5dB 5dB 5dB 15dB 15dB 15dB
15dB15dB 15dB +15dB +15dB +15 B +15 B +15 B +1 dB
0dB0dB 0 B 0 B 0 B dB dB dB dB
88
10dB10dB 10dB +10dB +10dB +10 B +10 B +10 B +1 dB
0dB 0 B 0 B 0 B dB dB dB dB
DSPFX
88
10dB10dB 10dB +10dB +10dB +10B +10 B +10 B +1 dB
PAN PAN PAN PAN PAN PA N PAN PAN
LeftLeft Left Left Left Left Left Le t Le t
RightRight Right Rig t Ri ht Rght R ght R ght R ght
0dB0dB0dB0dB0dB0dB0dB0dB0
88
10dB10dB 10dB +10dB +10dB +10 B +10 B +10 B +1 dB
CH 1 CH 2 CH 3 CH 4 CH 5 CH 6
LINE N
(b l )
N
O
W
S
O
E
L
R
E
MICN bal) MCN bal) MCN bal) MCN ba) MCN ba)
MC N (b l)
0 B
20 B
PAD
PAD
HGH H GH HIGH HIGH HIGH HIGH HIGH HIGH
MID MID MID MID MD M D M D M D
LOW LOW OW LOW LOW LOW LOW LOW
8 Hz8 Hz 0Hz 0Hz 0Hz 0Hz 80Hz 80Hz 80Hz
MON
MON
AU 1
A X1
PRE
PRE
8
8
DSPFX
AU 2
PO T
M
DSPFX
A X2
P ST
8
8
8
8
INEIN
LINE N
(ba )
(b l )
N
N
O
O
W
W
S
S
O
O
E
E
L
L
R
R
E
E
A
M
0dB
0 B
PAD
PAD
MON
MON
A X1
A X1
PRE
PRE
8
8
DSPFX
A X2
P ST
A
M
DSPFX
A X2
OST
8
8
8
8
LINE N
LINE N
(b l )
(b l )
N
N
O
O
W
W
S
S
O
O
E
E
L
L
P
R
R
E
E
A
M
20dB
0dB
AD
PAD
MON
MON
MCN(ba)
8
8
8
LINE N
(b l )
N
W
O
L
UX1
PRE
DSP/FX
UX2
OST
I
E
P
R
E
A
M
MON
UX1
P E
8
DSP/FX
UX2
POST
8
8
LEVELLEVELLEVELLEVELLEVELLEVELLEVEL
CH 7 8
RLR
MONO) MONO)
N
W
I
E
L
P
R
E
A
M
MCN(ba) MC N(bl)
UX1
PRE
UX2
OST
A
M
PMB8.250 MKII
0 B
PAD
0 B0 B 0 B dB dB dB 0dB 0dB 0dB
12KHz 12KHz 12K z 1 KHz 1 KHz 2KHz 2KHz 2KHz
+15dB +15dB +15 B +15 B +1 dB +1 dB + 5dB + 5dB
5dB 5dB 15dB 15dB 15dB 15dB 15B 15B
0 B0 B 0 B dB dB dB 0dB 0dB 0dB
25KHz 2 5KHz 25KHz 2 5KHz 2 5K z 2 KHz 2 KHz 2 5KHz
5dB 5dB 15dB 15dB 15dB 15dB 15B 15B
+15dB +15dB +15 B +15 B +1 dB +1 dB + 5dB + 5dB
0 B 0 B dB dB dB 0dB 0dB 0dB
5dB5dB 5dB 15dB 15dB 15dB 15dB 15 B 15 B
+15dB+15dB +15dB +15 B +15 B +1 dB +1 dB + 5dB + 5dB
0 B0 B 0 B dB dB dB 0dB 0dB 0dB
88
+10dB+10dB +10dB +10 B +10 B +1 dB +1 dB + 0dB + 0dB
0 B 0 B dB dB dB 0dB 0dB 0dB
DSPFX
88
+10dB+10dB +10dB +10 B +1 dB +1 dB +1 dB + 0dB + 0dB
PAN PAN PAN PAN PAN PAN AN PAN
LeftLeft Left Left Let Let Le t Let Le t
RightRight R ght R ght R ght R ght Rght R ght Right
0dB0dB0dB0dB0dB0dB0dB0dB0
88
+10dB+10dB +10dB +10 B +10 B +1 dB +1 dB + 0dB + 0dB
CH 1 CH 2 CH 3 CH 4 CH 5 CH 6
LINE N
(b l )
N
O
W
S
O
E
L
P
R
E
MCN bal) MCN ba) MC N(ba) MC N(ba) MCIN(bl)
MC IN (b l )
0dB
0 B
PAD
PAD
HGH HIGH HIGH HIGH HIGH HGH H GH HGH
MID MID MD M D M D M D M D M D
OW LOW LOW LOW LOW LOW LOW LOW
0Hz0Hz 0Hz 0Hz 80Hz 80Hz 80Hz 80Hz 80Hz
MON
MON
A X1
A X1
PRE
PRE
8
8
DSPFX
A X2
A X2
P ST
OST
8
8
8
8
LINE N
LINE N
(b l )
(b l )
N
N
O
O
W
W
S
O
O
E
L
L
P
P
R
R
E
A
A
M
M
20dB
20dB
AD
AD
MON
MON
UX1
UX1
PRE
P E
8
8
DSPFX
DSP/FX
UX2
UX2
OST
POST
8
8
8
8
LNE N
LNE N
( al )
bal)
N
O
W
W
I
I
O
E
E
L
L
P
P
R
E
E
A
A
M
M
20dB
20dB
PAD
PAD
MON
MON
MC IN (b l )
8
8
8
LNE N
W
O
AUX1
DSP/FX
AUX2
POST
bal)
O
S
E
P
E
A
M
RE
8
8
8
LEVELLEVELLEVELLEVELLEVELLEVELLEVEL
CH 7 8
RLR
(MONO) (MONO)
W
O
MICIN(al) MICIN bal)
MON
AUX1
RE
DSP/ X
AUX2
POST
O
S
E
P
E
M
AUX1
P E
DSP/FX
AUX2
POST
E
A
M
L
L
8
8
8
LEVEL
CH 9 10
L
20dB
8
8
8
LEVEL
CH 9 10
W
O
DSP
20dB
AD
PRESETS
1
16
2
3
15
4
14
5
13
6
12
7
11
8
0
9
C IP
DSP
MUTE
MUTE
VARIATIONS
1
16
2
15
3
4
14
5
13
6
12
7
11
8
0
9
MON
AUX1
DSP
P E
TOMON
8
+1 dB
DSP/FX
PRESETS
AUX2
1VOCAL 1
POST
2VOCAL 2
3LARGE HALL
4SMALL HA L
5LARGE ROOM
6SMALL ROOM
7PLATE
8TAPE REVERB
9SPRING REVERB
0MONO DELAY
1STEREO DELAY
2FLANGER
3CHORUS
4REVERB + DE AY
5 LANGERREVERB+
6REVERB + CHORUS
0
dB
dB
DSP
TOMA N
8
+ 0dB
FOOT
SW
AUX2
OUT
N
W
I
E
P
R
PAD
DSPFX
B
N
O
S
E
P
CH 10 MAN
E
A
EFT
M
TEREO
RTN
RGHT
DSP
PRESETS
1
16
2
3
15
4
14
5
13
6
2
7
11
8
10
9
CLP
DSP
MU E
MUTE
VARIATIONS
1
16
2
15
3
4
14
5
13
6
2
7
11
8
10
9
MON
AUX1
DSP
PRE
OM N
8
10dB
PRESETS
AUX2
1VOCAL 1
POST
2VOCAL 2
3LARGE HALL
4SMALL HALL
5LARGE ROOM
6SMALL ROOM
7PLA E
8TAPE REVERB
9SPR NG REVERB
10MONO D LAY
11S EREODELAY
12F ANGER
13CHORUS
14REVERB + DELAY
15 FLANGERREVERB +
16REVERB + CHORUS
0
dB
DSP
TOMA N
8
10dB
FOOT
SW
AUX2
OUT
H910 MAN
E
LEFT
M
STEREO
RTN
RIGHT
15
15
15
9
0
9
15
TAPETO
15
9
0
9
15
15
9
0
9
15
TAPETO
9
0
9
5050100
N OUT
5050100
IN OUT
LTO
250
500
100
250
5001K1K
LTO
250
500
100
250
500KK
2K5
2K55K5K8K8K
2K5
2K55K5K8K8K
OPERATNG
16K
16K
MAINOUTMONTOR OUTTAPE
LEFT RIGHT
OP RATI G
16K
16K
MAN OUTMONITOROUTTAPE
LEFT RGHT
15
9
0
9
15
15
9
0
9
15
15
9
0
9
15
15
9
0
9
15
PBM8.250
10
MONITOR
0
0
10
dB
LEVEL
30
8
10dB
FEEDBACK
TERMNATOR
10
MAIN
0
0
10
dB
LEVEL
30
8
10dB
FEEDBACK
TERMNATOR
AMPLFIER
PHANTOM
MODE
48V
OFF
BRD EON
AIN
MAN
+
+
AIN
M NTOR
HEADPHONE
OUT
PBM8.500
10
MONITOR
0
0
10
dB
LEVEL
30
8
+1 dB
FEEDBACK
TERMINATOR
10
MA N
0
0
10
dB
LEVEL
30
8
+1 dB
FEEDBACK
TERMINATOR
AMPLIFER
PHANTOM
MODE
48V
BRDGEON
O F MAN
MAN
+
+
MONT R
MAN
HEADPHONE
OUT
PMB8.500 MKII
2
Page 5
3. QUICK START
ThisisthefastestwaytogetsomethingoutfromyourPBM8,ifyouhaveakeyboard
and a microphone.
a. Plug the microphone into Channel 1 MIC IN.
b. Turn down AUX and LEVEL controls on the input channel.
c. Turn down MONITOR and MAIN master controls.
d. Put the EQ controls on center position.
e. Connect 2 passive cabinets to the rear speaker cabinets or 2 active cabinets to
the front MAIN OUT connectors.
f. Turn on your PBM8.
g. Sing or speak into the microphone with normal volume and adjust the channel
LEVEL control of half.
h.Ifyoulike,youcanaddsomeequalizationatthisstage.
i. Turn up the MAIN LEVEL control until you reach the desired volume. The +10 LED
on the Master LED meter should flash only occasionally, otherwise you will hear the
distortion. If this LED is not active and you still hear distortion, please turn down a
little the input LEVEL control or reduce the output level of your source instrument.
j. Connect your stereo keyboard into channel 7/8 and repeat the sequence.
Here you are. It is your first gig with your PBM8.
3
Page 6
HOOK
SMALL CLUB
UP
MIC1 MIC2 MIC3
WIRELESS MICROPHONE
HOOK
MIC1 MIC2 MIC3
UP
ON
U1
RE
8
U2
8
8
EVELLEV LEVELLEV LL VELLEVELL VEL
CH7 8
RLR
MO O)
W
O
L
MCNb l) MCI(a )
DSP
2 dBPD0 BAD2 dB
PR SETS
1
16
2
3
15
4
4
5
3
6
12
7
11
8
10
9
LP
SP
MUE
MUE
VARATONS
5
1
16
2
3
15
9
4
4
5
3
0
6
12
7
11
9
8
10
9
MON
AX1
PE
DS / X
AX2
P ST
I
5
ON
5050000050500000KK2K5
U1
DSP
RE
OM N
8
8
+0 B
D P FX
RESE S
U2
OT
5
8
9
0
9
5
dB
DSP
OM N
8
8
+0 B
LEV L
F OT
CH9 10
SW
M NO
APETO
A X2
UT
H9 0 AN
L
N
W
I
O
L
TE EO
TN
OUT
IN
0dB
AD
AD
0B0B dB dB 0B dB 0 B dB 0 B
HGH I H HGH I H HGH I H H GH H GH
1K 2 1K 1K 2K 1 K 2 H 1K
1dB + 5B 1 dB + 5B 1dB + dB + 5B 1dB
1dB 5 B 1dB 5 B 1dB 5B 1dB 5 B
0B0B dB dB 0B dB 0 B dB 0 B
ID MD MID MD MD MD M D MD
2 KH 25H 2KH 25 H 2KH 2KH 5KH 2KH
1dB 5 B 1dB 5 B 1dB 5B 1dB 5 B
1dB + 5B 1 dB + 5B 1dB + dB + 5B 1dB
0B dB dB 0B dB 0 B dB 0 B
LOW OW LOW OW LOW OW LW OW
8H8H 0H 8 H 0H 8 H 0H 8 H 0H
1dB1 dB 5B 1dB 5 B 1dB 5 B 1 dB 5 B
1dB1 dB +5 B 1 dB +5 B 1dB + dB + 5 B 1dB
0B0B dB dB 0B dB 0 B dB 0 B
MON
M N
AU1
RE
88
8
1dB1 dB +0 B 1 dB +0 B 1dB + dB + 0 B 1dB
0B dB dB 0B dB 0 B dB 0 B
SPFX
DS FX
AU2
POT
88
8
1dB1 dB +0 B 1 dB +0 B 1dB + dB + 0 B 1dB
PAN AN PAN AN PAN AN P N AN
etet L ft et L ft e t L ft e t L ft
RghtRght Rg t Rght Rht Rght iht Rgt i ht
dBdB B dB B dB B dB B
88
8
1dB1 dB +0 B 1 dB +0 B 1dB + dB + 0 B 1dB
CH1 CH 2 CH 3 CH4 CH5 CH 6
LNE N
I E N
bl )
(a )
N
N
W
W
I
I
O
O
L
L
MC a) I b l) MC l) I IN a ) MC N bl)
)
D/I BOX
0dBAD20 B
0dBPD20 B
U1
PE
8
U2
OT
8
8
LNE N
bl )
N
W
I
O
L
PAD
PAD
MON
M N
MON
AX1
U1
AX1
RE
PE
RE
8
8
8
SP X
D P FX
SP X
AX2
P ST
D P FX
U2
AX2
OT
P ST
OT
8
8
8
8
8
8
I E N
I E N
LNE N
(a )
bl )
(a )
N
N
N
W
W
W
I
I
I
O
O
O
L
L
L
MCINa )
D/I BOX
CD PLAYER
DRUM MACHINE
GUITAR
BASS GUITAR
KEYBOARD
COMPUTER SET-UP DIAGRAM
ON
U1
RE
8
U2
8
8
EVELLEV LEVELLEV LL VELLEVELL VEL
CH7 8
RLR
MO O)
W
O
L
MCNb l) MCI(a )
DSP
2 dBPD0 BAD2 dB
PR SETS
1
16
2
3
15
4
4
5
3
6
12
7
11
8
10
9
LP
SP
MUE
MUE
VARATONS
5
1
16
2
15
3
9
4
4
5
3
0
6
12
7
11
9
8
10
9
MON
AX1
PE
DS / X
AX2
P ST
N
I
5
ON
5050000050500000KK2K5
U1
DSP
RE
OM N
8
8
+0 B
D P FX
RESE S
U2
OT
5
8
9
0
9
0
5
dB
B
DSP
OM N
8
8
+0 B
LEV L
F OT
CH9 10
SW
M NO)
APETO
A X2
UT
H9 0 AN
L
N
W
I
L
TE EO
TN
OUT
IN
0dB
AD
AD
0B0B dB dB 0B dB 0 B dB 0 B
HGH I H HGH I H HGH I H H GH H GH
1KH 2 H 1 KH 1 KH 2KH 1 KH 2H 1KH
1dB + 5B 1 dB + 5B 1dB + dB + 5B 1dB
1dB 5 B 1dB 5 B 1dB 5B 1dB 5 B
0B0B dB dB 0B dB 0 B dB 0 B
ID MD MID MD MD MD M D MD
2 KH 25H 2KH 25 H 2KH 2KH 5KH 2KH
1dB 5 B 1dB 5 B 1dB 5B 1dB 5 B
1dB + 5B 1 dB + 5B 1dB + dB + 5B 1dB
0B dB dB 0B dB 0 B dB 0 B
LOW OW LOW OW LOW OW LW OW
88 8 8 H 8 H
1dB1 dB 5B 1dB 5 B 1dB 5 B 1 dB 5 B
1dB1 dB +5 B 1 dB +5 B 1dB + dB + 5 B 1dB
0B0B dB dB 0B dB 0 B dB 0 B
MON
M N
AU1
RE
88
8
1dB1 dB +0 B 1 dB +0 B 1dB + dB + 0 B 1dB
0B dB dB 0B dB 0 B dB 0 B
SPFX
DS FX
AU2
POT
88
8
1dB1 dB +0 B 1 dB +0 B 1dB + dB + 0 B 1dB
PAN AN PAN AN PAN AN P N AN
etet L ft et L ft e t L ft e t L ft
RghtRght Rg t Rght Rht Rght iht Rgt i ht
0dB0dB0B0dB0B0dB0B0dB0
88
8
1dB1 dB +0 B 1 dB +0 B 1dB + dB + 0 B 1dB
CH1 CH 2 CH 3 CH4 CH5 CH 6
LNE N
I E N
bl )
(a )
N
N
W
W
I
I
O
L
L
MC a) I b l) MC l) I IN a ) MC N bl)
IC .)
0dBAD20 B
0dBPD20 B
U1
PE
8
U2
OT
8
8
LNE N
bl )
N
W
I
O
L
PAD
PAD
MON
M N
MON
AX1
U1
AX1
RE
PE
RE
8
8
8
SP X
D P FX
SP X
AX2
P ST
D P FX
U2
AX2
OT
P ST
OT
8
8
8
8
8
8
I E N
LNE N
I E N
(a )
bl )
(a )
N
N
N
W
W
W
I
I
I
O
L
L
L
MCINa )
PBM8.250
LTO
OPR TNG
10
15
9
0
0
10
9
30
15
EEDBACK
TE MIN TOR
10
15
9
0
0
10
9
30
15
2K55K5K8K8K1K1K
EEDBACK
TE MIN TOR
P ANTOM
FF AN
MAN OUTMONTOR OUTTAPE
ET R HT
STAGE MONITORS
PBM8.250
LTO
OPR TNG
10
15
9
0
0
10
9
30
15
EEDBACK
TE MIN TOR
10
15
9
0
0
10
9
30
15
2K55K5K8K8K1K1K
EEDBACK
TE MIN TOR
P ANTOM
FF N
MAN OUTMONTOR OUTTAPE
T
8V
8V
HEA PHONE
HEA PHONE
MONTOR
MONTOR
0
dB
8
MAIN
dB
8
AMPLF ER
MIN
MIN
OUT
0
dB
8
MAIN
0
dB
8
AMPLF ER
M N
+
MIN
OUT
L VEL
1dB
L VEL
1dB
MODE
BI GEON
M N OR
L VEL
1dB
L VEL
1dB
MODE
BI GEON
+
M N OR
MAIN SPEAKERS
MAIN SPEAKERS
WIRELESS MICROPHONE
4
GUITAR
D/I BOX
BASS GUITAR
D/I BOX
DRUM MACHINE
KEYBOARD
CD PLAYER
STAGE MONITORS
EQUALIZER
POWER AMPLIFIER
ADDITIONAL SPEAKERS
Page 7
SPOTLIGHT
4. CONTROL ELEMENTS
1MIC/LINEMONOINPUT(1to6)
Your PBM8 is equipped with 6 low-noise microphone
preamplifiers with optional phantom power, 50 dB of
Gainandover90dBofS/Nratio.Youcanconnect
almost any type of microphone. Dynamic microphones
do not need phantom power. Use phantom power only
with condenser microphones but make sure that the
phantom power button is disengaged before connecting
the microphone. Phantom power will not damage your
dynamic microphones but it may damage tube or ribbon
microphones. So make sure to read the microphone
instructions manual before engaging phantom power.
Use switch (19) to activate/deactivate phantom power.
These 6 channels are also equipped with 1/4" TRS
balanced/unbalanced LINE-IN plugs to connect line-level
instruments such as keyboards, drum machines and
effect devices.
NOTE:
Never try to connect a line-level signal to the
XLR MIC input when the phantom power is engaged,
or you may seriously damage your equipment.
2 MIC/LINE STEREO LINE INPUTS
These are channels 7/8 and 9/10. They are organised in
stereo pair and provided with XLR balanced socket and
1/4" TRS phone sockets. If you connect only the left jack,
the input will operate in mono mode, that is the mono
signal will appear on both input channels. You can use
these inputs with a stereo keyboard, drum machine, etc.
3 LEVEL CONTROL
This control is used to adjust the overall level of respective
channel. The adjustable range goes from to +10 dB.
4PAN
This is the PANORAMA control, or balance control. You
can adjust the stereo image of the signal via this control.
Keep this control in center position and your signal will
be positioned in the middle of stage. Turn this control
fully counter clockwise and the signal will be present only
on the left speaker and vice-versa. Of course a large
number of intermediate positions are available.
CH 6 CH 7-8
LINE IN
(bal )
N
O
W
I
S
O
E
L
P
R
E
A
M
P
1
2
3
MIC N (bal.)
1
20 dB
PAD
0dB0dB
HIGH
HIGH
12KHz
12KHz
+15dB+15dB
15dB15dB
0dB0dB
MID
MID
2.5KHz
88
88
LeftLeft
88
LEVEL
2.5KHz
+15dB
+15dB
0dB
0dB
LOW
LOW
80Hz80Hz
+15dB+15dB
0dB0dB
MON
AUX1
PRE
+10dB+10dB
0dB
DSP/FX
AUX2
POST
+10dB+10dB
PAN
RightRight
0dB0
dB
+10dB+10dB
15dB15dB
15dB15dB
R
(MONO)
L
N
O
W
O
L
3
MIC IN (bal.)
2
I
S
E
P
R
E
A
M
P
12
10
9
8
7
6
5
4
3
5
Page 8
SPOTLIGHT
4. CONTROL ELEMENTS
5 DSP/FX
The AUX2 control is configured as POST-FADER, so the audio signal will be affected
by channel LEVEL control and sent to the resident digital multi-effect. Via the AUX2
OUT jack, the AUX2 signal can be sent to an external effects device, and in such
case the resident digital multi-effects will be automatically disconnected.
6 MON/AUX1
Your PBM8 has two auxiliary sends which can be used for sending signals to
external or internal effects devices or for creating a monitor mix. They are used
to adjust the level of respective channel signal sent to AUX bus, and the adjustable
range goes from - to +10 dB. The AUX1 control is configured as PRE-FADER,
which means that the signal is sent out before reaching the channel fader. It is
used to feed stage monitors in a live situation, or for a headphone mix in recording
application.
EQUALIZATION
You have three EQ controls for each mono and stereo input channel each providing
+/-15dB of boost and cut. The signal will be unaffected when the controls on the
center position. You may use an external equalizer to make up a mix properly but
a master equalizer will not have effect on a single channel and you may overload
the signal easily. Individual EQ will give you a much better control on single tracks.
7HI
If you turn this control up, you will boost all the frequencies above 12kHz ( shelving
filter ). You will add transparency to vocals and guitar and also make cymbals
crispier. Turn the control down to cut all frequencies above 12kHz. In such way
you can reduce sibilances of human voice or reduce the hiss of a Tape player.
8MID
This is a peaking filter and it will boost/cuts frequencies with their center at
2.5kHz. This control will affect especially upper male and lower female vocal
ranges and also the harmonics of most musical instruments.
9LOW
If you turn this control up you will boost all frequencies below 80Hz. You will
givemorepunchtobassdrumsandbassguitar;andyouwillmakethemale
vocalistmore"macho".Turnitdown,andyouwillcutallthefrequenciesbelow
80Hz. In this way you can avoid low-frequency vibrations and resonance thus
preserving the life of your woofers.
10-20dBPAD
Pressing this button will attenuate the input signal by 20dB. In such way you
can produce increased headroom and reduce the risk of distortion because of
level peaks at input level when the input signal is quite hot.
6
Page 9
SPOTLIGHT
4. CONTROL ELEMENTS
MASTER SECTION
18
OPERATING
10
15
9
0
9
15
16K
15
9
0
9
15
16K
0
10
30
FEEDBACK
TERMINATOR
10
0
10
30
FEEDBACK
TERMINATOR
MONITOR
0
dB
8
-
+10dB
MAIN
0
dB
8
-
+10dB
LEVEL
LEVEL
13
15
12
17
16
14
11
15
9
0
9
15
5050100
15
9
0
9
15
250
500
2K5
100
250
5001K1K
2K55K5K8K8K
11 STEREO GRAPHIC EQ
Your PBM8 is equipped with two graphic EQs with 9 adjustable bands each; one is
for the MAIN MIX and the other for the MONITOR MIX. Via the faders, you can
boost or cut the selected frequency by +/-15 dB at the indicated frequencies.
When all faders are at the center position, the equalizer will do nothing.
12 FEEDBACK TERMINATOR Button (MONITOR MIX)
Pressing this button the feedback detection function will be activated in the
monitor signal path. Feedback will be identified at a certain frequency when
the correspondent fader LED lights up. Feedback will produce an unpleasant
speaker "howling" or "whistling". In this case, in order to eliminate feedback,
you need to turn down the corresponding fader until feedback disappears.
13 MONITOR LEVEL LED DISPLAY
This LED display will show you the monitor output level. Make sure that the
+10 LED only lights up occasionally. The optimal level is when the -10 and
0 LED light up. If only the -30 LED lights up or even doesn't come to life your
S/N ratio will be degraded.
14 FEEDBACK TERMINATOR Button (MAIN MIX)
By pressing this button, the feedback detection function will be activated in the
Main Mix signal path. Feedback will be identified at a certain frequency when
the correspondent fader LED will light up. Feedback will produce an unpleasant
speaker "howling" or "whistling". In this case, in order to eliminate feedback, you
need to turn down the corresponding fader until feedback disappears.
7
Page 10
SPOTLIGHT
4. CONTROL ELEMENTS
15 MONITOR LEVEL CONTROL
This control is used to adjust the level of the monitor output.
16 MAIN MIX LEVEL CONTROL
This control is used to adjust the overall volume of the main mix output.
17 MAIN MIX LEVEL LED DISPLAY
This LED display will show you the Main Mix output level. Make sure that the
+10 LED only lights up occasionally. The optimal level is when the -10 and 0
LED light up. If only the -30 LED lights up or even doesn't come to life your
S/N ratio will be degraded.
18 OPERATING LED DISPLAY
The LED indicates when the power
is switched on in your PBM8.
19
19 PHANTOM 48V SWITCH
Activating this switch, you will apply +48V phantom power only to the 8 XLR
microphone inputs and only to the XLR MIC sockets. Never plug in a microphone
when phantom power is already on. Before turning phantom power on, make
sure that all faders are all the way down. In this way, you will protect your
stage monitors and main loudspeakers.
20
20 AMPLIFIER MODE SWITCH
This switch provides three modes: MAIN/MAIN, MAIN/MONITOR and BRIDGE.
Select any one of these modes to route the signals to the corresponding jacks
according to the speaker connection at speaker jacks on the rear panel. You
will find more details about the Amplifier Mode switch later on in this Manual.
MASTER SECTION INPUT AND OUTPUT JACKS
24
STEREO
25
8
AUX2
OUT
RTN
26
TAPE TO
CH9 10 MAN
LEFT
RIGHT
IN OUT
27
21
22
MAIN OUTMONITOR OUTTAPE
LEFT RIGHT
HEADPHONE
OUT
2328
Page 11
4. CONTROL ELEMENTS
21 MONITOR OUT JACK
Use this balanced MONITOR jack to connect the input of an external amplifier
or active monitor speaker.
22 MAIN OUT JACKS
These jacks are used to output the Main Mix signal to an external amplifier or
active speaker.
23 HEADPHONE OUT JACK
This is a stereo phone type output jack. It is used to send out the Main Mix
signal to a pair of headphones.
24 AUX2 OUT JACK
The phone jack is used to output the line level signal of the AUX2 post fader
bus. You can use it to feed the inputs of a stereo multi-effects (you will need
a Y-type cable ).
25 STEREO RETURN JACK
Use this stereo phone jack to return the stereo signal of an effect unit into the
Main Mix. You can also use it as the extra auxiliary input.
26 TAPE TO SELECT SWITCH
If you position this switch to the left, you will route the signal fed into the TAPE
IN sockets into CH9~10 path, and the signal will be affected by channel level
control, channel EQ, DSP send, and MAIN level control, while positioning this
switch to the right will route the TAPE IN signal into Main Mix bus. In this case,
signal will be affected only by Main level control.
27 TAPE IN CONNECTORS
Your PBM8 features dual RCA jacks for TAPE IN (left and right). Typically, these
connectors are used to feed into the mixer the stereo signal from a CD Player,
Tape or DAT Player, iPod, MP3 and so on. It is useful to use these inputs this
wayifyoustoptheGIGforacoupleofbeersormore.
28 TAPE OUT
Your PBM8 also includes dual RCA jacks for stereo out (left and right). Via
these jacks, you can route the Main Mix signal into a tape recorder or DAT for
recording your session.
9
Page 12
SPOTLIGHT
4. CONTROL ELEMENTS
DSP SECTION
There is a powerful 24-bit/256 preset digital multi-effects included in your PBM8.
Effects include reverbs, chorus, flanger, delay and combinations of the above.
29 PRESETS Control
This knob will select one of the 16 Factory Presets.
30 DSP MUTE Button
This button is used to activate/deactivate the digital
multi-effect. Alternatively, you can also use the DSP
FOOTSWITCH for a faster operation.
31 PEAK LED
This LED will flash when the signal input into the
digital multi-effect is too strong. When the digital
effect module is muted by the (30) button the LED
also lights up.
DSP
PRESETS
16
15
14
13
12
11
10
DSP
MUTE
VARIATIONS
16
15
14
13
12
11
10
1
2
3
4
5
6
7
8
9
CLIP
MUTE
1
2
3
4
5
6
7
8
9
29
30
31
32
32 VARIATIONS Control
For each of the 16 Factory Presets you can apply
up to 16 variations, so in total your PBM8 offers
256 different presets. If you want to know which
Parameter is modified by this control, please look
at the following chart.
33DSPTOMON
This control is used to control the volume of the
processed signal sent to Monitor Mix, which can
be varied from - to +10 dB.
34DSPTOMAIN
This control is used to control the volume of the
processed signal sent to Main Mix bus, which can
PRESETS:
1 VOCAL 1
2 VOCAL 2
3 LARGE HALL
4 SMALL HALL
5 LARGE ROOM
6 SMALL ROOM
7 PLATE
8 TAPE REVERB
9 SPRING REVERB
10 MONO DELAY
11 STEREO DELAY
12 FLANGER
13 CHORUS
14 REVERB + DELAY
15 FLANGERREVERB +
16 REVERB + CHORUS
DSP
TO MON
8
+10dB
0
dB
DSP
TO MAIN
8
+10dB
FOOT
SW.
bevariedfrom- to+10dB.
35 DSP FOOTSWITCH Socket
This 1/4" phone jack can be used to connect an external optional footswitch to
turn on/off the onboard digital multi-effect.
10
33
34
35
Page 13
SPOTLIGHT
4. CONTROL ELEMENTS
REAR PANEL
POWERED MIXER
MODEL:
PBM8.250
36
37
POWER
AC NPUT
1 0 VAC 6 HZ
1 0 VAC 6 HZ
250V T3 15AH
LEFT/MONOMAIN
S
OUTPUT 2
23 VAC5 HZ
24 VAC5 HZ
OUTPUT 1
Usonl ha 5 Vfse
FUSE
RIGHT/ MON TOR
S S
BRIDGEMODE
MOD L
S RI L
STEREO M ODE 250 W @ 4 OH M
BRIDGEMODE 500 W @ 8 OHM
Ap ar t n sk l ans u as
il oda utag n rden
a s uts l et n v rk
SKOF L CT C SH CK
DON TOP N
CAUTION:
EP ACE WTH HE SA E TY E FUSE NDRA NG
SCO NECT UP LYC RDBE ORE C ANGNG USE
190 W @ 8 OHM
4OHM MN LOAD)
8OHM MN LOAD)
LTO
38
36 POWER ON/OFF Switch
This switch is used to turn the main power ON and OFF.
37 AC Inlet with FUSE Holder
Use it to connect your PBM8 to the main AC with the supplied AC cord. Please
check the voltage available in your country and how the voltage for your PBM8
is configured before attempting to connect your PBM8 to the main AC.
38
SPEAKERS Jacks
These jacks are used to connect speakers. They are configured with 4-way
speakon connectors and 1/4" phone jacks. You can determine the signal that is
output to these jacks according to the setting of the AMPLIFIER MODE select
switch,aswewilldescribeinamoment.
: In order to avoid damage to the built-in amplifier, please pay attention
Note
to the allowed impedance of the speaker. Very low load impedances may damage
The amplifier. Look at this plate on your PBM8 for reference.
STER EO MOD E: 2 50 W @ 4 OHM
BRIDGE MODE: 500 W @ 8 OHM
CLASS 2 WIRING MAYBE USED
190 W @ 8 OHM
(4 OHM M IN LOAD)
8 OHM MIN LOAD)
STER EO MOD E: 50 0 W @ 4 O HM
BRIDGE MODE: 1000 W @ 8 OHM
CLASS 2 WIRING MAYBE USED
300 W @ 8 OHM
(4 OHM M IN LOAD)
(8 OHM M N LOAD)
PBM8.250 MKII PBM8.500 MKII
11
Page 14
5. INSTALLATION AND CONNECTION
Ok, you have got to this point and you are now in the position to successfully operate
your PBM8. However, we advise you to read carefully the following section to be the
real master of your own mix. Not paying attention enough to the input signal level, to
the routing of the signal and the assignment of the signal will result in unwanted
distortion, a corrupted signal or no sound at all. So you should follow this procedure
for every single channel:
1. Turn down all Input and output gain controls.
2. Connect phantom powered microphones before switching on the +48 V phantom
power switch.
3. Set the output level of your PBM8 or the connected power amplifier at no more
than 75%.
4.Now,settheMONITORlevelatnomorethan50%.Inthiswayyouwillbeableto
hear later what you are doing connecting a pair of headphones or a pair of powered
studio monitor speakers.
5. Position EQ controls on middle position.
6. Position panoramic (PAN) control on center position.
7. Increase the input gain properly for maintaining the good headroom and ideal dynamic
range.
8. Depending on the actual application, turn slowly the input and output level controls
for obtaining the maximum gain before distortion.
9. Now repeat the same sequence for all input channels. The main LED meter could
move up into the red section. In this case you can adjust the overall output level
through the MAIN MIX control.
Audio Connections
You can connect unbalanced equipment to balanced inputs and outputs. Simply follow
these schematics.
R ng Right Signal
T p Left S gnal
Stra n Clamp
Sleeve
Tip
R ng
12
Stra n Clamp
Sleeve Ground/Screen
Use for Headphone
1/4" Stereo (TRS) Jack Plug
Tip
Sleeve
Sleeve Ground/Screen
Use for Mono Lne In Mono 1/4"Jack Plugs
1/4" Mono (TS) Jack Plug
T p Signal
Page 15
5. INSTALLATION AND CONNECTION
Sleeve
Strain Clamp
1/4" Stereo (TRS) Jack Plug
2
2 Hot(+)
Use for Balanced Mic Inputs
(For unbalanced use, connect pin 1 to 3)
3
3 Cold(-)
1
1 Ground/Screen
3 pin XLR Male Plug
(seen from soldering side)
MAIN SPEAKERS CONNECTION
Tip
Ring
Sleeve Ground/Screen
Use for Insert Points
2 Hot(+)
Ring Return Signal
Tip Send Signal
2
1
1 Ground/Screen
3
3 Cold(-)
(For unbalanced use, leave pin3 unconnected)
Use for Main output
3 pin XLR Line Socket
(seen from soldering side)
Please use only the power connectors to make connections with other signal
source equipment for the passive speaker cabinets. The power connector has
four terminals: 1+, 1-, 2+, 2-.
1+
2-
1-
2+
Speakon connector
13
Page 16
5. INSTALLATION AND CONNECTION
And now some tips how to use the AMPLIFIER MODE switch
Main Speaker
LEFT/ MONOMA N
AMPLIFIER
MAIN
+
MAIN
MODE
MAIN
+
MONITOR
BRIDGE
OUTPUT 2
OUTPUT 1
Use either the speakon jacks
or phone jacks
Main Speaker
MAIN + MAIN Mode
This is the most common application. The built-in amplifier drives two man
speaker cabinets Left and Right. The AMPLIFIER MODE is on MAIN+MAIN
position.
Main Speaker
OUTPUT 2
1+ 1-
POS NEG
R GHT/ MONITOR
OUTPUT 1
1+ 1-
POS NEG
OUTPUT 2
2+ 2-
POS NEG
BRIDGEMODE
BRIDGE
2+ 1+
POS NEG
LEFT/ MONOMAIN
AMPLIFIER
MODE
MAIN
MAIN
+
+
MONITOR
MAIN
BRIDGE
OUTPUT 2
OUTPUT 1
OUTPUT 2
1+ 1-
POS NEG
RIGHT/ MON TOR
OUTPUT 1
1+ 1-
POS NEG
OUTPUT 2
2+ 2-
POS NEG
Use either the speakon jacks
Monitor Speaker
or phone jacks
MAIN + MONITOR Mode
With the AMPLIFIER MODE in MAIN+MONITOR position, channel1 drives a
Main speaker cabinet while channel2 drives a stage monitor.
14
BRIDGEMODE
BRDGE
2+ 1+
POS NEG
Page 17
5. INSTALLATION AND CONNECTION
Main Speaker
LEFT/ MONOM AN
OUTPUT 2
1+ 1-
AMPLIFIER
MAIN
+
MAIN
MODE
MAIN
+
MONITOR
BRIDGE
OUTPUT 2
OUTPUT 1
Bridge Mode
With the AMPLIFIER MODE switch in BRIDGE position, the two power amplifiers
in your PBM8 drive together a single speaker cabinet with the sum of the power
of the 2 amps. Usually this solution is used to drive a single subwoofer and the
MAIN OUT output on the front panel are used to feed a pair of powered speakers
as mid-high units.
POS NEG
R GHT/ MON TOR
OUTPUT 1
1+ 1POS NEG
OUTPUT 2
2+ 2POS NEG
BR DGEMODE
BRIDGE
2+ 1+
POS NEG
15
Page 18
6. PRESET LIST
NO. Preset Description
VOCAL1
1
2
LARGE HALL
3
SMALL HALL
4
5
LARGE ROOM
6
SMALL ROOM
7
PLATE
TAPE REVERB
8
SPRING REVERB
9
MONO DELAY
10
STEREO DELAY
11
FLANGER
12
CHORUS
13
REV.+DELAY
14
15
REV.+FLANGER
REV.+CHORUS
16
Simulate a room with small delay time.
Simulate a small space with slight decay timeVOCAL2
Simulate a large acoustic space of the sound.
Simulate a stage space of the sound.
Simulate a studio room with many early reflections
Simulate a bright studio room.
Simulate the transducers sound like classic bright
vocal plate.
Simulate a record head and multiple playback heads
at intervals along the tape.
Simulate the analog transducers' springs lightly
stretched sound.
Reproduce the sound input on the output after a
lapse of time.
Recreate the input sound on the stereo output with
different time.
Simulate to play with another person carrying
out same the notes on the same instrument
Recreate the illusion of more than one instrument
from a single instrument sound
Delay with room effect
Stereo chorus and large room reverb
Stereo flanger and large room reverb
Controllable Parameter
Parameter Variable range
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Period
Period
Feedback
Rate
Rate
Decay period
Rev.decay time
Flanger Rate
Rev.decay time
Chorus rate
Rev.decay time
0.8~1.1s
0~79ms
0.8~2.5s
0~79ms
3.6~5.4s
23~55ms
1.0~2.9s
20~45ms
2.9~4.5s
23~55ms
0.7~2.1s
20~45ms
0.6~6.1s
10ms
1.3~5.4s
0~84ms
1.3~5.4s
0~35ms
60~650ms
210~400ms
37~73%
0.16~2.79Hz
0.5~5Hz
211~375ms
1.0~2.9s
0.16~2.52Hz
0.5~4.74Hz
1.5~2.9s
16
Page 19
7. BLOCK DIAGRAM
17
Page 20
8. TECHNICAL SPECIFICATION
Mono input channels
Microphone input
Frequency response
Distortion (THD & N)
Gain 50 dB (MIC)
SNR (Signal to Noise Ratio)
Line input
Frequency response
Distortion (THD & N)
Gain
Stereo input channels
Line input
Frequency response
Distortion (THD & N)
Impedances
Microphone input
Channel Insert return 2.5 kOhm
All other inputs
Tape out
All other output
Equalization
Hi shelving
Mid bell
Low shelving
DSP Section
A/D and D/A converters
DSP resolution
Type of effects
Presets
Controls
Main Mix Section
Noise (bus noise)
Max output
AUX Sends max out
Power supply
Main voltage
Power Consumption
PBM8.250 MKII
Stereo mode: 250W@4ohm(EIAJ)
Bridge mode: 500W@8ohm(EIAJ)
Electronically balanced, discrete input configuration
10 Hz to 55 kHz, +/ 3 dB
0.006% at +4 dBu, 1 kHz
>90 dB
Electronically balanced
10 Hz to 55 kHz, +/ 3 dB
0.04% at +4 dBu, 1 kHz
30 dB
Unbalanced
10 Hz to 55 kHz,+/3dB
0.006% at +4 dBu, 1 kHz
1.4 kOhm
10 kOhm or greater
1 kOhm
120 Ohm
+/ 15 dB @12 kHz
+/ 15 dB @ 2.5 kHz
+/ 15dB@80Hz
24 bit
24 bit
Hall, Room, Vocal & Plate REVERBS
Mono & Stereo DELAY (max DELAY TIME 650ms)
Chorus, Flanger & Reverb MODULATIONS
REVERB+DELAY, REVERB+CHORUS,
REVERB+FLANGER combinations
256
16 position PRESET Selector
16 position VARIATION selector
CLIP LED
MUTE SWITCH with LED indicator
Fader 0dB, all input channels assigned and set to
UNITY gain: 71 dBr (ref.:+4 dBu)
+27 dBu balanced ,
+22 dBu unbalanced, 1/4" jacks
+22 dBu
100VAC~60Hz 230VAC~50Hz
120VAC~60Hz 240VAC~50Hz
190W@8ohm(EIAJ)
222W@4ohm(RMS) THD=1%
149W@8ohm(RMS) THD=1%
415W@8ohm(RMS) THD=1%
18
PBM8.500 MKII
Stereo mode: 500 W @ 4 ohm(EIAJ)
Bridge mode: 1000W@8ohm(EIAJ)
300W@8ohm(EIAJ)
400W@4ohm(RMS) THD=1%
263W@8ohm(RMS) THD=1%
738W@8ohm(RMS) THD=1%
Page 21
8. TECHNICAL SPECIFICATION
Fuse
Physical
Dimension (W D H)
Weight
PBM8.250 MKII 100 ~ 120V : T6.3AL
PBM8.500 MKII 100 ~ 120V : T10AL
550 220 310 mm
(8.66" 12.20" 21.65")
PBM8.250 MKII (Net) : 13.2kg (28.70lb)
PBM8.500 MKII (Net) : 13.5kg (29.76lb)
210 ~ 240V : T3.15AL
210 ~ 240V : T6.3AL
(Gross) : 15.93kg (35.11lb)
(Gross) : 16.26kg (35.84lb)
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9. WARRANTY
1. WARRANTY REGISTRATION CARD
To obtain Warranty Service, the buyer should first fill out and return the enclosed
Warranty Registration Card within 10 days of the Purchase Date.
All the information presented in this Warranty Registration Card gives the
manufacturer a better understanding of the sales status, so as to provide a
more effective and efficient after-sales warranty service. Please fill out all the
information carefully and genuinely, miswriting or absence of this card will void
your warranty service.
2. RETURN NOTICE
2.1 In case of return for any warranty service, please make sure that the
product is well packed in its original shipping carton, and it can protect your
unit from any other extra damage.
2.2 Please provide a copy of your sales receipt or other proof of purchase with
the returned machine, and give detail information about your return address
and contact telephone number.
2.3 A brief description of the defect will be appreciated.
2.4 Please prepay all the costs involved in the return shipping, handling and
insurance.
3. TERMS AND CONDITIONS
3.1 warrants that this product will be free from any defects in materials
LT O
and/or workmanship for a period of 1 year from the purchase date if you
have completed the Warranty Registration Card in time.
3.2 The warranty service is only available to the original consumer, who purchased
this product directly from the retail dealer, and it can not be transferred.
3.3 During the warranty service, may repair or replace this product at its
own option at no charge to you for parts or for labor in accordance with the
right side of this limited warranty.
3.4 This warranty does not apply to the damages to this product that occurred
as the following conditions:
Instead of operating in accordance with the user's manual thoroughly, any abuse
or misuse of this product.
Normal tear and wear.
The product has been altered or modified in any way.
Damage which may have been caused either directly or indirectly by another
product / force / etc.
Abnormal service or repairing by anyone other than the qualified personnel or
technician.
And in such cases, all the expenses will be charged to the buyer.
3.5 In no event shall be liable for any incidental or consequential damages.
Some states do not allow the exclusion or limitation of incidental or
consequential damages, so the above exclusion or limitation may not apply to
you.
3.6 This warranty gives you the specific rights, and these rights are compatible
with the state laws, you may also have other statutory rights that may vary
from state to state.
LT O
LT O
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NO. 1, Lane 17, Sec. 2, Han Shi West Road, Taichung 40151, Taiwan
SEIKAKU TECHNICAL GROUP LIMITED
http://www.altoproaudio.com Tel: 886-4-22313737
email: alto@altoproaudio.com Fax: 886-4-22346757
All rights reserved to ALTO. All features and content might be changed
without prior notice. Any photocopy, translation, or reproduction of part of this
manual without written permission is forbidden. Copyright 2007 Seikaku Group
c
NF02299-1.1
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