Alto TYPHOON User Manual

Download

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.

[ Typhoon Stereo Input Channels ]

Stereo sources are generally keyboards outputs, pre-mixers, etc. so the signal deserves few EQ adjustments. For this reason we choose for the Typhoon stereo channels a four band fixed EQ.

HIGH gain

It's a shelving filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB @ 12kHz.

MID-L

It's a peak/dip filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB @ 400Hz.

EQ LED

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

ON OFF

0dB

+15-15

HIGH

12KHz

MID-H

3KHz

MID-L

400Hz

LOW

80Hz

MID-H

It's a peak/dip filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB @ 3kHz.

LOW

It's a shelving filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB @ 80Hz.

EQ switch

[ Typhoon Stereo Input Channels ]

At LTO we thought that you deserve a very versatile auxiliary section. So we provided you the same eight discrete auxiliary sends of mono channels, 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 won't risk unwanted feedback when, for instance, when raising the level of the lead singer. Post-fader sends are better suited for FX sends control. By doing so, for example, the sound engineers will raises the fader level of the lead singer the effect send as well, maintaining the same sound. Please note that the channel Mute switch affects these controls.

AUX 1

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

AUX 2

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

AUX3&4

TheAUX3&4send 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

AUX1

PRE

0dB

+10

AUX2

POST

PRE

PRE/POST switch

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

PRE/POST switch

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

POST

+10

0dB

AUX3

PRE

+10

0dB

AUX4

POST

+10

0dB

AUX5

PRE/POST switch

Auxiliary sends3&4share the same pre-/postfader switch.

PRE/POST switch

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

+10

0dB

AUX6

PRE

+10

0dB

AUX7

POST

+10

0dB

AUX8

+10

[ Typhoon Stereo Input Channels ]

The assign section is useful to manage the output assignment to several outputs, and also to PFL, SOLO or MUTE 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 the 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.

BAL

This pot allows the sound engineer to manage the balance of a stereo source or to place the channel mono signal in a stereo front from hard left to hard right. Of course you can use it to "move"also 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.

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

MUTE

L/R

centre

Left

Right

MUTE

40 50 60

PFL/SOLOPFL/SOLO

CH 41/42CH 41/42

PAN

CLIP

-20

ON OFF

M1, M2, M3 & M4

-20 & CLIP LEDs

PFL/Solo switch

This switch allows the sound engineer to control the channel signal. The PFL (prefade listen) signal is pre-fader and stereo for stereo inputs and mono for mono inputs. 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 Master Section ]

The master section is the richest section of the mixer with plenty of inputs, outputs and control switches. Here's a detailed description of each connector.

RTN4 LEFT (MONO) & RTN4 RIGHT

These balanced connectors are for stereo auxiliary return 4. Connecting a plug just to LEFT input it will act as a mono effects return.

RTN3 LEFT (MONO) & RTN3 RIGHT

These balanced connectors are for stereo auxiliary return 3. Connecting a plug just to LEFT input it will act as a mono effects return.

TAPE OUT LEFT & RIGHT

These unbalanced output connectors have been designed to output the main mix signal into a tape recorder or audio board stereo input.

GR 3 OUT and INSERT

This balanced XLR connector is for group 3 output, with an unbalanced pre-fader insert connector for each group output.

RTN4 IN

LEFT(MONO)

RTN4 IN

RIGHT

TAPE OUT

LEFT

RTN3 IN

LEFT(MONO)

RTN3 IN

RIGHT

TAPE OUT

RIGHT

GR3 OUT

INSERT

RTN2 IN

LEFT(MONO)

RTN2 IN

RIGHT

TAPE IN

LEFT

GR1 OUT

INSERT

RTN1 IN

LEFT(MONO)

RTN1 IN

RIGHT

TAPE IN

RIGHT

RTN1 LEFT (MONO) & RTN1 RIGHT

These balanced connectors are for stereo auxiliary return 1. Connecting a plug just to LEFT input it will act as a mono effects return.

RTN2 LEFT (MONO) & RTN2 RIGHT

These balanced connectors are for stereo auxiliary return 2. Connecting a plug just to LEFT input it will act as a mono effects return.

TAPE IN LEFT & RIGHT

These unbalanced input connectors have been designed to accept tape returns inputs, their signals are routed to AUX Return 1.

GR 1 OUT and INSERT

This balanced XLR connector is for group 1 output, with an unbalanced pre-fader insert connector for each group output.

GR 4 OUT and INSERT

This balanced XLR connector is for group 4 output, with an unbalanced pre-fader insert connector for each group output.

AUX 3 OUT and INSERT

This balanced XLR connector is for auxiliary 3 send, with an unbalanced pre-fader insert connector for each auxiliary send.

AUX 4 OUT and INSERT

This balanced XLR connector is for auxiliary 4 send, with an unbalanced pre-fader insert connector for each auxiliary send.

INSERT

GR4 OUT

INSERT

AUX4 OUT

INSERT

GR2 OUT

AUX1 OUTAUX3 OUT

INSERT

AUX2 OUT

GR 2 OUT and INSERT

This balanced XLR connector is for group 2 output, with an unbalanced pre-fader insert connector for each group output.

AUX 1 OUT and INSERT

This balanced XLR connector is for auxiliary 1 send, with an unbalanced pre-fader insert connector for each auxiliary send.

AUX 2 OUT and INSERT

This balanced XLR connector is for auxiliary 2 send, with an unbalanced pre-fader insert connector for each auxiliary send.

[ Typhoon Master Section ]

GR 7 OUT and INSERT

This balanced XLR connector is for

group 5 output, with an unbalanced

pre-fader insert connector for each

group output.

GR 8 OUT and INSERT

This balanced XLR connector is for

group 6 output, with an unbalanced

pre-fader insert connector for each

group output.

AUX 7 OUT and INSERT

This balanced XLR connector is for

auxiliary 7 send, with an unbalanced

pre-fader insert connector for each

auxiliary send.

AUX 8 OUT and INSERT

This balanced XLR connector is for

auxiliary 8 send, with an unbalanced

pre-fader insert connector for each

auxiliary send.

GR7 OUT

INSERT

GR8 OUT

AUX7 OUT

INSERT

AUX8 OUT

GR5 OUT

INSERT

GR6 OUT

AUX5 OUT

INSERT

AUX6 OUT

GR 5 OUT and INSERT

This balanced XLR connector is for group 5 output, with an unbalanced pre-fader insert connector for each group output.

GR 6 OUT and INSERT

This balanced XLR connector is for group 6 output, with an unbalanced pre-fader insert connector for each group output.

AUX 5 OUT and INSERT

This balanced XLR connector is for auxiliary 5 send, with an unbalanced pre-fader insert connector for each auxiliary send.

AUX 6 OUT and INSERT

This balanced XLR connector is for auxiliary 6 send, with an unbalanced pre-fader insert connector for each auxiliary send.

[ Typhoon Master Section ]

MONITOR LEFT OUT & RIGHT OUT

These impedance balanced connectors are useful to connect a pair of active monitors or an amplifier and passive studio monitors.

LEFT OUT & RIGHT OUT and INSERTs

These balanced XLR connectors output the LEFT/RIGHT MASTER signals, and include a pre-fader insert unbalanced connector for each output.

LEFT OUT

INSERT

RIGHT OUT

LEFT

OUT

MONITOR

RIGHT

OUT

LIGHT

This 4-pin XLR connector must be used to connect 12V DC 8W lamps.

TALKBACK INPUT

This input is for a talkback microphone, that will be managed by SOURCES section.

HEADPHONES A & B

The Typhoon provides two stereo outputs for two headphones, with the same signal and the same level control.

[ Typhoon Master Section ]

The stereo returns sections is used to manage signals coming from the outputs of effect units, and includes a wide range of versatile controls.

BAL

This pot controls the balance between left and right signal coming from the effects outputs. Its behaviour is similar to pan-pot, but the result is different since it doesn't place the signal in stereo front, but it just manages the balance between the outputs of the stereo effects unit. Of course if you connect a plug only to LEFT (MONO) input it acts as a regular pan-pot.

Fader

This slider will give to the sound engineer the ability to manage the unit effect return level from - up to +10dB.

PFL switch

This switch allows the sound engineer to control the aux return signal. The PFL (pre-fade listen) signal is pre-fader and stereo. This large switch is illuminated to give you an immediate visual control of which, and how many channels are in solo.

centre

Left

MUTE

40 50 60

ST RTN1ST RTN1

5 7

Right

AUX

PFL

BAL

MUTE

This switch is useful to mute that aux return signal when you don't need its sound. This feature is important to reduce noise floor of effects units. This switch will be lit when it is depressed (engaged).

1 2

3 4

5 6

7 8

L R

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

These switches allow the sound engineer to address the signal to the audio path he wants to. The odd/even numbered switches are used to send the signal to sub-groups (then you can send their signal to L/R outs) while L/R switch sends the signal directly to Main Mix

3 4

6 8

output. Those switches can be used in several ways. Recording the concert those switches can be used to make some groups (toms & drum kit over-head, keyboards, etc.), while in other cases the sound engineer should prefer to use the sub groups to control some music sections by subgroups (e.g. drums, percussion and rhythmic instruments in stereo in subs 1-2, keyboards & guitars in stereo in subs 3-4, wind and brasses in stereo in subs 5-6, lead singer, choirs and voices in stereo in subs 7-8).

AUX 1, AUX 2, AUX 3/4, AUX 5-8 switches

These switches will allow the sound engineer to send the FX return signal to Auxiliaries. In this way you can send, e.g., to the lead singer monitor the reverb that affects the entire mix.

[ Typhoon Master Section ]

The aux send section is useful to control the overall level of the send to a monitor speaker or to an effects unit.

MUTE

This switch mutes the aux send signal when you don't need its sound. This feature is important to reduce noise floor of effects units. This switch will be lit when it is depressed (engaged).

MUTEMUTE

Fader

This slider will give to the sound engineer the ability to manage the auxiliary send level from - up to +10dB.

AFL

This switch allows the sound engineer to control the aux send signal. AFL is the acronym of after-fade listen, the signal is post-fader. This large switch is illuminated to give you an immediate visual control of which, and how many channels are in solo.

40 50 60

AFLAFL

AUX1 AUX2

[ Typhoon Master Section ]

The group section contains all the controls for level, routing, muting and soloing the group signal. The most important feature is the that allows the sound engineer to use in a different way the group signal. Generally thisTo LR switch switch is released when the sound engineer wants to record some grouped signals, while the switch is pressed when the sound engineer wants to use the groups signal as a part of the signal to be addressed to stereo mix. The main difference between the above mentioned ways of working concerns the way to group signals. For recording generally most of the signals to be recorded are collected by direct outs, with just few grouped signals like choir, keyboards, brass sections, etc. While for live application generally sounds are grouped in a different way, for example group 1&2 rhythmic section (drum kit, bass, maybe percussion...) in stereo, group 3&4 keyboards, guitars etc. in stereo and so on. Sometimes sound engineers prefer to have some mono groups for lead solo and lead singer. Some sound engineers, particularly when they work in small venue with irregular audience position, prefer to have all groups in mono.

To LR switch

This switch addresses the group signal to L/R path.

PAN

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

to LR to LR

BAL

MUTEMUTE MUTE

MUTE

This switch is useful to mute that group signal when you don't need its sound. This feature is important to reduce noise floor of effects units. This switch will be lit when it is depressed (engaged).

Fader

This long throw fader will give the sound engineer the ability to carefully manage the group level from - up to +10dB.

PFL

This switch allows the sound engineer to control the group signal. PFL is the acronym of pre-fade listen, the signal is pre-fader. This large switch is illuminated to give you an immediate visual control of which, and how many channels are in solo.

40 50 60

PFLPFL

GR1 GR2

[ Typhoon Master Section ]

In the SOURCES section of the mixer you'll find many operating features.

LEVEL

This is the main level control for the talkback and oscillator section.

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

These switches allow the sound engineer to assign the talkback / osc signal to the audio path he wants to. The odd/even numbered switches are used to send the signal to sub-groups (then you can send their signal to L/R outs) while L/R switch sends the signal directly to Main Mix

AUX 1, AUX 2, AUX 3/4, AUX 5-8

Those switches will allow the sound engineer to address the SOURCES signal to Auxiliaries. In this way you can send, e.g., the Talkback signal to all stage monitors to communicate directly with performers while audience will hear nothing.

AUX

0dB

LEVEL

+10

SOURCES SELECTION

1 2

SEL

TALK BACK

-10

7 8

10K

100

SEL

OSCILLATOR

3 4

685

This switch activates and sends the talkback/osc signal to its selected outputs.

TALKBACK SECTION

SEL TALKBACK switch

This switch will select the Talkback source (generally it's a microphone) to communicate to musicians and other people on stage.

OSCILLATOR section

This switch sets the oscillator output level among +4/0/-10dBu

This switch selects the oscillator frequency among 10kHz/1kHz/100Hz.

LED level ladder

This 16-LED very accurate level indicator is another useful tool Typhoon provides for sound engineers to perfectly control mixer behaviour.

PFL/AFL LED

This LED shows the status of the level indicator when any PFL /AFL switch is pressed.

HEADPHONE MONITORS level

This stereo pot sets the listening headphone and MONITOR section level.

SOURCES

-3

-6

-9

-12

-15

-18

-21

-24

LEFT RIGHT

PFL/AFL

SEL OSCILLATOR switch

This switch will select the Oscillator as source signal for this mixer section.

-3

-6

-9

-12

-15

-18

-21

-24

Generally the oscillator is used for level settings of recorders.

0dB

HEADPHONES

+10

MONITORS

[ Typhoon Master Section ]

Master section controls are the most important in every mixer, these controls affect the overall level, the headphone listening, the monitor listening and the memory Mute behaviour.

BAL

This pot allows the sound engineer to manage the balance of the stereo output signal sent to Left & Right outputs, headphones and monitor circuit.

MUTE

This switch mutes the stereo master level when you don't need its sound. This feature is important to reduce noise floor before the show. This switch is lit when it's depressed (engaged).

FADER

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

MASTER MUTE M1 M2 M3 & M4 switches & LEDs

This section manages the store & recall feature of the four Mute memories of your Typhoon. For details about the use of those switches please refer at page 31 in Technique and Troubleshooting owner's manual section.

MASTER SOLO switch

This switch allows the sound engineer to charge the console mode between PFL and SOLO. When the switch is in the default (unselected) position the console is in PFL mode. In this mode, when the user presses a PFL switch, the selected channel sends a pre-fade signal (or post-fade AFL from AUX Masters) to the headphone and monitor outputs. This can be useful for troubleshooting for cueing various signals on the console. When MASTER SOLO is selected, the console is in SOLO mode. SOLO made means that when the user presses a PFL switch on a channel, all other channels are muted. Multiple channels may be SOLO'd so that combinations of signal may be heard. In SOLO mode, only the channel PFL switches function this way, the AUX RETURN, GROUP and AUX MASTER PFL/AFL switches do not function. This SOLO function is very useful during sound check to do individual settings and comparisons between channels (Bass Drum & Bass Guitar, Snare Drum & keyboards/voice, etc.) to avoid the so called "masking" effect that could affect the sounds of your mix. For details about this section, please refer at page 31 in Technique and Troubleshooting owner's manual section.

MUTE

40 50 60

MASTER

SOLO

LEFT/RIGHT

MASTER

MUTE

GROUPS

TYPHOON CONNECTOR WIRING

The Typhoon uses standard pro audio connectors and wiring configurations

1/4" jack

Ring

TRS Type Balanced

Ring

TRS Type Unbalanced

TS Type Unbalanced

XLR connector

Pin3 (-)

Tip

Sleeve

Pin1 ( )

Tip

Sleeve

Tip

Sleeve

Pin2 (+)

XLR

1/4" jack TRS

XLR

1/4" jack TRS

XLR

1/4" jack TRS

XLR

Pin1 = Screen/Ground Pin2 = Hot Signal Pin3 = Cold Signal

Tip = Hot Ring = Cold Sleeve = Screen

Tip = Insert Send Ring = Insert Return Sleeve = Screen

Tip = Hot Ring = Cold Sleeve = Screen

Pin1 = Screen/Ground Pin2 = Hot Signal, Pin3 = Cold Signal

Tip = Hot Ring = Cold Sleeve = Screen

Pin1 = Screen/Ground Pin2 = Hot Signal Pin3 = Cold Signal

Tip = Hot Ring = Cold Sleeve = Screen

Pin1 = Screen/Ground Pin2 = Hot Signal, Pin3 = Cold Signal

MIC IN

LINE IN

INSERT

DIRECT OUT

AUX OUT

RTN IN

MIX out

GR OUT

TAPE IN

TAPE OUT

MONITOR

INTERCOM

XLR Type alancedB

Pin2 (+)

Pin3 (-) (Linked to Pin1 manually, )

Pin1 ( )

XLR Type Unbalanced

XLR

1/4" jack TRS

XLR 4-pin

Pin1 = Screen/Ground Pin2 = Hot Signal, Pin3 = Cold Signal

Tip = Send Ring = Return Sleeve = Screen

Tip = Left Ring = Right Sleeve = Screen

Pin 1: Chassis Pin 2: n.c. Pin 3: Ground Pin 4: VCC

TALKBACK

INSERT

HEADHPONE

LAMP

1/4" TRS insert Lamp Connector

Send

Return

Pin 1: Chassis Pin 2: n.c. Pin 3: Ground Pin 4: VCC

Ring

Tip

Sleeve

[ Connectors needed: ]

Inputs

MIC IN (total)

LINE IN (mono CH)

LINE IN (stereo CH)

INSERT (mono CH)

DIRECT OUT

AUX OUT

RTN IN

MIX out

GR OUT

TAPE IN

TAPE OUT

MONITOR

INTERCOM

TALKBACK

INSERT

HEADHPONE

LAMP

(mono CH)

outputs

1600

2400

3200

12VDC 8W max

4800

Kind of connectors needed

XLR socket (female)

1/4" (6.3mm) TRS jack plug (male)

XLR plug (male)

1/4" (6.3mm) TRS jack plug (male)

XLR plug (male)

1/4" (6.3mm) TRS jack plug (male)

XLR plug (male)

1/4" (6.3mm) TRS jack plug (male)

XLR 4-pin

For the right wiring please check also the following table

Strain Clamp

Sleeve

Tip

Ring

Sleeve=Ground/Screen

Use for Headphone

Ring=Right Signal

1/4" Stereo (TRS) Jack Plug

Sleeve

Tip

Sleeve=Ground/Screen

Use for Mono Line In, Mono 1/4"Jack Plugs

1/4" Mono (TS) Jack Plug

Tip=Left Signal

Tip=Signal

Strain Clamp

2=Hot(+)

3=Cold(-)

Use for Balanced Mic Inputs

(For unbalanced use, connect pin 1 to 3)

Sleeve

Tip

Ring

Sleeve=Ground/Screen

Use for Insert Points

Ring=Return Signal

1/4" Stereo (TRS) Jack Plug

1=Ground/Screen

2=Hot(+)

(For unbalanced use, leave pin 3 unconnected)

Tip=Send Signal

3=Cold(-)

Use for Main output

1=Ground/Screen

3-pin XLR Male Plug

(seen from soldering side)

3-pin XLR Line Socket

(seen from soldering side)

Ring=Return Signal (Connected together)

Sleeve=Ground/Screen

Tip=Signal

Sleeve=Ground/Screen

'Tapped' Connection Direct Output Lead

(Enables the Insert to be used as a Direct Output

while maintaining the channel signal flow)

To Channel Insert

To Tape or FX Input

To Processor Input

Sleeve=Ground/Screen

Tip

Tip=Send Signal

To Channel Insert

Sleeve

Ring

Ring=Return Signal

To Processor Output

-Stereo lead for insert Connection

(To be used when the external processor does not employ

a single jack connection for the In/Out Connections)

TYPHOON TECHNIQUE & TROUBLESHOOTING

This section of the owner's manual gives you some basic information about the technique how to get the best performances from your Typhoon. Of course there are several tricks and tips. The last part of this chapter is about troubleshooting.

GAIN settings

You should use the channel input gain to obtain the best operating level for the console. If the gain level is too low the best signal to noise ratio won't be achieved. If the gain level is high you may risk to overload the channel causing distortion. Clearly, the GAIN should be positioned between these two points, to gain an optimal signal to noise ratio without overloading the channel. The ideal level for input channels is when the CLIP preamp LED just flashes on musical peaks.

TIP

The presence in stereo channels of discrete input GAIN for mono input and stereo input allows the sound engineer to use two different signals on the same input, for example the entertainer MIC and a stereo keyboard. So when he has to use the MIC level he can choose MIC GAIN, but he can promptly change to stereo input line with right GAIN setting, just pressing the INPUT SELECT key.

Headroom

Headroom is the amount of spare 'swing' available to the system. If 6dB headroom was desired at all times, a maximum level of+15dBis required to retain the headroom. The consoles Busses (Sub-groups, Aux sends and Left/Right Master) are the points where all channel signals are summed together. In normal operation, it's unlikely that all channels will receive the peak signal at the same time, so typically when 48 channels are summed together a gain of around 6 to 9dB will be seen. It is important to leave some headroom in the summing amplifiers so that they do not overload, should the sum exceed the maximum level.

TIP

To prevent overload, during sound check the GAIN should be set to a point that even the highest output from the microphone will turn on the CLIP preamp LED just during peak signals. In this way you should prevent any unpleasant surprise during the show!

INSERT

As explained before the insert point is a break in signal path that can be used for dynamic processing and/or fx processing of a single input channel, sub-group, Aux send or Main Mix channel. Now we'll deeply investigate how to obtain the best results from this section. Generally during a show the sound engineer has to work with high dynamic signals (i.e. a vocalist performance) so it's better to reduce the dynamic range of the signal. In this way there won't be louder peaks (avoiding channel input overloading) or too low musical nuances (avoiding the channel noise floor to overcome these signals). Limiters and Compressors are widely used for this application. The means by which they achieve this won't be discussed here but these devices are used to automatically reduce the level of loud signals and also raise the gain to 'make up' the level as desired. The channel gain can now be set with adequate headroom to accommodate both loud and quiet signals and the compressor can reduce the dynamic range and 'make up' any reduction in level. By inserting such a device into the channel's insert point you have the ability to remove the guess work from setting your system gain.

However (and this is a big however), there are still sources of potential problems. The Typhoon is able to operate at levels up to +21dBu on both the insert send and return. If the maximum input level of the compressor is less than +21dBu then it is possible to overload the input of the compressor. The only way to solve this situation is to drop the channel input gain so that the input level of the compressor will not overload. However, bear in mind that the level returned from the compressor would also be lower than +21dBu and excessive use of the compressor 'makeup' gain would overload the output of the compressor!

Very often other dynamic processors are used like expanders or noise-gates, to reduce the inherent noise of some sound sources, e.g. electric guitars, but in this case the signal overall level will not change. And the level could slightly change with processors like Aural Exciters, Enhancer and De-Essers, but it those cases too the difference is not dramatic! Sometimes it happens that a special effect is used just for one channel, generally it's the lead singer voice, so the sound engineer uses a "Channel strip" or some effects unit that have been programmed for the lead singer voice. In both cases the sound engineer has to be very careful setting of these ancillary equipments since the first one could drive the channel to overload, while the second one could reduce the level of the signal returning to the insert point.

Equalization

Channel equalization should be used with care. Boosting or cutting equalizer bands can make monitoring your actual input level very difficult. Excessive boosting of EQ (+15dB is available on each band) will have the same effect as applying more gain to the input, taking up valuable headroom. Consider backing off the channel GAIN when using large amounts of boost (if you have to use large amounts of boost) to retain a sensible level at the output. In this case the preamp CLIP LED will be turned off while the fader CLIP LED will be turned on! Excessive EQ cut can have a similarly undesirable effect. If a large amount of signal is cut in the equaliser section, GAIN may be used to 'make up' the level lost in the equaliser. However, the input pre-amplifier still has the same amount of available headroom. If gain, added to 'make up' the loss in the equaliser, exceeds the maximum level into the microphone pre-amp then the channel won't appear to be overloaded but the microphone pre-amp will. Turning off the equaliser will reveal the true story, showing if the microphone pre-amp is overloaded. It is worth considering whether such a large amounts of EQ boost or cut is really required.

TIP

To help sound engineers to detect a wrong EQ operation, we provided our Alto Typhoon with two level indicator sections. In the preamp GAIN section there's a CLIP LEDs, and we provided a fader indicator section with two LEDs: -20 and CLIP. In this way the sound engineer will immediately detect if the problem incurs in pre-amp section or in signal path, generated by a wrong setting of EQ, insert ancillary equipment or fader.

EQ DIAGRAM

In recording studios as well as on stage, the versatile Typhoon EQ section is a valuable sound tool. Its controls will allow the sound engineer to modify the frequency contour of sound to shape the character of instruments to obtain the sound he wants to. The following frequency table gives you some basic information about the fundamental frequencies of some musical instruments and of the human voice. Please use this table as a starting point for a deeper understanding of the acoustic environment.

Typical Frequency of Human Voice and some Musical Acoustic Instruments

Mid C

CDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABC

25 31 40 50 62 80 10 0 12 5 16 0 20 0 25 0 32 0 40 0 50 0 64 0 80 0 1K 1.3 K1. 6K 2 K 2.5K 3.1K 4K 5 K 6. 2K 8K 1 0K 13K 16K 20K

25 31 40 50 6280100 125 160 200 250 320 400 500 640

800

1.3K1.6K2K2.5K 3.1K

6.2K8K10K 13K 16K 20K

Human hearing range

VOCAL

Soprano

Contralto

Baritone

Bass

WOODWIND

Piccolo

Flute

Oboe

Clarinet in B flat or A

Clarinet in E flat

Bass Clarinet

Basset Hom

Cor Anglais

Bassoon

Double Bassoon

BRASS

Soprano Saxophone

Alto Saxophone

Tenor Saxophone

Baritone Saxophone

Bass Saxophone

Trumpet in C

Trumpet in F

Alto Trombone

Tenor Trombone

Bass Trombone

Tuba

Valve Hom

STRINGS

Violin

Viola

Cello

Double Bass

Guitar

KEYBOARDS

Pianoforte

Organ

PERCUSSION

Celesta

Timpani

Xylophone

FREQUENCY

AUXiliaries Sends Settings

The Auxiliaries sends can be set pre-/post-fader depending on what you're going to do, typical settings of auxiliaries sends are:

Application

Pre-/Post-Fader

Reason

The level of monitors is not affected by channel fader level setting.

Stage Monitors

Pre-fader Post-EQ

In this way the sound engineer can change the FOH level without affecting the performer listening level. Post-EQ means that musicians listen to the FOH sound.

The level sent to to the effects is proportional to the fader level. In this

Effects Sends

Post-fader Post-EQ

way the balance between 'wet' (processed) and 'dry' (un-processed) sounds stays the same even when the sound engineer changes the channel fader level.

The recording is made at constant level with the same equalisation

Multi Track Recording

Pre-fader Post-EQ

used for FOH signal. Of course changes in the mix level and EQ can be set in post-production.

Assign keys

These switches allow the sound engineer to address the signal to the selected audio path. The odd/even numbered switches are used to send the signal to sub-groups (then you can send their signal to L/R outs) while L/R switch sends the signal directly to Main Mix output. These switches can be used in several ways to better suite your application:

Application

Live 1

Live 2

Multi-track recording

Signals are grouped in a way that the sound engineer can easily control the band sections. A typical setting is: drums, percussion and rhythmic instruments in stereo by subs 1-2, keyboards & guitars in stereo by subs 3-4, wind and brass in stereo by subs 5-6, lead singer, choirs and voices in stereo, or in mono, by subs 7-8. Some sound engineers prefer to assign the lead voice and lead guitar to mono groups (e.g. 7 and 8), while other engineers prefer to directly assign those signals to LEFT/RIGHT MASTER. In this case the sub-group fader is used to set the sub-group level, and "to LR" switch is engaged, of course no input channel already assigned to sub-groups has to be assigned to LEFT/RIGHT MASTER.

Signals are grouped in a way that the sound engineer uses for particular stage monitor purposes. For example sub-groups 1&2areusedfor"sidefills" for the lead singer, while subgroups3&4areusedas"drumfills" for the drummer, etc. In this case the sub-group fader is used to set the listening level, and "to LR" switch is not engaged and each input channel has to be assigned both to sub-groups both to LEFT/RIGHT MASTER.

Signals are grouped to reach the desired channel of the multi-track recorder. Generally the sound engineers groups together in stereo some parts of the drum kit (toms & over-head) while other parts like bass drum, snare drum and hi-hat are recorded by the DIRECT OUT of their own input channels. Another stereo group could be the keyboards. Generally lead voice and lead guitar are picked-up directly by their channel DIRECT OUT. In this case the sub-group fader is used to set the recording level and generally the "to LR" switch is not engaged and each input channel has to be assigned both to sub-groups both to LEFT/ RIGHT MASTER.

Live = Multi-track recording

In this case each sound engineer has his own way of working. The signal of sub-groups is carefully set to record at the right level while the "to LR" switch is engaged to send all the signals to LEFT/RIGHT MASTER. In this case no input channel already assigned to subgroups has to be assigned to LEFT/RIGHT MASTER.

Mute Memories

The Typhoon has four mute switches located at the right of the master fader. The Mute memories buttons M1, M2, M3 and M4 will allow the sound engineers 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 or in some patterns, the voice of the entertainer, etc.) and to immediately recall the mixers status. Commonly, these are used to mute/open similar channels, for example:

Channels

Entertainers/Lead Singers Mics

Drum/Percussion Mics

Choir Overheads

Orchestra Parts

Two bands on stage

To activate this function the sound engineer has just to press the mute key (M1, M2, M3 or M4) of the desired channel. When the key M1, M2, M3 or M4 of the GROUP MUTE section will be pressed, all the assigned channels will be in "Mute". Pressing, for example, M1 of the master section, its key will be lit and simultaneously the keys of all channels programmed for Mute 1 will be lit and those channels will be turned off. Note that if any assigned auto-mute or the channel mute is activated then the channel will be muted until all assigned auto-mutes and the channel mute are removed (i.e. the mutes work like a logical OR where any single or combination of mutes will mute every channel output, except the insert path). If the Channel MUTE key is depressed and mute groups selection is not active, the channel will be muted.

It allows the sound engineer to effectively reduce the risk of feedback when Entertainers/Lead Singers are not talking/singing.

It allows the sound engineer to mute the whole drum kit (& Percussion) at once.

It allows the sound engineer to remove all choir microphones at once.

It allows the sound engineer to zone microphones together (e.g. Strings, Brass, etc.) and mute sections togther if they were not playing.

It allows the sound engineer to immediately open all input channels for band B, while he simultaneously closes all the input channels of band A. avoiding noise by other input channels.

Reason

Final links

The final links in audio systems are graphical equalisers, loudspeaker processors and finally amplifiers and speakers. Graphical equalisers have the same problems as the Typhoon's EQ. If excessive boost is applied to the signal, the graphic equaliser's output (and subsequent electronics too!) may be overloaded. If, Typhoon output is higher than the maximum input level of the graphic, the input of the graphic equalizer may be overloaded. Loudspeaker processors have similar problems. If the input level to the processor is too high, the input may be overloaded and introduce distortion into the outputs (and to the speakers). In addition to this, any boost on the processors outputs (e.g. 3dB more bass) will cause that output to overload earlier (in this case 3dB before the other outputs). Finally, amplifiers can introduce the most interesting results. An amplifier has a sensitivity. That is, an input signal level that causes the amplifier to produce it's maximum output level. For most of the amplifiers it's 0dBu (0.775 volts RMS), others use 0dBV (1 volt RMS) others use different levels. Beyond this sensitivity, the amplifiers output will not be able to produce any more power and 'CLIP' (usually indicated by some serious looking red lights). Sending +22dBu level from the Typhoon will clip the output of most amplifiers causing damage to your loudspeaker system.

There are a number of solutions to this problem:

Reduce the amplifiers input attenuators to a level where the amplifier and console clip at the same point.

e.g. The input sensitivity is 0dBu, setting the input attenuator on the amplifier to +22dBu would mean that the console would clip at the same time as the amplifier. So operating the console sensibly the amplifier should never be clipped. The console LED Meters will also accurately show the available headroom left in the entire system. +22dBu may not be a sensible level to set as many operators choose not to run the output of the console so high. That is personal choice.

Run the output of the console at a level below 0dBu This solution means that you won't get full benefit of the console, and may suffer a reduced signal to noise ratio especially when running over long signal cables. But the amplifiers should be saved from clipping.

As with many things in the audio world, use your ears. If something sounds distorted check:

Input Gain too high?

EQ Too Much Boost?

EQ Too Much Cut coupled with a High Input Gain?

Too High a level into Inserted Processor?

(lower input gain and check)

(disable EQ and check)

(disable insert and check)

Clipping Loudspeaker controller or Amplifiers? (Check both CLIP LEDs)

GLOSSARY

In this owner's manuals we used terms of pro audio slang, here's the explanation of some of those words

SWEET SPOT

It's the best place to listen to your mix, with all the details of stereo front, it's the 3 corner of a triangle, where the two

other corners are the speakers.

MAKE UP

It's totally different from your girlfriend beauty content...it's just the way compressors and limiters work in order not to loose level.

DRY

No Martini, No Party! ???? No It's just the original sound of every instrument and/or voice which are not affected by Fxs

WET

It's the processed signal by an effect unit (reverb, delay etc.)

TYPHOON BLOCK DIAGRAM

TYPHOON

PFLRBUS

PFLLBUS

AUX8_BUS AUX7_BUS AUX6_BUS AUX5_BUS AUX4_BUS AUX3_BUS AUX2_BUS AUX1_BUS

GR8-SUB GR7-SUB GR6-SUB GR5-SUB GR4-SUB GR3-BUS GR2-SUB GR1-SUB

RBUS LBUS

DIAGRAM

BLOCK

MUTE

SOLO DC BUS PFLDCBUS2 PFLDCBUS1

MUTEBUS4 MUTEBUS3 MUTEBUS2 MUTEBUS1

MUTE BUS1~4

MUTEBUS1

LEVEL

GP1-SUB

REV0

ision

TSB

Rev

Sheet

DrawnBy:

BLOCKDIAGRAM

TYPHOON 1600

.Sch

-2004

No:

TYPHOON 1600

13-Dec

TYPHOON

Model

Date:

File:

Size

Titel

OUT

AUX1

213

METER

TE 4

TE 1

TE 3

MUTE 2

LEVEL

BAL

OUT

TAPE

OUT

TAPE

LOUT

ITOR

MON

LEVEL

ROUT

ITOR

MON

NE L

HEADPHO

NE R

HEADPHO

NOUT

MAI

213

ME)

(AUX OUT 1_8 SA

PFL

SAME)

1_8

OUT

(GR

GR1

213

LEVEL

MUTE

NOUT

MAI

213

MUTE

GROUPS

/ AFL

PFL

MUTE

INSERT

AUX1

RBUS

LBUS

PFL

GP6-SUB

GP5-SUB

GP7-SUB

GP4-SUB

GP3-B

GP2-SUB

ASSI

MUTEBUS4

MUTEBUS3

MUTEBUS2

15K

)

z-8KHz

MID-H

(FREQ

800H

)

z-1.6KHz

MID-L

(FREQ

160H

80Hz

CLI

)

GAIN

(TRIM

PHANT

213

+48V

MIC IN

CH8

CH1

GR1 INSERT

L MAIN OUT I NSERT

AFL

RBUS

LBUS

PFL

LBUS

AUX3_B

AUX2_B

AUX1_B

AUX5_B

LBUS

GP8-SUB

PAN

LEVEL

)

CKER)

AND EQ

=OL(GLOW

+/-15db

=SG(FLI

4-B

+15dB

-20dB

EIN

LIN

AUX4_B

RBUS

AUX6

AUX5

AUX4

AUX3

AUX2

AUX1

PRE

POS

MUTE

-20dB

CLI

PHASE

HI PASS

EEP

40~400Hz

SEN

RTN

~-45dB

GAIN:0~60dB

MIC

LINE IN TR IM :+15dB

INSERT

DIRECT

AUX6_B

RBUS

AUX7_B

AUX7

POST

PRE

PFL/SOLO

LBUS

BUS

L/R

AUX8_B

PFL

MUTE BUS1~4

AUX8

CLI

R MAIN OUT INSERT

BUS2

TE BUS3

MUTE

GP4-SUB

GP5-SUB

MUTE BUS1

LBUS

GP6-SUB

GP7-SUB

GP8-SUB

RBUS

AUX1_B

AUX2

AUX1

BAL

LEVEL

MUTE

AUX6_B

AUX5_B

AUX4_B

AUX3_B

AUX2_B

AUX6

AUX5

AUX4

AUX3

2-RTN4

RTN

AUX

TAPE IN R

STEREO

RIGHT

LEFT(MONO)

RBUS

LBUS

PFL

RBUS

GP1-SUB

GP3-B

GP2-SUB

MUTEBUS2

MUTEBUS1

HI PASS

PHASE

)

GAIN

(TRIM

213

PHANT

+48V

CH12

GP4-SUB

MIC IN

LBUS

GP5-SUB

GP6-SUB

GP7-SUB

GP8-SUB

MUTEBUS4

MUTEBUS3

INPUT SELECT

(STEREO // MONO)

SWEEP

40~400Hz

EIN

LEFT(MONO)

LIN

PFL

MUTE

-20dB

CLI

BUS

L/R

AUX7

PFL/SOLO

GP1-SUB

AUX8_B

AUX7_B

AUX8

GP3-B

GP2-SUB

PFL

AUX6_B

AUX5_B

AUX4_B

AUX6

AUX5

PRE/POS

RBUS

AUX1_B

AUX3_B

AUX2_B

AUX4

AUX3

AUX2

AUX1

PAN

LEVEL

15K

HI )

MID-H

AND EQ

(FREQ

+/-15db

4-B

MID-L

GAIN

STERO

RTN

AUX

RIGHT

ONLY STEREO

LEFT(MONO)

TAPE IN L

SOLO

MASTER

MUTE BUS4

AUX8_B

AUX7_B

AUX8

AUX7

PFL

/GP2-SUB

/GP6-SUB

AUX4_B

AUX3_B

AUX6_B

AUX2_B

AUX1_B

AUX5_B

LEVEL

BACK

LLATOR

TALK

OSCI

SEL

PHANT

JUMPER

+48V

/GP8-SUB

AUX8_B

AUX7_B

US/GP4-SUB

GP1-SUB

GP5-SUB

GP3-B

GP7-SUB

OUT

-10 SELECT

SEL

OSC

213

NECTOR

CON

TALK BACK

CH9

SOLODC BUS PFLDCBUS2 PFLDCBUS1

MUTEBUS4 MUTEBUS3 MUTEBUS2 MUTEBUS1

PFLRBUS

PFLLBUS

AUX8_BUS AUX7_BUS AUX6_BUS AUX5_BUS AUX4_BUS AUX3_BUS AUX2_BUS AUX1_BUS

GR8-SUB GR7-SUB GR6-SUB GR5-SUB GR4-SUB GR3-BUS GR2-SUB GR1-SUB

RBUS LBUS

BUS

L BUS/R

100

KHz

SELECT

10K

TYPHOON - TECHNICAL SPECIFICATIONS

Input Impedance

Input Gain Mic Input Gain Line - Mono Channel Input Gain Line - Stereo Channel Maximum Input Level

Insert send impedance Insert send level / Max.

Insert return impedance Insert return level / Max.

CMR at 1kHz Line (20Hz - 20kHz) Frequency response Signal/Noise Ratio (20Hz - 20kHz) System Noise (20Hz - 20kHz) Summing Noise Line to Mix Noise Distortion at 1kHz

Crosstalk at 1kHz channel to channel Mix to Mix Channel to Mix Fader Attenuation

Electronics

Input

Mic 2kohm Balanced Line 10kohm Balanced Continuously variable from 0dB to +60dB Continuously variable from -25dB to +35dB Continuously variable from -20dB to +20dB Mic +22dBu Line (Mono Channel) +22dBu Line (Stereo Channel) +22dBu 100ohm Unbalanced

-10dBu / +22dBu 10kohm Unbalanced

-10dBu / +22dBu > 60dB Mic to Mix 20Hz - 20kHz +0/-1dB Mic EIN ref. 150ohms - 127dBu (gain +60dB)

-90dBu (16 channels routed with faders down)

-86dBu (16 channels routed at 0dB, pan centre) Mic to Insert (+30dB unity gain, +20dBu output) <0.009% Mic to Mix (+30dB unity gain, +20dBu output) Typ 0.03% > -80dB > -80dB > -80dB > 100dB

Output (Nominal Signal Level Mic -60dBu to 0dBu - Line 0dBu)

Output Impedance Insert send impedance

Insert send level / Max. Insert return impedance

Insert return level / Max. Maximum Output Level Master Outputs on XLR All other Outputs on XLR All Outputs on 1/4 inch jacks Headphones

Equaliser - Mono Channel

Treble - shelving Hi Mid - peak/dip Lo Mid - peak/dip Bass - shelving Hi Pass Filter

All Line Outputs 100ohm Balanced 100ohm Unbalanced +22dBu 10kohm Unbalanced +22dBu +22dBu +22dBu +22dBu +22dBu/600ohm

+15/-15dB 1.6 - 16kHz 1 +15/-15dB 0.8 - 8kHz 1 +15/-15dB 0.16 - 1.6kHz 1 +15/-15dB 40 - 400Hz 1

slope dB/Oct. - frequency range

- frequency range - bandwidth octave

12 40 - 400Hz

Equaliser - Stereo Channel

Treble - shelving Hi Mid - peak/dip Lo Mid - peak/dip Bass - shelving Hi Pass Filter (for mono input only)

+15/-15dB 12kHz +15/-15dB 3kHz +15/-15dB 00Hz +15/-15dB 80Hz

slope dB/Oct. - frequency range

@ @ @4 @

12 40 - 400Hz

Due to LTO policy of continual research and product improvement, specification, features and mixer layout may be subject to change without notice.

Features and Connectors

Inputs

Tape

2 2 2 2

1600

2400

3200

4800

Mono ch.

8 (w. XLR & 1/4" TRS jack) 16 (w. XLR & 1/4" TRS jack) 24 (w. XLR & 1/4" TRS jack) 40 (w. XLR & 1/4" TRS jack)

Stereo ch. St. Fx. Ret.

8 (stereo in 2 1/4" TRS jack & mono in XLR & 1/4" TRS jack) 8 (stereo in 2 1/4" TRS jack & mono in XLR & 1/4" TRS jack) 8 (stereo in 2 1/4" TRS jack & mono in XLR & 1/4" TRS jack) 8 (stereo in 2 1/4" TRS jack & mono in XLR & 1/4" TRS jack)

8 8 8 8

Grps

1600

2400

3200

4800

8 8 8 8

Typhoon 1600 Typhoon 2400 Typhoon 3200 Typhoon 4800

Typhoon PS

Busses

Master Auxes

2 2 2 2

19.7"

27.2" 7.7" 37.6"

30.7" 7.7" 37.6"

45.7" 7.7" 37.6"

12.2"

8 (1/4"TRS jack)

(1/4"TRS jack)

In inches

7.7" 37.6"

In inches

2.7" 8.3"

Grps

Master Auxes

2 (XLR)

8 (1/4"TRS jack) 8 (1/4"TRS jack) 8 (1/4"TRS jack) 8 (1/4"TRS jack)

General

Dimensions (W H D)

500 195 956

690 195 956

780 195 956

1160 195 956

Power supply (AC/DC)

Dimensions (W H D)

311 68 210

in mm.

Output

Dir. Out.

8 (1/4"TRS jack)

16 (1/4"TRS jack) 24 (1/4"TRS jack)

40 (1/4"TRS jack)

Lbs.

28.66

39.68

50.71

70.55

Weight

Kg.

7.2

Tape

2 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack)

Weight

Kg.

Mon

Power

Consumption

49W

64W

77W

109W

Main voltage USA/Canada 100 - 120V ~, 60Hz Europe 210 - 230V ~, 50Hz U.K./Australia 240V ~, 50Hz

Options Flight case 1600FC 2400FC 3200FC 4800FC Plastic Dust Cover 1600DC 2400DC 3200DC 4800DC 12 V Desk Lamp 2 x 12V/5W (4-Pin XLR) External Power Supply 1600EPS 2400EPS 3200EPS 4800EPS

TYPHOON EXTRA PAGES

In these extra pages we suggest you some basic settings for different uses of our versatile Typhoon!

The examples are about the latest four channels, not including the various mono inputs uses

X & 6 headphone

X & 6 stage monitors

X & 7 stage monitors

3.STUDIO RECORDING 2 F

2.LIVE VENUES 2 F

1.LIVE VENUES 1 F

X & 7 stage monitors

s - 4 different listening zones

LIVE VENUES 1 F

X & 4 stage monitors/headphones

X & 4 stage monitor

4.LIVE RECORDING 4 F

5. CLUB 4 F

Aux sends settings:

Aux is post fader, and its signal is addressed to fx unit, whom return is connected to stereo Aux Return 41

LTO

Aux are pre-fader, their signals are addressed to 7 Elvis Monitor AA G2->8

Aux return channels:

AUX RETURN 1 - to be used for stereo tape recorder return

Warning - if you're recording your mix you have to mute this AUX RETURN, otherwise you risk a feedback

- can be used for stereo sources

N2&3

AUX RETUR

AUX RETURN 4 - to be used for FX unit return

ST KB1

From FX 1 (Betaverb)

Stereo tape recorder return

Stereo source A&B

ST KB4

To tape/hard disk recorder

ST KB3

ST KB2

GR 1

GR 3

GR 5

GR 7

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

GR 2

GR1 OUT

INSERT

LEFT

(MONO)

LINE IN

LEFT

(MONO)

LINE IN

GR2 OUT

GR 4

INSERT

GR4 OUT

GR 6

GR5 OUT GR3 OUT

GR 8

GR7 OUT

INSERT

GR6 OUT

GR8 OUT

RIGHT

41/42

CH 41/42CH

RTN1 IN

LEFT(MONO)

43/44

MIC INMIC IN

RTN2 IN

CH 43/44CH

LEFT(MONO)

45/46

RTN3 IN

LEFT(MONO)

CH 45/46CH

47/48

RTN4 IN

LEFT(MONO)

CH 47/48CH

AUX1 OUTAUX3 OUTAUX5 OUT

AUX7 OUT

INSERT

RIGHT

RTN1 IN

RIGHT

RTN2 IN

RIGHT

RTN3 IN

RIGHT

TAPEIN

LEFT

TAPEIN

RIGHT

TAPEOUT

DAT Recorder

RIGHT

RTN4 IN

AUX2 OUT

AUX4 OUT

AUX6 OUT

AUX8 OUT

LEFT

TAPEOUT

TO FX1

AUX A

AUX B

AUX C

AUX D

AUX E

AUX F

To Fx units/Stage monitors

AUX G

OUT

RIGHT

LEFT

INSERT

LEFT OUT

INSERT

RIGHT OUT

MONITOR

Active Monitors

Amplifier

Speaker cabinet

X & 6 stage monitors

LIVE VENUES 2 F

Aux sends settings:

Aux is post fader, and its signal is addressed to fx unit 1, whom return is connected to stereo Aux Return 3

Aux is post fader, and its signal is addressed to fx unit 2, whom return is connected to stereo Aux Return 4

3->8

Aux are pre-fader, their signals are addressed to stage monitors AG

to be used for stereo tape recorder return

if you're recording your mix you have to mute this AUX RETURN, otherwise you risk a feedback

Aux return channels:

AUX RETURN 1

Warning

to be used for FX unit 1 return

to be used for FX unit 2 return

- to be used for stereo sources

AUX RETURN 2

AUX RETURN 3

AUX RETURN 4

ST KB1

Stereo tape recorder return

From FX1/FX2 (Betaverb and other effects)

Stereo source A&B

ST KB4

ST KB2

ST KB3

GR 1

GR 3

GR 5

To tape/hard disk recorder

GR 7

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

GR 2

GR1 OUT

GR 4

GR 6

GR5 OUT GR3OUT

GR 8

GR7 OUT

INSERT

LEFT

(MONO)

LINE IN

LEFT

(MONO)

LINE IN

GR2 OUT

GR4 OUT

GR6 OUT

GR8 OUT

RIGHT

41/42

CH 41/42CH

RTN1 IN

LEFT(MONO)

43/44

MIC INMIC IN

RTN2 IN

CH 43/44CH

LEFT(MONO)

45/46

RTN3 IN

LEFT(MONO)

CH 45/46CH

47/48

RTN4 IN

LEFT(MONO)

CH 47/48CH

AUX1 OUTAUX3 OUTAUX5 OUT

AUX7 OUT

INSERT

RIGHT

RTN1 IN

RIGHT

RTN2 IN

RIGHT

RTN3 IN

RIGHT

TAPEIN

LEFT

TAPEIN

RIGHT

TAPEOUT

DAT Recorder

RIGHT

RTN4 IN

AUX2 OUT

AUX4 OUT

AUX6 OUT

AUX8 OUT

LEFT

TAPEOUT

TO FX1

TO Fx2

AUX A

AUX B

AUX C

AUX D

AUX E

To Fx units/Stage monitors

AUX F

OUT

MONITOR

RIGHT

INSERT

LEFT OUT

INSERT

RIGHT OUT

LEFT

Active Monitor

Amplifier

Speaker Cabinet

Active Monitor

X & 6 headphones

STUDIO RECORDING - 2F

Aux sends settings:

Aux is post fader, and its signal is addressed to fx unit 1, whom return is connected to stereo Aux Return 3

Aux is post fader, and its signal is addressed to fx unit 2, whom return is connected to stereo Aux Return 4

LTO

3->8

Aux are pre-fader, their signals are addressed headphone amplifier HPA6 (Aux sends A-F)

Aux return channels :

- to be used for stereo tape recorder return

if you're recording your mix you have to mute this AUX RETURN, otherwise you risk a feedback

AUX RETURN 1

Warning -

- to be used for stereo sources

- to be used for FX unit 1 return

AUX RETURN 2

AUX RETURN 3

- to be used for FX unit 2 return

AUX RETURN 4

Groups assigns

1-8 to 8 recorder inputs

ST KB1

Stereo tape recorder return

From FX1/FX2 (Betaverb and other effects)

Stereo source A & B

ST KB4

To tape/hard disk recorder

ST KB3

GR 1

GR 3

GR 5

GR 7

ST KB2

GR 2

GR 4

GR 6

GR 8

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

GR1 OUT

GR5 OUT GR3OUT

INSERT

LEFT

(MONO)

LINE IN

LEFT

(MONO)

LINE IN

GR2 OUT

GR4 OUT

GR6 OUT

RIGHT

41/42

CH 41/42CH

RTN1 IN

LEFT(MONO)

43/44

MIC INMIC IN

RTN2 IN

CH 43/44CH

LEFT(MONO)

45/46

RTN3 IN

LEFT(MONO)

CH 45/46CH

RIGHT

RTN1 IN

RIGHT

RTN2 IN

RIGHT

RTN3 IN

RIGHT

TAPEIN

LEFT

TAPEIN

RIGHT

TAPEOUT

DAT Recorder

47/48

CH 47/48CH

AUX1 OUTAUX3 OUTAUX5 OUT

RTN4 IN

LEFT(MONO)

INSERT

RIGHT

RTN4 IN

AUX2 OUT

AUX4 OUT

AUX6 OUT

LEFT

TAPEOUT

TO FX1

TO Fx2

AUX A

AUX B

AUX C

AUX D

INSERT

GR8 OUT

RIGHT OUT

AUX7 OUT

GR7 OUT

LEFT OUT

INSERT

LEFT

INSERT

AUX8 OUT

OUT

MONITOR

RIGHT

AUX E

AUX F

To Fx units/Headphone amplifiers

Amplifier

Speaker Cabinet

Active Monitor

X & 4 stage monitors/headphones

LIVE RECORDING - 4F

Aux sends settings:

Aux is post fader, and its signal is addressed to fx unit, whom return is connected to stereo Aux Return 1

Aux is post fader, and its signal is addressed to fx unit, whom return is connected to stereo Aux Return 2

Aux is post fader, and its signal is addressed to fx unit, whom return is connected to stereo Aux Return 3

Aux is post fader, and its signal is addressed to fx unit, whom return is connected to stereo Aux Return 4

5->8

Aux are pre-fader, their signals are addressed to LTO HPA 4 Headphone amplifier (Aux sends A-D)

Aux return channels :

- to be used for FX unit 1 return

if you're recording your mix you have to disconnect the TAPE RETURN jacks, otherwise you risk a tape feedback

AUX RETURN 1

Warning -

to be used for FX unit 2 return

- to be used for FX unit 3 return

AUX RETURN 2 -

AUX RETURN 3

- to be used for FX unit 4 return

AUX RETURN 4

Groups assigns

1-8 to 8 recorder inputs

ST KB1 (premixer)

From FX1/FX2/FX3/FX4

(Betaverb and other effects)

ST Kb3 (st. source)

ST KB4 (st. Source)

To tape/hard disk recorder

ST KB2 (st. source)

GR 2

GR 1

GR 4

GR 3

GR 6

GR 5

GR 8

GR 7

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

GR1 OUT

GR5 OUT GR3OUT

GR7 OUT

LEFT OUT

INSERT

LEFT

(MONO)

LINE IN

LEFT

(MONO)

LINE IN

GR2 OUT

GR4 OUT

GR6 OUT

GR8 OUT

RIGHT OUT

RIGHT

41/42

CH 41/42CH

RTN1 IN

LEFT(MONO)

43/44

MIC INMIC IN

RTN2 IN

CH 43/44CH

LEFT(MONO)

45/46

RTN3 IN

LEFT(MONO)

CH 45/46CH

RIGHT

RTN1 IN

RIGHT

RTN2 IN

RIGHT

RTN3 IN

RIGHT

TAPEIN

LEFT

TAPEIN

RIGHT

TAPEOUT

DAT Recorder

47/48

CH 47/48CH

AUX1 OUTAUX3 OUTAUX5 OUT

AUX7 OUT

RTN4 IN

LEFT(MONO)

LEFT

INSERT

OUT

RIGHT

RTN4 IN

INSERT

AUX2 OUT

INSERT

AUX4 OUT

INSERT

AUX6 OUT

INSERT

AUX8 OUT

OUT

MONITOR

RIGHT

LEFT

TAPEOUT

TO FX1

TO FX2

TO FX3

TO FX4

AUX A

AUX B

AUX C

AUX D

To Fx units/Headphone amplifiers

Amplifier

Speaker Cabinet

Active Monitor

CLUB - 4 FX & 4 stage monitors - 4 different listening zones

Aux sends settings:

Aux is post fader, and its signal is addressed to fx unit, whom return is connected to stereo Aux Return 1

Aux is post fader, and its signal is addressed to fx unit, whom return is connected to stereo Aux Return 2

to be used for FX unit 1 return

to be used for FX unit 2 return

to be used for FX unit 3 return

to be used for FX unit 4 return

in stereo for zone 1

in stereo for zone 2

in stereo for zone 3

groups 3-4

groups 5-6

in stereo for zone 4

groups 7-8

if you're recording your mix you have to disconnect the TAPE RETURN jacks, otherwise you risk a feedback

- In this example the stereo input channels could be used for pre-mixers outputs or stereo sources (CD players, cassette players, tuners, etc.).

5->8

Aux is post fader, and its signal is addressed to fx unit, whom return is connected to stereo Aux Return 3

Aux is post fader, and its signal is addressed to fx unit, whom return is connected to stereo Aux Return 4

Aux are pre-fader, their signals are addressed 4 LTO Elvis Active Monitor A-D

Aux return channels :

AUX RETURN 1 -

Warning -

AUX RETURN 2 -

AUX RETURN 3 -

AUX RETURN 4 -

NOTE

Sub-groups assign:

groups 1-2

ST KB1

From FX1/FX2/FX3/FX4

(Betaverb and other effects)

ST KB4

ST KB3

Room 1 L

Room 2 L

Room3L

Room 4 L

ST KB2

Room 1 R

Room 2 R

Room 3 R

Room 4 R

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

MIC IN

LINE IN

LEFT

RIGHT

(MONO)

GR1 OUT

GR5 OUT GR3OUT

GR7 OUT

LEFT OUT

INSERT

LEFT

(MONO)

LINE IN

LEFT

(MONO)

LINE IN

GR2 OUT

GR4 OUT

GR6 OUT

GR8 OUT

RIGHT OUT

RIGHT

41/42

CH 41/42CH

RTN1 IN

LEFT(MONO)

43/44

MIC INMIC IN

RTN2 IN

CH 43/44CH

LEFT(MONO)

45/46

RTN3 IN

LEFT(MONO)

CH 45/46CH

RIGHT

RTN1 IN

RIGHT

RTN2 IN

RIGHT

RTN3 IN

RIGHT

TAPEIN

LEFT

TAPEIN

RIGHT

TAPEOUT

DAT Recorder

47/48

CH 47/48CH

AUX1 OUTAUX3 OUTAUX5 OUT

AUX7 OUT

RTN4 IN

LEFT(MONO)

INSERT

LEFT

RIGHT

RTN4 IN

INSERT

AUX2 OUT

INSERT

AUX4 OUT

INSERT

AUX6 OUT

INSERT

AUX8 OUT

OUT

MONITOR

RIGHT

LEFT

TAPEOUT

TO FX1

TO FX2

TO FX3

TO FX4

AUX A

AUX B

AUX C

AUX D

To Fx units/Stage monitors

Active Monitor

Amplifier

Speaker Cabinet

Active Monitor

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 purport 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 and/or workmanship for a period

LTO

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 exclu-

sion 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.

LTO

SEIKAKU TECHNICAL GROUP LIMITED

SEKAKU ELECTRON INDUSTRY (H.K.) CO., LTD.

No. 1, Lane 17, Sec. 2, Han Shi West Road, Taichung 40151, Taiwan

http://www.altoproaudio.com Tel: 886-4-22313737

email: alto@altoproaudio.com Fax: 886-4-22346757

without prior notice. Any photocopy, translation, or reproduction of part of this

NF02034-1.1

Alto TYPHOON User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual