Alto TYPHOON User Manual

LTO

For music with passion

User's Manual

Typhoon

large scale mixing console

LTO

www.altoproaudio.com

Version 1.1 APRIL. 2005

English

SAFETY RELATED SYMBOLS

CAUTION

RISK OFELECTRIC SHOCK

DO NOTOPEN

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.

Fuse

To prevent fire and damage to the product, 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.

Protective Ground

Before turning the product ON, make sure that it is connected to Ground. This is to prevent the risk of electric shock.

Never cut internal or external Ground wires. Likewise, never remove Ground wiring from the Protective Ground Terminal.

Protective Ground Terminal

AC mains (Alternating Current)

Hazardous Live Terminal

ON: Denotes the product is turned on.

OFF: Denotes the product is turned off.

WARNING

Describes precautions that should be observed to prevent the possibility of death or injury to the user.

CAUTION

Describes precautions that should be observed to prevent damage to the product.

WARNING

Power Supply

It ensures that the mains source voltage (AC outlet) matches the voltage rating of the product. Failure to do so could result in damage to the product and possibly the user.

Unplug the product before and during electrical storms and when the mixer is not going to be used for long periods of time to reduce the risk of electric shock or fire.

External Connection

Always use proper ready-made insulated mains cabling (power cord). Failure to do so could result in shock/death or fire. If in doubt, seek advice from a registered electrician/ authorized maintenance centre.

Operating Conditions

Always install in accordance with the manufacturer's instructions.

To avoid the risk of electric shock and damage, do not subject this product to any liquid/rain or moisture.

Do not use this product in close proximity to water.

Do not install this product near any direct heat source.

Do not block ventilation areas.

Failure to do so could result in fire. Keep product away from naked flames.

IMPORTANT SAFETY INSTRUCTIONS

Read these instructions

Follow all instructions

Keep these instructions. Do not discard.

Heed all warnings.

Only use attachments/accessories specified by the

manufacture

Power Cord and Plug

Do not tamper with the power cord or plug. These are designed for your safety.

Do 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.

Do Not Remove Any Covers

Within the product there are areas where high voltages may present. To reduce the risk of electric shock do not remove any covers unless the AC mains power cord is removed.

Covers should be removed by qualified service personnel only.

No user serviceable parts inside.

Cleaning

When required, either blow off dust from the product or use a dry cloth.

Do not use any solvents such as Benzol or Alcohol. For safety, keep product clean and free from dust.

Servicing

Refer all servicing to qualified service personnel only. Do not perform any servicing other than those instructions contained within the User's Manual.

PREFACE

Dear Customer:

Thank you for choosing the LTO TYPHOON which is the result of our LTO AUDIO TEAM's endeavours.

For LTO AUDIO TEAM music and audio are much more than a job, they are a passion and an obsession!

We have, in fact, been designing professional audio products for a number of years in cooperation with many of the world's major brands.

The LTO line represents unparalleled analogue and digital products made by musicians, for musicians. With our design centres in Italy, the Netherlands, and the United Kingdom we provide you with world-class designs, while our software development teams continue to develop an impressive range of audio specific algorithms.

By purchasing our LTO products you become the most important member of our LTO AUDIO TEAM. We would like to share with you our passion for what we design and we invite you to make suggestions, which will aid us in developing future products for you. We guarantee you our commitment to quality, continual research and development, and of course the best performance/price ratio.

The LTO TYPHOON is a large format versatile 8-bus sound reinforcement mixing console designed for all types of live sound production as well as for recording purposes. Each channel is equipped with a variety of key features including a warm, natural sounding four band sweep EQ (4 band fixed EQ for stereo channels), 8 Auxiliary sends, Clip preamp and fader LEDs etc.. Besides, the TYPHOON is equipped with fully featured intercom and talkback sections that will allow the sound engineer to work in a very fast and reliable way. Seeing is believing, let's meet LTO TYPHOON.

We would like to thank all the people that worked with us to make a vision real! Our designers and LTO staff made the LTO TYPHOON, large format 8-bus sound reinforcement mixing console, a very reliable and high quality product ready for all your venues. And thanks to their passion for music and professional audio it has been possible for us to offer you, our most important team member, our continued support too.

Thank you very much

LTO AUDIO TEAM

TABLE OF CONTENTS

SAFETY INSTRUCTIONS

PREFACE

TABLE OF CONTENTS

INTRODUCTION

MAIN FEATURES

INSTALLATION AND CONNECTIONS

TYPHOON PICTURES

FUNCTIONAL DESCRIPTION

Typhoon Mono input channels .............................................................................................................10-14

Typhoon Stereo input channels ...........................................................................................................15-19

Typhoon Master Section ......................................................................................................................20-27

TYPHOON CONNECTIONS WIRING

...................................................................................................................................................2

........................................................................................................................................4

......................................................................................................................................5

..........................................................................................................................1

.............................................................................................................................3

..................................................................................................6-7

...........................................................................................................................8-9

............................................................................................................10-31

.................................................................................................28-31

GLOSSARY

TECHNIQUE & TROUBLESHOOTING

BLOCK DIAGRAMS

TECHNICAL SPECIFICATIONS

EXTRA PAGE

WARRANTY

..............................................................................................................................................38

...............................................................................................................................39

.........................................................................................................40-41

......................................................................................................................................42-51

.............................................................................................................................................52

..............................................................................................32-37

INTRODUCTION

Our current top mixer line...fitted with a wide range of controls to satisfy the needs of the most demanding professional with its real hi-fi specs and its user-friendly and ergonomic design despite the very high quantity of controls! These models are ideal for large venue and large bands.

Thank you very much for expressing your confidence in LTO products by purchasing LTO's first large format mixing console Typhoon, an 8-bus sound reinforcement mixing console designed for all types of live sound production.

We're proud to introduce you our first large format mixing console, designed and developed to meet the needs of the demanding live sound engineers, providing the quality, all the features and the reliability you deserve, with its real hi-fi specs and its user-friendly and ergonomic design despite the very high quantity of controls!

The Typhoon is an all purpose FOH mixing console that can be used as Monitor mixer as well, thanks to its 8 independent auxiliary sends. Each mono channel offers microphone and line input, direct out and insert points, lo-cut filter, four band sweep EQ. etc. The stereo channel offers stereo (left & right) line input with four band fixed EQ, as well as mono input with discrete mic &line connections and lo-cut filter.

Following the needs of professional live sound engineers we included a lot of special features, like a Talkback section and a 3-frequency Oscillator, and double CLIP indicator to immediately understand at a glance the behaviour of every channel mono signal.

The Typhoon is a large format professional mixing console. You will get a smooth, accurate more natural and open sound from this tool, it is really ideal for gigs, recording and fixed PA installations.

Your Typhoon has been designed to be a very versatile and user-friendly mixing console, so it's very easy to operate but we advise you to go through each section of this manual carefully. In this way you will get the best out of your Typhoon in all application.

MAIN FEATURES

Pre-insert preamp CLIP LED

Extremely high headroom offering excellent dynamic range

Post-fader, post-EQ Direct output, can become pre-fader post-EQ by an internal jumper

Pre-fader, pre-eq channel insert

MIC input channels with golden plated XLRs and balanced LINE inputs

4-band sweep EQ on mono channels

4 Stereo input channels with left-right balanced TRS jacks, and mono MIC & line inputs

4-band fixed EQ on stereo channels

Ultra-low noise discrete Mic Preamps with +48V Phantom Power

100mm high precision faders

Each input channel features Mute & SOLO switches, Overload & signal present LEDs and low cut filters (except stereo line inputs)

Fader CLIP LED

SUB 1-2, 3-4, 5-6, 7-8 & MAIN L-R signal assignment switch

8 AUX sends with pre-post-fader assign switches

Channel inserts and direct outputs on each mono channel for connection of outboard equipment

Groups, Aux sends and Main Mix inserts for flexible connection of outboard equipment

Control room/phones discrete level

Fully assignable Oscillator and Talkback sections

Three-frequency, three-level oscillator

XLR socket for lighting lamps

2-TRACK IN path

Highly accurate 16 segment output level meters

INSTALLATION AND CONNECTIONS

[ INSTALLATION ]

The following counsels must be observed to maintain safety and electromagnetic compatibility performance in order to obtain the best possible performances by your Typhoon.

Earthing & Power Connections

Since all the signals are referenced to earthing system, it's very important that it's clean and noise free. The best way to do an earthing system is to use a "star fed" instead of "daisy chain". A "star fed" earth connection means that independent wires runs for each outlet, in this way you'll provide a safety reference screen for each single equipment. Never mix the mains audio earthing outlets with light earthing outlets, it could very easily generate interferences and audio degradation.

Please try to avoid placing the console close/on any power distribution units or power amplifiers. When using an external power supply, it should be located as far as possible from the console. The power supply should be set for the voltage supply available in your area and plugged into the mains socket using the cable provided with the ground/screen connector properly connected. The Typhoon should only be operated with the power supply connected to ground via the ground in the mains connector. The use of alternative power supplies may cause damage and void the warranty.

The power supply should never be operated with the mains earth disconnected

Please note that the power supply contains DANGEROUS VOLTAGES, much stronger than the mains voltage. The power supply rails can produce extremely large currents which could burn out equipment and wiring if shorted.

Electric & Magnetic Fields

When the console is operated close to an electromagnetic field (generated by video monitors, high-power electric cabling, etc.), you should detect an audio degradation induced by voltage picked up by leads and chassis. In this case the signal to noise ratio may be degraded, under extreme conditions (3V/m, 90% modulation) degradation of up to 40dB may be experienced.

Wiring

To ensure the correct and reliable operation of your Typhoon mixing console, only high quality screened twisted pair audio cable and metal bodied connectors should be used.

Position

Place the mixing console on a flat and even surface, avoiding extremely hot, cold, dust or humid places. Your Typhoon should be situated so that its location or position does not interfere with its proper ventilation (e.g. on a carpet, on felt, etc.).

When positioning the console for front of house usage it is worth placing the console in the " " positionsweet spot (where the sound system used can be properly heard from the mix position). Try to avoid placing the console behind pillars or large objects , or mixing from a level above the speaker position (e.g. from a balcony).

WARNING: Always switch off the power supply off before connecting or disconnecting the mixer power cable, removing or installing modules, and servicing. In the event of an electric storm or large mains voltage fluctuations, immediately switch off your Typhoon and disconnect the mains plug from its socket.

WARNING: Do not replace the fuse with any other type, or short-circuit the broken fuse, this could become a safety hazard and will void the warranty.

WARNING: All servicing should ONLY be carried out by skilled personnel of an authorized maintenance centre.

[ CONNECTIONS ]

All connector shells should be of metal construction in order to provide a screen when connected to the console.

The Typhoon deserves to be operated with high quality twisted-pair audio cables to develop its full audio performances.

XLR plug & socket

Pin 1 - Screen/Ground Pin 2 - Hot Signal Pin 3 - Cold Signal

6,3mm. (1/4") Jack - BALANCED connections

TRS signal Sleeve Screen/Ground Ring Cold signal Tip Hot signal

6,3mm. (1/4") Jack - unbalanced connections

TS signal Sleeve Screen/Ground Tip Signal

6,3mm. (1/4") TRS insert

Sleeve Screen/Ground Ring Insert return Tip Insert send

6,3mm. (1/4") TRS headphone

Sleeve Screen/Ground Ring Right signal Tip Left signal

Owner's manual conventions

Writing this owner's manual we used the following conventions:

1. The names of the keys switches and connectors used in this owner's manual match the labels on the unit

Examples: MIC IN -> Microphone input

MID-H -> Mid-High frequency boost/cut control GR1-GR2 -> Group 1 & Group 2

2. The condition of the indicators on your mixer is surrounded by " ", e.g. or ."light" "flash"

TYPHOON PICTURES

TYPHOON 1600

TYPHOON 2400

TYPHOON PICTURES

TYPHOON 3200

TYPHOON 4800

FUNCTIONAL DESCRIPTION

[ Typhoon Mono Input Channels ]

The Typhoon is supplied with all the connections pro users deserve to connect every kind of signal sources to Typhoon inputs.

Direct Out

This unbalanced connector can be used to directly output the signal of the channel for recording & other purposes. This output can be set pre- or postfader by an internal jumper. Please note that the Mute switch of the channel affects this connector when set to post fader. The wiring is Tip = Hot Ring & Sleeve = Screen.

DIRECT

OUT

INSERT

LINE IN

INSERT

MIC IN

Insert

This unbalanced 1/4" jack connector has been designed to be used as insert point, breaking the signal path immediately after the preamp section and before the EQ section to allow the pro user to insert a dynamic compressor, a parametric EQ, as well as other ancillary equipment. Please note that the Mute switch of the channel does not affect this connector. The wiring is Tip = Insert Send, Ring = Insert Return, Sleeve = Screen.

DIRECT

MIC IN

CH 2CH 2 CH 1CH 1

OUT

Line in

This balanced input connector has been designed to accept line inputs up to +22dBu. You can connect here keyboards outputs, mixer outputs, tape outputs, etc. The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen.

MICROPHONE in

This XLR socket has been designed to accept microphone signals up to +22dBu, providing phantom power for condenser microphone when the switch in the front panel is engaged. Pin1 = Screen/Ground, Pin2 = Hot Signal, Pin3 = Cold Signal.

[ Typhoon Mono Input Channels ]

We perfectly know the importance of the preamp section, a good preamp section will allow the sound engineer to work

with maximum dynamics, an exceptional signal-to-noise ratio... then to be able to use EQ, external dynamic controls

and other ancillary equipment to shape its own sound!

The Typhoon preamp section features all the useful controls to accurately manage the sound source in the most ver-

satile way.

PHANTOM POWER switch & LED

The switch must be engaged when you're using a condenser microphone or a direct box that can be powered by phantom power, instead of batteries. The LED gives the user a visual control over channels with phantom power on.

GAIN

The GAIN control gives you the chance to continuously adjust the pre-amplifier gain for input signal. This control can be adjusted in 0/+60dB range for microphone input and -25/+35dB for line input.

HIGH PASS LED

A very useful LED shows if the HIGH PASS section is active or not.

PHANTOM 48V

PHASE

OFF

OUT IN

+60

+35

125

40040

ON OFF

CLIP

GAIN

HIGH

PAS S

freq

PHASE switch & LED

This switch allows the user to invert by 180 the signal. This switch is very useful in a lot of circumstances, in particular when several microphones are very close (e.g. drum kit, brasses, chorus, etc.) and the sound engineers notices interferences between microphones that can not be solved moving the microphones. The LED gives an immediate control over channels with inverted phase electronic circuits.

CLIP LED

At LTO we're very careful about the feedback we continuously receive by our customers and the demands of pro users. For this reason we included a preamp CLIP LED, allowing the sound engineer to detect the clip incurring at the beginning of the audio path. The preamp CLIP LED turns on when the input level reaches 6dB before clipping. If the clipping has been generated by other channel controls (e.g. an excessive boost by EQ.) the sound engineer will see the preamp CLIP LED not lighted, while the fader clip LED will be lighted. In this case the research of the fault will become much faster!

HIGH PASS switch

This section allow the sound engineer to reduce the lower frequencies by engaging the switch and selecting the turnover frequency in 40Hz/400Hz range. This control is very useful when you detect hum or rumble or you want to cut unwanted low frequency sounds picked-up by microphones.

[ Typhoon Mono Input Channels ]

We provided a very versatile EQ circuit with four sweep filters to satisfy professional users demand. Thanks to the wide overlap section of the 4 filters, this EQ allows to shape in a very efficient way the sound of all the sound sources the sound engineers has to manage.

HIGH gain

It's a shelving filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB.

MID-H gain

It's a peak/dip filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB.

MID-L gain

It's a peak/dip filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB.

LOW gain

It's a shelving filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB.

EQ LED

This useful LED will allow the sound engineer to immediately understand if the channel has been equalised or not.

1.6

160

ON OFF

0dB

640

0dB

160

HIGH freq

HIGH

It's the control to set the centre frequency of the HIGH control. It can be adjusted in 1,6-16kHz

+15-15

HIGH

freq KHz

range. It affects the frequency area from the upper fundamental frequencies up to the higher harmonic frequencies, allowing the skilled user to add

MID-H

+15-15

3.2

MID-H

freq KHz

brightness to sound sources as well as reduce unwanted hiss and high frequency noises.

MID-H freq

It's the control to set the centre frequency of the

8.8

MID-L

MID-H control. It can be adjusted in 0.8-8kHz range. It affects the frequency area from the upper

+15-15

1.6K

MID-L

freq

LOW

fundamental frequencies up to the higher harmonic frequencies, allowing the skilled user to add or to subtract brightness to sound sources to avoid masking frequencies effects.

MID-L freq

+15-15

40040

LOW

freq

It's the control to set the centre frequency of the MID-L control. It can be adjusted in 0.16-1.6kHz range. It affects the frequency area of most of fundamental tone frequencies up to lower harmonic frequencies, allowing the skilled user to add/ subtract impact and/or presence to sound sources giving them a particular sound character.

LOW freq

It's the control to set the centre frequency of the LOW control. It can be adjusted in 40-400Hz range. It affects the frequency area from the lower fundamental frequencies, allowing the skilled user to add "boominess" to sound sources as well as to reduce unwanted hum and rumble noises.

EQ switch

This switch allows the user to use the EQ. Section in signal path. Of course it can be used too to make A/B comparisons between equalized signal and not equalized signal to control the . It can be used too to apply equalization at a certain point of the show, excluding it when it's not necessary.

[ Typhoon Mono Input Channels ]

At LTO we thought that you deserve a very versatile auxiliary section. So we provided you eight discrete auxiliary sends with independent level controls and several pre-/post-fader switches. Generally pre-fader is used for monitor purposes, allowing the sound engineer to set a level that's independent by channel fader setting. In this way the control will be much more accurate and the sound engineer doesn't risk unwanted feedback when, for example, he raises the level of the lead singer. Post-fader sends are better suited for FX sends control. By doing so, for example, the sound engineer will raise the fader level of the lead singer the effect send as well, maintaining the same sound balance between "dry" & "wet" signals. Please note that the channel Mute switch affects these controls.

0dB

AUX1

AUX 1

The AUX 1 send level can be adjusted from - up to +10dB.

PRE

POST

+10

0dB

AUX2

PRE

PRE/POST switch

This switch sets pre-/post-fader the Aux 1 signal.

AUX 2

The AUX 2 send level can be adjusted from - up to +10dB.

AUX3&4

The AUX 3 & 4 send level can be individually adjusted from - up to +10dB.

AUX 5-8

The AUX sends 5 to 8 level can be individually adjusted from - up to +10dB.

0dB

+10

AUX3

POST

PRE/POST switch

This switch sets pre-/post-fader the Aux 2 signal.

PRE

+10

0dB

AUX4

POST

PRE/POST switch

Auxiliary sends 3 & 4 share the same pre-/

+10

0dB

AUX5

+10

0dB

AUX6

PRE

+10

0dB

AUX7

POST

+10

0dB

AUX8

+10

post-fader switch.

PRE/POST switch

Auxiliary sends 5 to 8 share the same pre-/ post-fader switch.

[ Typhoon Mono Input Channels ]

The assign section is useful to manage the output assignment to several outputs, as well as direct out, to listen "in solo" a channel and to mute or not a channel signal.

OUTPUT Assign 1/2 3/4 5/6 7/8 L/R

These switches allow the sound engineer to address the signal to selected audio path. The odd/even numbered switches are used to send the signal to sub-groups while L/R switch sends the signal directly to Main Mix output. Please check the "technique & troubleshooting" section of this owner's manual for further details about the way to use those switches.

PAN

This pot allows the sound engineer to place the channel signal in a stereo front from hard left to hard right. Of course you can use it also to "move" the channel signal in stereo front to create spatial effects.

MUTE

You can use the MUTE switch to mute the channel signal when you don't need its sound. When this large switch is engaged, it's lit. The signal is still sent only to insert point, while the direct out is muted too.

Fader

This long coarse fader will give to the sound engineer the ability to accurately manage the channel output level from - up to +10dB.

GR1-GR2

GR3-GR4

GR5-GR6

GR7-GR8

L/R

centre

Left

MUTE

PFL/SOLO

CH 1CH 1

MUTE

Right

40 50 60

PAN

CLIP

-20

ON OFF

M1, M2, M3 & M4

These switches are very useful to manage the sound in a fast and reliable way. You can use M1, M2, M3 and M4 to program four MUTE memories. This feature is important to give an immediate control over some channels that are not used all show long (e.g. some instruments played just in some songs, the voice of the presenter, etc.) and to immediately recall al the mixers status. See section 7 of this owner's manual for the procedure to store and recall the four Mute Groups memories.

-20 & CLIP LEDs

These LEDs are very useful to control the behaviour of the channel signal path after the insert point, the EQ section and the fader. So you could notice the fader CLIP LED turned on while the preamp CLIP is not lit, or vice-versa. In both cases the presence of two CLIP LEDs will help the sound engineer to immediately detect where is the problem.

PFL/Solo switch

This switch allows the sound engineer to control the channel signal. The PFL (pre-fade listen) signal is pre-fader and mono while Solo stands for SIP (Solo In Place), the signal is post-fader, placed in stereo front and it "opens" all the circuits of related effect. When this large switch is engaged, it's illuminated to give you an immediate visual control of which, and how many channels are in solo. When the MASTER SOLO switch is engaged this switch acts in SOLO mode and mutes all other channels

[ Typhoon Stereo Input Channels ]

Each Typhoon is supplied with four stereo input channels. These channels are ideal for stereo signals but we included the same circuit of mono inputs, with discrete preamp level section and low-cut filter. So the sound engineer has the choice to use a mono signal and a stereo signal outputs in the same channel in different times without being obliged to change the GAIN control!

RIGHT

LEFT

(MONO)

LINE IN

LEFT

(MONO)

MIC IN

This balanced input connector has been designed to accept line inputs up to +22dB. This connector should be only used for the right output of an instrument. The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen.

LEFT (MONO)

This balanced input connector has been designed to accept line inputs up to +22dB. This connector should be used for the left or mono output of an instrument. This input follows the stereo path. The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen.

MIC IN

RIGHT

CH 41/42CH 41/42CH 43/44CH 43/44

Line in

This balanced input connector has been designed to accept line inputs up to +22dB. You can connect here keyboards outputs, mixer outputs, tape outputs, etc. The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen

MICROPHONE in

This XLR socket has been designed to accept microphone signals up to +22dB, providing phantom power for condenser microphone when the switch in the front panel is engaged. Pin1 = Screen/ Ground, Pin2 = Hot Signal, Pin3 = Cold Signal.

[ Typhoon Stereo Input Channels ]

The Typhoon preamp section is fully featured with all the useful controls to manage the sound source. There are two different preamp input path for mono or stereo signals, the latter features just GAIN while the mono preamp input is regularly featured like any other mono input. In this way the sound engineer can use, for example, the stereo keyboard outputs in the same channel of the entertainer voice, if both signals are not required at the same time and each source will has its own level control.

PHANTOM POWER switch & LED

GAIN

The GAIN control gives you the chance to continuously adjust the pre-amplifier gain for input signal. This control can be adjusted in 0/+60dB range for microphone input/ line input.

HIGH PASS LED

A very useful LED shows if the HIGH PASS section for the MONO input is active or not.

PHANTOM 48V

PHASE

OFF

OUT IN

CLIP

MONO IN

GAIN

0 +60

125

HIGH

PASS

40040

ON OFF

freq

PHASE switch & LED

This switch allows the user to invert by 180 the signal. This switch is very useful in a lot of circumstances, in particular when several microphones are very close (e.g. drum kit, brass, choirs etc.) and the sound engineer notices interferences between microphones that can't be by solved moving the microphones. The LED gives an immediate control over channels with inverted phase electronic circuits.

CLIP LED

INPUT SELECT LED

This LED is lit when you use a mono signal, the INPUT SELECT switch is pressed.

STEREO IN

GAIN

-20 +20

INPUT SELECT

STEREO

MONO

HIGH PASS switch

This section will allow the sound engineer to reduce the lower frequencies of MONO INPUT by engaging the switch and selecting the turnover frequency in 40Hz/400Hz range. This control is very useful when you detect hum or rumble or you want to cut unwanted low frequency sounds picked-up by microphones.

STEREO IN GAIN

The GAIN control gives you the chance to continuously adjust the amplifier gain for LEFT (MONO) & RIGHT inputs. This control can be adjusted in

-20/+20dB range input.

INPUT SELECT switch

Pressing this switch you'll select the mono input source for this channel, while releasing this switch you'll use the stereo signal.

+ 37 hidden pages