Dynacord 1000-3, 1600-3, 2200-3 User Manual
PowerMate
PowerMate 1000-3 | 1600-3 | 2200-3
POWERED MIXER
Owner‘s Manual | Bedienungsanleitung
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CONTENTS
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Scope of Delivery, Unpacking and Inspection . . . 5
Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Installation and Connections . . . . . . . . . . . . . . . . 5
C
ONTROLS, INDICATORS AND CONNECTIONS . . . . . . . . . . . 8
Input Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Input Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
FX 1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
AUX 1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
MON 1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
MASTER with GEQ . . . . . . . . . . . . . . . . . . . . . . . . 22
DISPLAY with function keys . . . . . . . . . . . . . . . . . 25
Stereo Power Amplifier . . . . . . . . . . . . . . . . . . . . 26
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
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ISPLAY & FUNCTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Effect mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Menu mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
DIGITAL AUDIO INTERFACE . . . . . . . . . . . . . . . . . . . . 35
Installing the USB driver . . . . . . . . . . . . . . . . . . . . 35
Cubase LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Status display . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
PC-MIDI-Interface . . . . . . . . . . . . . . . . . . . . . . . . . 36
Examples of usage (Playback) . . . . . . . . . . . . . . . 37
Examples of usage (Recording) . . . . . . . . . . . . . . 37
MIDI tone generator and multi-effect unit . . . . . . 39
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ETTING UP A STANDARD PA . . . . . . . . . . . . . . . . . . . . . . 40
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Cabling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Soundcheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
M
ASTER PATCHBAY AND DIFFERENT SETUP ALTERNATIVES . . 44
Maximum amount of passive speakers . . . . . . . . . 44
Connection of an external power amplifier . . . . . 45
Using the internal power amps for monitoring . . . 45
Mono PA + Monitor . . . . . . . . . . . . . . . . . . . . . . . . 46
Active 2-way stereo configuration . . . . . . . . . . . . . 47
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PECIFICATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
INHALT
EINFÜHRUNG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Lieferumfang, Auspacken und Überprüfen . . . . . . 49
Garantie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Aufstellen und Anschließen . . . . . . . . . . . . . . . . . 49
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EDIENELEMENTE UND ANSCHLÜSSE . . . . . . . . . . . . . . . . . 52
Input Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Input Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
FX 1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
AUX 1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
MON 1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
MASTER mit GEQ . . . . . . . . . . . . . . . . . . . . . . . . . 66
DISPLAY mit Funktions-Tasten . . . . . . . . . . . . . . . 70
Stereo-Leistungsverstärker . . . . . . . . . . . . . . . . . 70
Rückseite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
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ISPLAY & FUNKTIONEN . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Effekt-Betriebsart . . . . . . . . . . . . . . . . . . . . . . . . . 73
Menü-Betriebsart . . . . . . . . . . . . . . . . . . . . . . . . . 73
Effekte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
DIGITAL AUDIO INTERFACE . . . . . . . . . . . . . . . . . . . . 80
Installation des USB-Treibers . . . . . . . . . . . . . . . . 80
Cubase LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Funktionsanzeige im Display . . . . . . . . . . . . . . . . 81
PC-MIDI-Interface . . . . . . . . . . . . . . . . . . . . . . . . . 81
Anwendungsbeispiele (Wiedergabe) . . . . . . . . . . 82
Anwendungsbeispiele (Aufnahme) . . . . . . . . . . . . 83
MIDI-Klangerzeuger und Multieffektgerät . . . . . . . 84
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UFBAU EINER STANDARD-PA . . . . . . . . . . . . . . . . . . . . . 85
Übersicht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Verkabelung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Aufbau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Soundcheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
M
ASTER PATCHBAY UND VERSCHIEDENE AUFBAUVERSIONEN 89
Maximale Ausbaustufe, Passivbetrieb . . . . . . . . . 89
Anschluss eines externen Leistungsverstärkers . . 90
Verwendung der internen Endstufen für Monitore 90
Mono PA + Monitor . . . . . . . . . . . . . . . . . . . . . . . . 91
Aktiv Stereo 2-Weg System . . . . . . . . . . . . . . . . . 92
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PECIFICATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
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IMPORTANT SAFETY INSTRUCTIONS
The lightning flash with arrowhead symbol, within an equilateral
triangle is intended to alert the user to the presence of uninsulated
„dangerous voltage“ within the product’s enclosure that may be of
sufficent magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to
alert the user to the presence of important operating and
maintance (servicing) instructions in the literature accompanying
the appliance.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not cover any ventilation openings. Install in accordance with the manufacture’s instructions.
8. Do not install near heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or the grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the third prong are provided for your safety. I the provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with the cart, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a car t is used, use caution when moving
the cart/apparatus combination to avoid injur y from tip-over.
13. Unplug this apparatus during lightning storms or when unused for a long period of time.
14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or
plug is damaged, liquid has been spilled or orbjects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not oper ate
normally, or has been dropped.
15. Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the equipment.
16. To completely disconnect this equipment from the AC Mains, disconnect the power supply cord plug from the AC receptacle.
17. The mains plug of the power supply cord shall remain readily operable.
18. No naked flame sources, such as lighted candles, should be placed on the apparatus.
19. The product should be connected to a mains socket outlet with a protective earthing connection.
IMPORTANT SERVICE INSTRUCTIONS
CAUTION: These servicing instructions are for use by qualified personnel only. To reduce the risk of electric shock, do not
perform any servicing other than that contained in the Operating Instructions unless you are qualified to do so. Refer
all servicing to qualified service personnel.
1. Security regulations as stated in the EN 60065 (VDE 0860 / IEC 65) and the CSA E65 - 94 have to be obeyed when servicing the appliance.
2. Use of a mains separator transformer is mandatory during maintenance while the appliance is opened, needs to be operated and is connected to the mains.
3. Switch off the power before retrofitting any extensions, changing the mains voltage or the output voltage.
4. The minimum distance between parts carrying mains voltage and any accessible metal piece (metal enclosure), respectively between the mains poles has to be 3 mm and
needs to be minded at all times. The minimum distance between parts carrying mains voltage and any switches or breakers that are not connected to the mains
(secondary parts) has to be 6 mm and needs to be minded at all times.
5. Replacing special components that are marked in the circuit diagram using the security symbol (Note) is only permissible when using original parts.
6. Altering the circuitry without prior consent or advice is not legitimate.
7. Any work security regulations that are applicable at the locations where the appliance is being serviced have to be strictly obeyed. This applies also to any regulations
about the work place itself.
8.
All instructions concerning the handling of MOS-circuits have to be observed.
NOTE: SAFETY COMPONENT (MUST BE REPLACED BY ORIGINAL PART)
WEEE RECYCLING/DISPOSAL INSTRUCTIONS
The Wheelie Bin symbol found on the product or in the manual indicates that this product must not be disposed of with other waste. It is in our category the
manufacturer’s responsibility to properly dispose of their waste electrical and electronic equipment (WEEE) at the end of its life. Due to the differences in each EU
count ry’s manag ement of WE EE, please contact you r local dist ributor. We are co mmitted to f acilitate ou r own elect ronic-waste- management-system, for the free of
charge return of all EVI Audio GmbH products: Telex, DYNACORD, Electro-Voice and RTS. Arrangements are made with the dealer where you p urchased the
equipment from, for the returning of all unusable equipment at no cost, to the factory in Straubing, for environmental protective disposal.
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1 Introduction
POWERMATE
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The PowerMate compact power mixers incorporate profound know-how, based on our research, development
and inter-communication with our customers in the professional audio market, for decades. With a PowerMate
you own a power mixer that offers a wide range of functionality in a very compact frame. Forget about the troubling experiences with cabling and matching mixers,
amplifiers, FX units, and equalizers. You now own a device with optimally matched components. The mixer’s ergonomic console shape and clearly structured controls
provide perfect overview for instant access at all times. A
gooseneck litlight can be easily plugged into the provided
socket to compensate for insufficient lighting conditions.
Also during the transport you will quickly learn to appreciate the PowerMate’s superiority: recessed handles on
the sides, compact dimensions and low weight, plus the
sturdy cover that protects the controls from being damaged. However, if you would rather like to install your
PowerMate 1000 in a 19” rack shelf, no problem. The only
thing you have to do is to replace the plastic side panels
by a pair of metal rack mount ears.Through its multiple
functions, its high dynamic capacity, and extremely lownoise design in combination with its 24-bit Dual-Stereo
effect unit, DIGITAL AUDIO INTERFACE and the high-performance power amplifier, the PowerMate is best
equipped for universal use. No matter, whether on-stage,
in a home recording environment or in a permanent installation, your PowerMate is the ideal partner to meet
your expectations of a professional audio device – effective and reliable. Of course, you want to install and operate your new PowerMate as quickly as possible.
Nevertheless, please take the time to do this by means of
this user’s manual. Starting with input channels, effects
and master areas up to the power amp, every section is
explained systematically and in detail within this owner’s
manual. Through the careful perception of the manual
you will learn about all functions and find some useful
and practical tips for the daily operation of the PowerMate. Even more important, you will find some adjustment
guidelines that should be painstakingly carried out; plus
the description of a typical sound reinforcement installation, a block diagram, specifications, connection guidelines, etc.…
So, take your time and keep on reading.
1.1 Scope of Delivery, Unpacking and Inspection
•1 PowerMate
• 1 Owner‘s Manual (this document)
•1 Quickstart Manual
• 1 Mains Cord (2 meters)
• 1 Warranty Certificate including Safety Instructions
• 1 DVD with USB driver, documentation, software,...
place. Please inform the transport company immediately
if the PowerMate shows any damage. Being the addressee, you are the only person who can claim damages in
transit. Keep the cardboard box and all packaging materials for inspection by the transport company. Keeping
the cardboard box including all packing materials is also
recommended, if the PowerMate shows no external damages.
CAUTION: Do not ship the PowerMate in any other
than its original packaging.
Packing the PowerMate like it was packed by the manufacturer guarantees optimum protection from transport
damage.
1.2 Warranty
Visit www.dynacord.com for warranty information.
1.3 Installation and Connections
Do not cover the ventilation louvers in the bottom plate
of the appliance. Always place the PowerMate on an even
surface to allow for sufficient airflow during the operation. The device is equipped with electronically controlled ventilators to protect the power amplifier against
thermal overload. The direction of the airflow is front-torear. Fresh, cold air enters the mixer at its lower front
side and warm air leaves the device through the ventilation louvers in the rear panel. Do not cover the frontal or
the rear ventilation louvers. Otherwise the PowerMate
automatically reduces the output power or enters protect
mode to prevent thermal overload. While the protect
mode prevents that the device is being damaged, regular
operation is impossible during the period of time it is activated. In case the PowerMate is installed in a 19” rack
system ( vertical ly), you h ave to allow at leas t 2 HU of free
space above and 1 HU below the mixer. Of course you can
cover the empty space with special blind plates that also
have ventilation louvers.
Before establishing the mains supply connection, please
make sure that the device matches the voltage and frequency of your local mains supply. Check the label next
to the mains switch.
For a secure connection the SPEAKER OUTPUTS on the
rear panel of the PowerMate are provided through professional standard high-performance Speakon connectors.
The pin assignment of these sockets is 1+ (hot) and 1(cold).
HINT: Using original Neutrik connectors (e.g. NL4FC)
is recommended for optimal audio quality.
Open the packaging and take out the PowerMate. Remove the FX unit display‘s protective foil. Inspect the
PowerMate‘s enclosure for damages that might have occured during transportation. Each PowerMate is examined and tested in detail before leaving the manufacturing
site to ensure that it arrives in perfect condition at your
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OPEN LID
Open the lid as shown in following illustration.
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CLOSE LID
Close the lid as shown in following illustration.
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UNBALANCED
SHIELD
HOT
BALANCED
SHIELD COLD
HOT
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2 Controls, Indicators and Connections
2.1 Input Mono
HINT: When connecting signal sources, please make sure to set the corresponding channel faders
or at least the master faders to their minimum positions or engage the STANDBY switch.
This will save you, your audience, and the equipment from extensive wear from unpleasant
pops.
1 - MIC
Electronically balanced XLR-type inputs for the connection of low impedance microphones like the
ones fea tured in m ajor stud io and live mixing c onsoles. This type of input stage prov ides extraordinary
low noise signal conversion at an extremely low distortion rate (typical < 0.002%) even in the high frequency range. Generally, any type of microphone can be connected as long as its pin assignment is in
accordance to the diagram shown below. When condenser microphones are connected, you have to
press the PHANTOM POWER button, which is located in the input section. The microphone gets its
operating voltage (+48 V DC) through the mixer. PHANTOM POWER can be activated in groups of 6
MIC inputs
Illustration 2-1: Microphon input
The MIC input accepts levels between -60 dBu and +21 dBu – depending on the setting of the corresponding gain control. Because of the low impedance and the switchable PHANTOM POWER the XLR
input is preferred for MIC applications. Because of the high input acceptance of up to 21 dBu the XLR
input is also suited to connect further mixers, effect units, keyboards etc. But because of the higher
level and impedance matching the LINE input should be preferred.
2 - LINE
Electronically balanced inputs for the connection of electronic instruments, such as keyboards, drum
machines, E-guitars and E-basses with an active output, as well as all other high level signal sources,
like additional mixers, FX units, CD players, etc. The LINE input accepts levels between -40 dBu and
+41 dBu. The connection of balanced or unbalanced signal sources is established through monaural
or stereo phone plugs, assigned according to the diagram below. If the device that you want to connect
has a balanced output stage, the use of balanced cables with stereo phone plugs is preferable. This
type of connection is greatly insensitive to the induction of external noise or HF interference.
Illustration 2-2: Unbalanced or balanced assignment of line input
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Do not connect identical signal sources to LINE and MIC inputs at the same time, since the signals
would interfere with each other, resulting in level reduction.
POWERMATE
-
+
hot
shield
DIRECT OUT
HINT: Please, do not connect E-guitars or E-basses with passive, high impedance outputs directly to a LINE input.
The LINE inputs of the PowerMate – like the Line level inputs of mixers from other manufacturers – are
designed for the connection of the relatively low source impedance of electronic instruments. The reproduction of the instrument’s original sound characteristics will be unsatisfactory. Connect those instruments
using a special transformer or pre-amplifier with very high input impedance. Musical instruments with an
active electronic output (battery-powered) can be connected without any problems.
3 - INSERT
Stereo phone jack with breaker function. The low impedance output is assigned to the tip (send) and the high impedance input (return) is assigned to the ring. This jack allows the connection of external compressors, limiters, EQs, denoisers, etc. into the corresponding channel’s signal path. The insertion point is post gain controls, Lo-Cut filters, and
voicing stage and pre sound shaping section and channel faders. You have to use a stereo phone plug – according to
the diagram aside – in case you intend to use this jack as a true insert bus.
Illustration 2-3: Y cable for Insert jack
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Using as DIRECT OUT
When using the insert socket as a DIRECT OUT (Pre EQ), the stereo phone plug’s tip and ring have to be short circuited,
so that the audio signal is not interrupted. If you are using a monaural phone plug instead, you will get a DIRECT OUT
with breaker function – the signal flow within the channel is interrupted.
Illustration 2-4: Direct Out cable without signal interruption
4 - GAIN
CONTROL
Rotary control for adjusting a MIC/LINE input’s sensitivity. These controls let you optimally adjust the incoming signals
to the mixer’s internal operation level. Cautious adjusting offers the benefits of an improved S/N-ratio and provides you
with the full bandwidth of the PowerMate’s outstanding sound capabilities. On the XLR-type connectors an amplification
of 0 dB is achieved when the control is set all the way to the left and +60 dB when the control is set all the way to the
right.
Especially when dealing with very low input levels – during vocal recordings and when the speaker is located in a distance – the high gain is extremely profitable. Using the LINE input, the signal is generally attenuated by -20 dB while
maintaining the total adjustment range of 60 dB. The LINE input’s unity gain – no amplification (0 dB) – is achieved at
the 20 dB mark. The following is meant as a short note for your assistance on how to determine the right input level:
GAIN setting instructions:
1. Set the gain control and the corresponding channel fader to their minimum values.
2. Connect the desired sound source (microphone, musical instrument, etc.) to the desired MIC or LINE input.
3. Start the reproduction of the sound source at the highest volume level to be expected – respectively sing or speak
as loud as possible directly (short distance) into the microphone.
4. While playing the sound source or singing into the microphone, adjust the input level using the gain control, so
that during the loudest passages the PK LED is just not lit, but the SIG present LED lights constantly. This is the
basic channel setting, leaving you with at least 6 dB of headroom, i.e. you have at least a range of 6 dB before signal clipping occurs. In case you intend to make further adjustments to the channel’s EQ setting, you should perform steps 3. and 4. again afterwards, since changes in the sound shaping section also have an influence on the
channel’s overall level.
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5 - LO CUT 80 HZ
When the LO CUT switch is engaged, frequencies below 80 Hz are attenuated (18 dB octave slope). In
most cases using the LO CUT filter with microphone channels is a good advice, since it efficiently
suppresses popping sounds, rumbling noise and low-frequency feedback. The only exceptions are
kick dru m and acoustic bass. So metimes it can be also v ery effec tive to combine the LO CUT filter wit h
the voicing filter. For instance to provide vocals with more “body”, without getting additional low
pitched noise. Activating the LO CUT and raising the bass level (LO EQ) provides you with a richer
sound, without additional rumbling or popping noise. Another welcome side effect is, that the power
amplifier and the connected loudspeakers do not get “polluted” with unnecessary low-pitched interference. Your audience will be thankful for the use of the LO CUT filter, too, since in this way they can
enjoy a truly clear, natural, and powerful sound performance.
Illustration 2-5: LO CUT filter
6 - VOICE FILTER
This button activates an asymmetric microphone filter, which can be used in addition to the channel
EQ. The voicing filter enhances the first harmonic oscillation and the treble of the human voice while
slightly attenuating the mid frequency range. This voice shaping method provides powerful vocals that
are clearly emphasized from the rest of the mix. This “pre-shaping” is not achievable using ordinary
third or octave band equalizers. The use of this filter is not restricted to vocals only. Horns, woodwinds, and other acoustic instruments can profit from the voicing filter as well. We leave it entirely up
to your creativity and imagination to try the VOICE filter with as many different sound sources, as you
want. Normally, you do not have to fear any problems with the occurrence of feedback.
Illustration 2-6: Voice filter
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POWERMATE
7 - EQ SECTION
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within miscellaneous frequency
bands. Turning one of the EQ level controls to the right enhances/amplifies the corresponding frequency range while
turning it to the left lowers/attenuates the signal of that specific frequency band. Before you begin to alter the sound,
all EQ controls should be set to their neutral position, i.e. their marker points straight up (locked in place). Try not to
set the EQ controls to extreme positions. Usually, minor changes are totally sufficient and produce the best results in
the overall sound. You should use the natural reproduction as an orientation mark and rely on your musically trained ear.
The moderate use of the MID control is the best remedy to avoid acoustical feedback. Especially in this frequency range
you should try to avoid excessive enhancement. Lowering the level more or less in this band will provide you with high
amplification rates without feedback. Use the LO control according to your pleasing, to add more “punch” to the sound
of a kick drum or “body” to the vocals. Use the HI control in the same way to provide cymbals and the human voice with
more treble and a more transparent sound. The MID EQ section offers parametric EQ-setting via separate rotary controls
for the adjustment of level (MID) and frequency band (kHz) in the range between 100 Hz and 8 kHz.
Illustration 2-7: LO/HI filters
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Illustration 2-8: MID filter
Adjustments in the MID frequency range are certainly the most effective way to shape the sound. As a matter of fact,
determining the c orrect cen ter frequency is not always as easy as it seems. Here is one method – amongst others – how
to quickly find the right setting of the parametric EQ for your application:
MID filter setting instructions:
1. Slightly lower the channel fader to avoid feedback.
2. Turn the MID rotary control to 9 dB up to 15 dB.
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3. Play the desired sound source or talk into the microphone.
4. While doing so turn the frequency rotary control (kHz) slowly from left to right.
5. Surely and within no time, you will detect the frequency range that is not to your liking or causing the feedback.
6. Leave the frequency control in this position and turn the MID control to the left until the sound
is natural or to your liking.
8 - FX 1/2
The FX controls allow adjusting individual amounts of the input signals to be routed to the integrated
FX 1 or the FX 2 effects units. The signal p ath is sp lit post vol ume fader – p ost fader – s o that the fa der
setting also influences the amount of the signal that is fed to the FX units. Using the FX controls lets
you easily assign an effect for groups of musical instruments or vocals. For example, you can assign a
short reverb effect of the FX 1 unit to the lead vocals and a combined effects program – echo, hall,
and chorus – via FX 2 to the background vocals. To determine the desired intensity of each effect, you
should start with the controls set at their center and make individual adjustments from there on.
Please monitor the PK LEDs in the FX 1/2 channels. The indicator should only light briefly at the occurrence of high program peaks. If the indicator is constantly lit, you should lower the send levels of
those channels where the program peaks occur. For further information, please read the paragraphs
about the FX 1/2 units. In case you are not using the internal FX units and/or you want to connect external signal processing units, the pre-mixed FX 1/2 signals are outputted via the FX 1/2 SENDS jacks.
9 - AUX 1/2
AUX 1 and AUX 2 controls are primarily meant for establishing two independent monitor mixes. Using
the master section’s AUX PRE/POST switches allows determining whether the signals are split pre or
post fader.
PRE-FADER
The audio signal that is present at the AUX control is tapped pre volume fader and therefore not affected by the fader’s setting. This mode is mainly used for monitoring. Pre-Fader Monitoring is especially preferable when monitoring and master mix need to be completely different from each other,
e.g. when the volume setting of particular musical instruments or vocals needs to be higher or lower
than in the master mix. In most cases the mixing console is placed somewhere in the audience area
(FOH) and is being operated by an sound technician.
POST-FADER
The audio signal that is present at the AUX control is tapped post volume fader and therefore affected
by the fader’s setting. This mode is mainly used for establish ing FX- or special m onitoring mixes. U sing
the POST-Fader method is recommended when the mixer is also located on the stage and you have to
operate it yourself. Setting all AUX 1 or AUX 2 controls to their center position, the master mix is also
present on the monitor bus, giving you the opportunity to control the volume settings of each channel
individually from the stage. The overall volume of the monitor mix is set using the AUX 1/2 faders in
the master section. If you are using this option you should keep in mind that all volume changes made
with the channel faders also apply to the monitor mix, leaving you with a higher risk of acoustic feedback. Th e Post-Fa der Monitoring method provides the possibility of canceling channels of some inst ruments – like kick or snare drum, which are in fact already very loud on-stage – from the monitor mix
by turning the corresponding controls all the way to the left.
12
10 - MON 1/2
MON 1 and MON 2 controls are primarily meant for establishing two independent monitor mixes. The
signal routing is always PRE FADER.
11 - PAN
This control determines the position of the connected sound source within the stereo image. When
this control is set at its center position, the audio signal is fed with equal levels to the L and R master
busses. The PAN control section is designed to maintain the essential sound pressure level, no matter
at what position within the stereo image the PAN control is set to.
12 - MUTE
The MUTE button mutes the input signal post fader, including all FX/AUX/MON sends. PFL and Signal/
Peak stay functional.
POWERMATE
HINT: Use the MUTE button for muting temporarily not used input channels without changing the settings of the
FX/AUX/MON controls and the channel fader.
13 - PFL
Engaging the PFL button routes the audio signal to the headphones bus, so that it is present at the phones output connector. The meter instrument in the master section is simultaneously switched, so that the left LED-chain indicates the
level of the actually chosen channel (in dBu), which allows optimally matching the level of the signal source. The phones
output volume does not dependent on the setting of the corresponding channel fader (Pre Fader Listen), which provides
the possibility to listen to or shape the sound of the selected audio signal, without need to include it in the master mix.
3
14 - SIG / PK I
NDICATOR
The signal-peak indicator plays a key role when setting input levels. Unlike the mixers of many other manufacturers that
either only provide a peak indicator or no channel indicator at all, the PK (peak) LED of the PowerMate provides optical
indication of the risk of occurring overdrive before you would actually hear the distortion over the connected speaker
systems. As outlined in the setting instructions, the Signal-LED should blink in the rhythm of the incoming signal. If this
is not the case, you have to increase the gain. If the PK LED, on the other hand, blinks frequently or lights continuously,
the corresponding channel is likely to enter clipping and you have to turn the gain control a bit to the left. The SignalLED lights at levels -30 dB below clipping while the peak LED lights at a level of -6 dB below the occurrence of overdrive.
Keeping an eye on the indicator during a performance is also a good idea, because some very dynamically performing
members of a band or changing keyboard setups can easily lead to channel clipping, resulting in the degradation of the
overall sound.
ADER
15 - F
The channel faders set the volume of the corresponding channels, establishing an accurately proportioned mix. The
channel faders should be positioned within the range of -5 dB to 0 dB, leaving you with a degree of control that allows
the precise matching of relative big differences in the channels’ level settings. The overall volume is set through the use
of the master faders. Even though the channel faders offer an additional amplification of +10 dB, we would like to advise
you to exceed the +5 dB mark only in very few exceptional cases. If the PowerMate’s summing bus gets “overloaded”
with too many “high level” input channels, despite its special gain structure, the summing amplifier could be driven into
clipping. Once you register, that some channel faders are set above the 0 dB marking, lowering the setting of each channel fader by about -5 dB and increasing the overall output level by elevating the master faders is the wiser solution. The
proportion of the mix and the overall volume stay the same while the risk of clipping is banished.
13
POWERMATE
3
2.2 Input Stereo
Since most features – AUX faders, controls and channel faders – of the STEREO INPUTS are virtually
identical to the ones of the MONO INPUTS we will not discuss their functioning in detail again. Thus,
in the following we only point out the differences and like to ask you to refer to the analogous paragraphs within this owner’s manual describing the MONO INPUTS.
16 - MIC
Different from the products of many other manufacturers, the stereo input channels of the PowerMate, like their monaural counterparts, incorporate extensive circuitry and electronically balanced XLRtype connectors for the connection of low impedance microphones. No matter if your setup is more
microphone-oriented or you have more line level sound sources to connect, you can always use the
full amount of input channels, provided by your PowerMate. Dependable on its setting, the high-quality
MIC input in the stereo channel is capable of handling levels between -60 dBu and +11 dBu. Low-level
circuitry architecture and phantom power (+48 V) ability of this XLR-type input are mainly aimed at the
connection of microphones, making it not necessarily suitable for connecting Line level appliances,
like mixers, effects units, etc. Please use the provided LINE inputs to connect those sound sources.
General functions and usage of MIC inputs were already discussed in detail for monaural channels.
Illustration 2-9: Microphone input (Stereo) of PowerMate 1000
Illustration 2-10: Pin assignment of XLR microphone input
17 - STEREO INPUT L/MONO R
Electronically balanced inputs for the connection of musical instruments with stereo output, like keyboards, drum machines, E-guitars and E-basses with an active output as well as all other equivalent
sound sources with high level outputs, like additional mixing consoles, FX units, CD players, etc. The
stereo LINE input is meant for balanced or unbalanced sound sources with levels between -20 dBu and
+30 dBu.
Using phone plugs
For the connection of external devices you can use monaural or stereo phone plugs, which are in accordance to the diagram below. If the external appliance is equipped with a balanced output stage,
using balanced cables and plugs is preferable, since this type of connection provides improved shielding against HF induction and external noise.
In case you want to connect a monaural sound source to a stereo input channel, you just have to plug
it into the L/MONO input. The signal gets internally routed to both channels.
14
POWERMATE
UNBALANCED
SHIELD
HOT
BALANCED
SHIELD COLD
HOT
Illustration 2-11: Unbalanced or balanced assignment of phone plus
Using RCA plugs
The RCA inputs CD 1-2 and CD 3-4 are connected in parallel to the phone inputs. Do not connect signal sources to phone
and RCA inputs at the same time.
Illustration 2-12: RCA inputs CD 1-2 and 3-4
Input PowerMate 1000 PowerMate 1600 PowerMate 2200
CD 1-2 Stereo 7-8 Stereo 13-14
CD 3-4 Stereo 9-10 Stereo 15-16
Table 2-13: Assignment of CD 1-2 or CD 3-4 inputs to PowerMate input channels
3
Using the DIGITAL AUDIO INTERFACE (USB)
When using the DIGITAL AUDIO INTERFACE two stereo signals are available at USB 1-2 or USB 3-4. Do not connect signal
sources to phone inputs when using the DIGITAL AUDIO INTERFACE for playback. See page 21 for more details about
the DIGITAL AUDIO INTERFACE.
Illustration 2-14: DIGITAL AUDIO INTERFACE
Input PowerMate 1000 PowerMate 1600 PowerMate 2200
USB 1-2 Stereo 11-12 Stereo 17-18
USB 3-4 Stereo 13-14 Stereo 19-20
Table 2-15: Assignment of USB 1-2 or USB 3-4 inputs to PowerMate input channels
18 - GAIN MIC
Rotary controls for adjusting the MIC inputs’ sensitivity, providing the possibility to optimally match the incoming signals
with the mixer’s internal operation level. The GAIN MIC control in the stereo channel is only active for the XLR-type input.
For further information about setting and functioning of these controls, please refer to the chapter “GAIN” of the MONO
INPUT description within this manual.
CAUTION: The GAIN MIC control of an inactive microphone input should always be set to its minimum position.
Otherwise the noise of the inactive input is added to the audio signal of the corresponding LINE input,
which could lead to unnecessary extra noise at the master output, becoming clearly intelligible in program breaks.
19 - GAIN LINE CD / USB
These rotary controls are for matching the incoming line level signals to the operating level of the PowerMate. The total
adjustment range is 30 dB. Unity gain – no amplification (0 dB) – is achieved at the 0 dB mark. The control offers level
reduction of -10 dB and an amplification of +20 dB. This range allows the connection of most professional, semi professional, and hi-fi sound sources. For further details on how to set the LINE TRIM control, please refer to the description
of the GAIN control in monaural channels.
15
POWERMATE
3
HINT: If you use a keyboard as sound source on one of the stereo inputs, make sure that no split
zones or layers with channel separation are activated. The stereo channel mapping will otherwise appear like it is set on the keyboard – the lower layer in the left and the top layer in
the right channel – and you will not have the opportunity to re-position the sound in the
overall stereo image, unless you connect the keyboard output to two adjacent monaural
input channels, leaving you the option to place the sound in the final mix via PAN controls.
One more tip, in case you desperately need another input and all channels of the PowerMate are already in use: The microphone input and the phone plug-type inputs are electrically totally separated
from each other. Each input is equipped with its own GAIN MIC or GAIN LINE CD/USB control – respectively trim control, providing you with the possibility to connect a LINE level sound source in addition to a microphone. Of course, the two sources share all other controls. Consequently, separate
adjustments are not possible. Hence to that fact, this option is only meant as a subsidiary function and
should only be used when there is absolutely no other alternative.
20 - EQ SECTION
The mixer’s EQ section allows very comprehensive and effective shaping of the incoming audio signal
within miscellaneous frequency bands. Turning one of the EQ level controls to the right enhances/amplifies the corresponding frequency range while turning them to the left lowers/attenuates the signal
of that specific frequency band. Before you begin to alter the sound, all EQ controls should be set to
their neutral position, i.e. their marker points straight up (locked in place). Do not set the EQ controls
to extreme positions. Usually, minor changes are totally sufficient and produce the best results in the
overall sound. You should use the natural reproduction as an orientation mark and rely on your musically trained ear. The moderate use of the MID control is the best remedy to avoid acoustical feedback.
Especially in this frequency range you should try to avoid excessive enhancement. Lowering the level
more or less in this band will provide you with high amplification rates without feedback.
Illustration 2-16: HI, MID and LO filters
The EQ section of the STEREO channels is designed in a way that HI and LO controls provide a degree
of control that is equally adequate for LINE level inputs and microphones. The MID control is active in
a comparably wide frequency band around 2.4 kHz. With most microphones this is the critical range,
where a slight attenuation offers excellent results.
21 - FX 1/2
16
These controls determine the amount of the summed L and R signal that is sent POST-FADER to the
FX 1 or FX 2 summing bus. For more details on the functioning of these controls, please refer to the
Input Mono section of this owner’s manual.
22 - AUX 1/2
These controls determine the amount of the summed L and R signal that is sent to the AUX 1 or AUX 2
summing bus. Depending on the setting of the AUX PRE/POST switch in the PowerMate’s master section you can choose if the signal gets split pre or post fader. For more details on the functioning of
these controls, please refer to the Input Mono section of this owner’s manual.
POWERMATE
23 - MON 1/2
These controls determine the amount of the summed L and R signal that is sent to the MON 1 or MON 2 summing bus.
The signal gets always split pre fader. For more details on the functioning of these controls, please refer to the Input
Mono section of this owner’s manual.
24 - BAL
The function of the BAL control of the stereo channels is equivalent to the PAN control’s function of the monaural channels. If you turn the rotary control all the way to the right, the right signal is outputted to the right output while the signal
of the left channel is muted. When the control is set to its center position, the L/R signals are present with their equal
intensity on the corresponding outputs. Whenever stereo sound sources are connected to a stereo input, you should
leave the BAL control at the center position or make only minor adjustments in either direction. In case a microphone
or another monaural sound source is connected, the BAL controls function absolutely identical to the PAN controls of
the monaural input section.
25 - MUTE
The MUTE button mutes the input signal post fader, including all FX/AUX/MON sends. PFL and Signal/Peak stay operational.
HINT: Use the MUTE button for muting temporarily not used input channels without changing the settings of the
FX/AUX/MON controls and the channel fader.
3
26 - PFL
Engaging the PFL button sums the stereophonic audio signal of the corresponding input channel and routes the resulting monaural signal to the headphones bus. You are able to listen to the audio signal via the PHONES output. The meter
instrument in the master section is simultaneously switched, so that the left LED-chain indicates the level of the actually
chosen channel (in dBu), which allows optimally matching the level of the signal source.
You can assign as many channels as you want to the phones summing bus at the same time. The volume levels of the
individual signals are not affected by the setting of the corresponding channel faders (Pre Fader Listen). This gives you
the opportunity to set the level and the EQ of a channel, without the need to include it in the master mix, i.e. you can
leave the channel fader down or even engage the MUTE button.
27 - SIG/PK
The stereo SIG/PK indicator function provides independent analysis of left and right channel audio signals. The respective highest level reading is indicated, assuring that neither one is already driven into clipping. For further information
on how to use this indicator most efficiently, please refer to the description of the monaural channel’s identical feature.
ADER
28 - F
The channel fader is used to simultaneously adjust both levels (volumes) of the stereo signal. Functioning and specifications are totally similar to the monaural channel fader, as previously described under INPUT/MONO.
17
POWERMATE
BRIGHT HALL MONO DELAY
MAX LPN HIGH USB MIDI
5 55
Large Hall 3 230 ms 40%
FX1 FX2
3
2.3 FX 1/2
The PowerMate offers two independently controllable, identically configured 24-bit stereo effect units
– FX 1 and FX 2. Each unit provides 100 program presets, which are selected by the use of the UP/
DOWN buttons. Parameters of presets can be edited and stored as User Preset (101 - 120), see
page 30 for details. The 100 presets are divided into groups according to their different effect structure, as shown on a printed listing. The programs within each preset group are sorted in ascending
order, where higher numbers provide the same FX type with increased intensity. Presets 1 - 20 offer
high quality reverberation effect programs that are equally suitable for live performance, recording studio or home recording applications. Program numbers 21 - 40 provide mixed effect types of echo+reverb and chorus while the numbers 41 - 60 offer different delay effects. The last group from 61 - 100
provides different doubling effects presets as well as special delay and reverb programs. During the
initialization of the FX units (when switching on the power of the PowerMate), preset 05 (BRIGHT
HALL, Large Hall 3) is selected for the FX 1 while the FX 2 unit is set to preset 55 (MONO DELAY, 230
ms 40%). These two effects are similarly suitable for live performances and recording applications.
This is the factory-preset configuration that can be changed any time.
Illustration 2-17: Effect mode
The buttons below the display are used in menu mode also, please see page 25 for details.
ELECTING A PRESET
S
To select a preset, pleace proceed as follows:
1. Below the display there are two buttons for each effect unit.
2. Use the DOWN button (left) of an effect unit to decrease the number of the active preset. Use
the UP button (right) of an effect unit to increase the number of the active preset.
3. Keeping a button pressed continuously lets you step quickly through the program numbers.
4. Press the UP and DOWN button simultaneously to select the first preset of the next effect group.
The two effect programs are equally suitable for live performance or recording applications and can
be used separately or together. For testing, evaluating and selecting effect programs, please also refer
to the preset table on page 34, which provides detailed description of all effect presets. This listing
contains all preset names together with the corresponding effect structure, field of application, and
frequency characteristics. Take your time to test all presets and select the ones that are best suited
for your specific application.
29 - FX ON/OFF
Phone jack for the connection of an optionally available DYNACORD FS 11 (DC-FS11) footswitch to
switch the effect mode of the internal FX units on or off. To accomplish this function, the FX 1 and
FX 2 ON switches have to be engaged.
HINT: The function of the footswitch can be edited via the Footswitch Ctrl. entry in the FX Con-
trol Setup dialog, see page 32 for details.
30 - FX 1/2 SENDS
SOCKET
18
The audio signal of the mix that you have established for the corresponding FX bus – the identical mix
that is fed to the internal FX 1/2 units – is present at this socket, which makes it perfect for connecting
external FX units, for example. The external devices output signals can be sent back to the PowerMate
via stereo channel input.
31 - FX 1/2 SEND
CONTROL
Setting the level at the FX 1/2 SENDS sockets is possible by means of the corresponding FX SEND control.
32 - FX 1/2 TO AUX 1/2
These controls allow adding the output signal (pre fader) of FX 1 or FX 2 to the AUX 1 or AUX 2 channel.
POWERMATE
3
33 - FX 1/2
TO MON 1/2
These controls allow adding the output signal of FX 1 or FX 2 to the MON 1 or MON 2 channel. Experience has revealed
that the effect level in the monitor mix has to be lower than the level in the master mix, since the distance between
monitor speakers and artists is much shorter.
34 - PK LED
These indicators signal if the internal FX units or the FX 1/2 SENDS signals are on the verge of clipping. To achieve an
adequate S/N ratio, please adjust the FX units’ input level as follows:
FX input level setting instructions:
1. Establish a “dry” mix – without effect settings – according to the previous descriptions.
2. Position the effect return fader of the corresponding effect channel at the -5 dB mark.
3. Use the UP/DOWN buttons to select the desired FX program preset.
4. Press the FX ON switch.
5. Play (start the reproduction of) the sound source connected to the desired input channel and adjust the desired
amount of the FX signal, using the FX controls of this input channel. Repeat this step for all input channels that
you want to include in your effect mix.
6. Monitor the Peak LED so that it only lights frequently at highly dynamic signal peaks. When clipping occurs,
reduce the FX controls in the channels.
7. Use the FX to AUX or FX to MON control to add the effect mix to the AUX or monitor mix. Use the Effekt Return faders to add the desired amount of the FX signal to the master mix.
In case you are using a different effect setting for the second FX unit, you have to repeat steps 2 - 7, respectively. Pay
some attention to the peak indicators when operating your PowerMate to be able to quickly interact when the signal
levels exceed the normal range and enter clipping.
35 - FX ON
This switch switches an internal FX unit on and the green LED lights. Please keep in mind that you can also use an external footswitch or a connected MIDI device for the switching of the FX unit. In this case, the LED also shows the actual
operational status of the FX unit. If you want to use a footswitch (or MIDI device), the FX ON switch has to be engaged
first. The corresponding FX unit is activated and you can use the footswitch (or MIDI device) to switch the selected effect program on or off.
36 - PFL
Engaging the PFL button routes the audio signal to the headphones bus, so that it is present at the phones output connector. The phones output volume is independent of the corresponding channel fader’s setting (Pre Fader Listen),
which provides the possibility to listen to the sound of the selected audio signal, without including it in the master mix.
37 - E
FFEKT RETURN FADER
These stereo faders are used to determine the effect amount added to the master mix. In case you have to set these
faders at a position above the +5 dB mark, please check if the FX unit’s input signals are adjusted properly. Otherwise
use the FX SEND controls to increase the input levels.
19
POWERMATE
3
2.4 AUX 1/2
Generally, the AUX 1/2 channel is used for the connection of an additional, external FX unit. Depending on the setting of the AUX 1/2 POST button, it is also possible to configure the bus for
monitoring purposes. Additionally the AUX 1/2 channels are available at the DIGITAL AUDIO INTERFACE.
38 - AUX 1/2 SENDS
This output provides connection for an external FX unit or, when used for monitoring, a power
amplifier or active stage monitor speaker systems. Using the AUX 1/2 fader allows setting the output level in a wide range up to +20 dBu. The AUX 1/2 SEND is designed in Ground Sensing technology to prevent the induction of external noise, even with long cables. Use balanced cables for
the connection of external components whenever it is possible.
39 - AUX POST
As already previously described, this switch allows determining whether Pre- or Post-Fader signals are present at the AUX 1/2 channel. The corresponding yellow LED signals when the switch
is engaged and all input channel AUX 1/2 controls are assigned post fader.
40 - MUTE
The MUTE button mutes the AUX output signal. PFL signals are not affected.
41 - PFL
Through this button you can route the pre AUX 1/2 fader signal to the headphones bus. The signal
is outputted for listening via the headphones output. The setting of the AUX 1/2 fader is not relevant for the signal’s volume (Pre Fader Listen). The meter instrument in the master section is
simultaneously switched, so that the left LED-chain indicates the level of the actually chosen
channel (in dBu), leaving you with the opportunity for adjusting the level without routing it to the
AUX 1/2 SEND bus.
42 - AUX 1/2
This fader controls the summed audio signal at the AUX 1/2 SEND output. When used for monitoring, this fader lets you control the volume of the monitor system. When using the DIGITAL AUDIO INTERFACE for recording this fader also controls the volume of sent channels USB 3 or
USB 4. See page 21 for details about using the DIGITAL AUDIO INTERFACE.
FADER
2.5 MON 1/2
43 - MON 1/2 OUTPUTS
This output provides connection for an power amplifier or active stage monitor speaker systems.
Using the MON 1/2 fader allows setting the output level in a wide range up to +20 dBu. The electronically balanced XLR-type outputs are in parallel to the phone-type outputs. Using the XLRtype and (monaural or stereo) phone-type outputs simultaneously is possible for connecting
more than one active stage monitor speaker system.
20
44 - FEEDBACK FILTER
The feedback filter is a very narrow banded notch filter, which is only active in a range that is
extremely susceptible for acoustical feedback. The FEEDB. FILTER rotary control sets the corresponding frequency range. Pressing the corresponding button activates the filter. Several circumstances and conditions have an influence on how sensitive or insensitive your system is for
acoustical feedback. The following notes are meant to assist you in avoiding feedback and you
should take them into consideration even before you activate the feedback filter.
POWERMATE
Best practice for avoiding feedback
1. Do not position the main speaker systems behind the microphones.
2. Switch off all microphones that are not in use.
3. Consider the microphones’ different polar patterns and characteristics, when placing the monitor speakers.
4. Do not turn up the monitor system’s volume higher than actually necessary.
5. Try to avoid extensive equalization on channels that you want to include in your monitor mix.
6. Keep in mind, that a microphone “behaves” different when somebody stands right in front of it.
7. Position the microphones as direct as possible to the sound source.
If you still have the feeling that the monitor system’s acoustic output is not sufficient, after considering the above mentioned precautions, you can use the FEEDBACK filter to mute the frequency that tends to generate feedback the most.
Therefore, you have to perform the following steps:
Increase the MON 1/2 level until the limit is reached where feedback starts. The slightly “hovering” sound that you hear
is generated by the system itself. Switch on the feedback filter, turn the rotary control and set it at the mark where the
“sound” disappears. Switching the filter on and off lets you easily check whether you tuned in the correct frequency.
The feedback filter attenuates the level of the corresponding frequency band by about 9 dB. Since the filtered band is
extremely narrow, an alteration in the sound of your monitor system is hardly audible.
CAUTION: Please be extremely careful in driving the system just below the feedback limit. Careless operation,
resulting in feedback noise at high SPL, can cause severe damage to your speaker systems and – even
more important – the human ear.
3
45 - MUTE
The MUTE button mutes the MON 1/2 output signal. PFL signals are not affected.
46 - PFL
BUTTON
Through this button you can route the pre MON 1/2 fader signal to the headphones bus. The signal is outputted for listening via the headphones output. The setting of the MON 1/2 fader is not relevant for the signal’s volume (Pre Fader
Listen). The meter instrument in the master section is simultaneously switched, so that the left LED-chain indicates the
level of the actually chosen channel (in dBu), leaving you with the opportunity for adjusting the level without routing it
to the MON 1/2 bus.
47 - MON 1/2
FADER
This fader controls the summed audio signal at the MON 1/2 output. When using the DIGITAL AUDIO INTERFACE as output, and the Studio routing is selected (see page 31), this fader also controls the volume of sent channels USB 1 or
USB 2.
48 - USB 2.0
The USB interface of the PowerMate is a USB B (female) connector. Please refer to chapter “DIGITAL AUDIO INTERFACE” on page 35 for more details.
21
POWERMATE
3
2.6 MASTER with GEQ
49 - MASTER LED-DISPLAY
The PowerMate offers two 12-segment LED-chains for
optical monitoring the output levels of the L/R master
signals. The indication range of the LED-meter is
40 dB, indicating the levels that are present at the
master outputs in dBu. The meter’s 0 dB mark is referenced to a 0 dBu output signal at the mixer output.
Further increasing the level leads to the power amplifier’s maximum input level of +8 dBu – equaling an
output power of 1000 watts into 4 ohms per channel.
Although higher levels are being displayed, the power
amp’s clip limiter already limits the signal, which is indicated by the lit LIMIT LED in the status display. As
soon as a PFL button is engaged, the PFL LED lights.
The meter instrument in the master section is simultaneously switched, so that the left LED-chain indicates
the level of the actually chosen channel (in dBu). The
right LED-chain indicates the level of the summed
post-fader master output.
50 - MUTE
The MUTE button mutes the MASTER L/R output signal. PFL signals are not affected.
51 - PFL
Engaging the master PFL-button, the pre fader mono
master signal is routed to the headphones bus, so that
it can be monitored via headphones output. The volume of this signal is not affected by the setting of the
MASTER fader. The meter instrument in the master
section is simultaneously switched, so that the left
LED-chain indicates the level of the summed pre-fader
L/R master signal channel (in dBu), which basically is
the master bus level, while the right LED indicates the
level of the summed post-fader master output.
52 - MASTER L/R
Level controls to adjust the output signals of the left
and right master outputs (MASTER).
CAUTION: Please, make sure to set the input chan-
FADER
nel faders or at least the master faders
to their minimum position, or to engage
the STANDBY switch, before connecting
an external sound source to an input of
the PowerMate. This will save you, your
audience, and the equipment from
unnecessary stress.
22
53 - STANDBY
Pressing the STANDBY switch mutes the output signals at the MASTER A OUT L/R, MASTER B OUT L/R,
AUX 1/2 and MON 1/2 outputs. The outputs FX 1/2
and REC SEND L/R are still operational. The STANDBY
LED lights indicating that stand-by mode is engaged
and that input channel signals are not output via the
speaker systems. However, audio signals connected
via 2TRACK IN or the DIGITAL AUDIO INTERFACE (see
POWERMATE
Play USB to 2TRACK on page 33) are still outputted, providing you with a very comfortable solution to play intermission
music during performance breaks.
CAUTION: The signal feed to the internal power amplifier is also interrupted.
54 - MASTER A OUT L/R
The signals at the MASTER A OUT L/R outputs are post master fader and mainly meant to feed additional, external power
amplifiers. Through these outputs it is also possible to establish two-way active system set-ups. In this case the active
crossovers – respectively the active subwoofers – have to be connected to the MASTER A OUT L/R outputs. If you want
to use the internal power amplifier to drive the high frequency cabinets, the treble signal coming from the crossover has
to be fed back into the PowerMate via the INPUTS POWER AMP L/R connectors.
55 - INPUTS POWER AMP L/R
The INPUTS POWER AMP L/R are also provided via electronically balanced phone jacks with breaker function. When
inserting a phone plug, the signal path gets split up between the master and the internal power amplifier, which allows
operating the internal power amps via INPUTS POWER AMP L/R inputs.
56 - MASTER B OUTPUTS L/R
At the MASTER B OUTPUTS the L/R master audio signal is present that can be used for additional monitoring, side fill
and “next door” applications, or for the connection of a delay-line or subwoofer. The output is pre/post- and also stereo/
mono-switchable.
3
57 - MASTER B
This control allows adjusting the level of the MASTER B output. The signal levels at MASTER A OUT L/R and MASTER B
OUTPUTS L/R are identical if the MASTER B control is set to the position „5“ and the PRE/POST switch is set to POST.
58 - PRE/POST
OF MASTER B
When PRE is selected the MASTER B is outputted pre master faders (and, if used, pre GEQ), i.e. the level at the MASTER
B OUTPUTS is independent from the master faders settings. When POST is selected the MASTER B is outputted post
master faders, i.e. the level at the MASTER B OUTPUTS depends on the setting of the master faders.
Controlling a connected Sub’s level via master fader makes sense when using an active subwoofer. For monitoring applications, e.g. side fill on the stage, using the pre-fader setting seems more reasonable.
59 - STEREO/MONO
OF MASTER B
When STEREO is selected the MASTER L/R signal is not changed and outputted in stereo. When MONO is selected the
MASTER L/R signal is summed and outputted in mono at MASTER B L and also MASTER B R. Using MONO is recommended when mono subwoofers are connected to MASTER B outputs.
60 - PHONES
Stereo phone jack for the connection of headphones with an impedance of 32 to 600 ohms. The audio signals of the
channels with PFL buttons engaged is outputted via this connector. The phones output presents the master L/R signal
when there is no PFL button engaged. As the output is protected against short circuit, headphones or in ear monitor
systems with an impedance below 32 ohms can be connected. In this case the maximum reachable volume is reduced.
61 - PHONES
This control sets the volume of the headphones connected.
CAUTION: Make sure to set the control to its minimum position before connecting headphones. Permanent hear-
ing loss may occur if headphones are used at high volume.
62 - REC SEND L/R
These RCA-type connectors carry the pre fader master L/R signal. The signal is not affected by the setting of the master
faders and therefore mostly used for the connection of cassette decks, open reel tape decks or DAT recorders for recording purposes. Use the REC SEND & USB OUT control to adjuste the output level.
23
POWERMATE
3
CAUTION: On most recorders the input signal is
directly carried through to the outputs.
In case you have connected both, the
REC SENDS and the 2TRACK IN, and
the PowerMate’s 2TRACK to MASTER
control is set to anything but its lowest
setting, the recorded signal is included
in the master mix again. The difference
in delay of the two signals is responsible for dropouts and general degradation of the sound. In the worst case,
activating the RECORD button on your
tape deck could lead to very unpleasant
feedback noise. To prevent this from
happening make sure to set the
2TRACK to MASTER control to their
lowest settings.
63 - 2TRACK IN L/R
Here you can connect a recorder, a CD/MP3 player, an
open reel or an additional SUB-mixer. The signal is
post master fader and post STANDBY switch, which
allows playing intermission music during performance
breaks or checking the mix during the rehearsal, using
the headphones. You just have to engage the STANDBY switch to mute all channel signals at the master
outputs. The 2TRACK IN signal however will pass unobstructed.
HINT: The 2TRACK IN signal is not available at the
REC SEND connectors, the DIGITAL AUDIO
INTERFACE or the MASTER B OUTPUTS in
PRE fader mode.
64 - 2TRACK
This control is used to mix the 2TRACK signal to the
master mix, post fader of the master controls.
CAUTION: When adjusting the level of the device
65 - REC SEND & USB OUT
This control allows adjusting the volume at the REC
SEND outputs or, when used, the level of the DIGITAL
AUDIO INTERFACE output channels.
66 - LAMP 12V/5W
This XLR-type socket provides a DC voltage of 12V/
5 watts and is meant for the connection of a gooseneck lamp. Please make sure that the used lamp complies with the here mentioned specifications and pin
assignment. We recommend using the gooseneck
lamp (DC-LITLITE-4P), available from the DYNACORD
accessory assortment. For further information, please
consult your local dealer.
TO MASTER
that is connected to the 2TRACK IN –
CD player, tape deck, etc. – always
begin with the 2TRACK to MASTER control set at its minimum setting. Otherwise, depending on the output quality
of the connected sound source, the outputted level can instantly “hit the top”.
24
POWERMATE
Illustration 2-18: Pin assignment of LAMP 12V/5W output
67 - 11-BAND STEREO GRAPHIC EQUALIZER
The master channel employs a 11-band stereo equalizer, which gets activated through the use of the ON button. The
EQ ’s insert po int is post m aster fader and pre powe r amplifier . The EQ is by passed w hen the EQ ON switch i s no t locked
in its “ON” position. Eleven frequency bands offering 10 dB amplification/attenuation and a quality of Q = 2 allow shaping the overall sound to meet your personal preferences or to optimally match it to the acoustic conditions of different
locations.
GEQ setting instructions:
The frequency ranges as well as the characteristics of the EQ faders are very praxis-oriented. In case you want to have
a clear and highly intelligible sound, which, as a side effect, provides the cymbals with more crisp, you should raise the
levels of the 12 kHz or 6.3 kHz band a bit. If the MIDs are nasaling you should attenuate the mid range (630 Hz to
2.5 kHz) by some decibels. To provide the kick drum with more punch you have to boost the low frequency range, using
the 63 Hz or the 125 Hz controls. In case the overall sound is undefined with too much bass, lowering the levels of these
two frequency bands will solve the problem.
How ever, espec ially with e quali zatio n you s hould be awa re of the fact that in most cases less adjustments provide better
results. Thus, your first choice should be to establish the mix using only the input channel controls and see if you get a
satisfactory result. If so, you can use the graphic EQ for the MONITOR bus, where in most cases it is more needed.
3
68 - GRAPHIC EQ
This LED indicate if the 11 band GEQ is used for the master channel (MASTER LED lights green), for one monitor channel
(MON 1 or MON 2 LED lights green) or both monitor channels (MON 1 and MON 2 LED lights green). The latter is especially useful if similar monitor speakers are used for both monitor channels. Please see page 31 for changing the Graphic
EQ Routing.
TO MASTER / MON 1/2
2.7 DISPLAY with function keys
69 - DISPLAY WITH FOUR FUNCTION KEYS
Effect mode
In effect mode the display indicates the selected preset number of each effect unit. Use the four function keys below
the display for selecting the preset number.
Menu mode
Press the MENU/ENTER rotary encoder in effect mode to enter the menu mode. In menu mode the display indicates the
function being executed for each function key.
70 - MENU
Use the MENU/ENTER rotary encoder in menu mode for menu navigation. In effect mode the MENU/ENTER rotary encoder has no function.
25
POWERMATE
-20
+20
-15
-10
-5
+0
+5
+10
+15
d
B
r
A
20 20k50 100 200 500 1k 2k 5k 10k
Hz
3
71 - TAP
If a delay effect is used the delay time can be adjusted to the beat by pressing the TAP button multiple times. The yellow
LED indicates the delay time set. The function of this button can be configured using the TAP Button Ctrl. parameter,
please refer to the section “FX Control Setup” on page 32 for details.
2.8 Stereo Power Amplifier
The PowerMate has a high performance power amplifier in modern, high-efficient Class-D technology, which provides a
nominal power output of 2 x 1000 watts RMS into 4 ohms with minimal waste heat. The minimal load impedance of 2.7
ohms allows the operation with a maximum of three 8 ohms loudspeaker systems connected in parallel to each output
channel without problem. The audio performance is on highest professional level.
The entire power supply is taken care of by a switching power supply unit that is extremely stable under load, which,
when compared to conventional toroidal transformers, provides a substantial reduction in weight. The switching power
supply is controlled by a microprocessor, both, to ensure that high output can be accessed at any time, but also to provide comprehensive protection functions against capacitive and thermal overload. Another advantage is the automatic
mains voltage switching, which guarantees virtually worldwide use of the PowerMate without reconfiguration. In addition, a surge protector is incorporated, and an inrush current limiter (soft start) prevents the mains fuse from responding when powering on the mixer.
Designed to withstand even the rigors of the touring business, the output stage of course incorporates all the protective
circuits that DYNACORD power amplifiers are well-known for. Both outputs are separately monitored, so that in case of
error, only the affected channel is switched off. When switching on the mixer, activation of the power outputs is delayed
to avoid possible switching noise.
Two low-noise, variable-controlled fans ensure the thermal stability of the PowerMate. Front-to-rear airflow allows operation in large and narrow rack systems as well. In addition, the PowerMate employs a unique processor-controlled thermal limiter. In the event of imminent thermal overload, a „musically working“ clip-limiter will limit only the power peaks
of the music signal. This effectively prevents the complete shutdown of the power amplifier, without noticeable reduction in the overall sound level.
The power amplifier channels of the PowerMate incorporate Low-Pass-Notch filters (LPN) exclusively designed by DYNACORD. Together with a 12dB Hi-Pass filter, these Low-Pass-Notch filters eliminate faults in the transient response of
typical PA-loudspeaker systems and grant your setup an extraordinarily precise and powerful bass response. The LPN
filters can be configured via the menu, see page 31.
Illustration 2-19: Frequency plot of LPN filters for settings High, Medium or Flat
The Speaker Protection function provides the possibility to optimally match the PowerMate to your speaker setup.
Speaker Protection is based on a sophisticated overload protection, which is usually only found in power amplifiers of
the absolute top class. Integrated control algorithms continuously monitor the effective power (RMS) that is delivered
to the loudspeaker systems. If the set value is exceeded over an extended period of time, a subtle limitation of the power
peaks will take place to avoid thermal overload of the voice coils. For notes on the setting of this function, please refer
to page 32.
26
POWERMATE
72 - AMPLIFIER STATUS INDICATORS
These indicators are to inform you about the actual operational state of the PowerMate’s internal
power amplifier.
PROTECT LED
The PROTECT indicator lights when one of the PowerMate’s extensive protection circuits – against thermal overload,
HF-induction, DC at the outputs, and short circuit protection – is activated. When the PowerMate is in protect mode,
the speaker outputs are muted and the amplifier inputs are short circuited to prevent the power amp from being damaged.
In this case you should first check whether the ventilation louvers are blocked. Another cause could be, that you have
connected more than three 8 ohms speaker systems per power output. Please also disconnect the Speakon connectors
and check the speaker cables for short circuits. During power-on operation the PROTECT LED always lights for some
seconds, signalizing that the PowerMate’s protection circuitry is operational.
LIMIT LED
The LIMIT indicator signals that you are operating the PowerMate at the internal power amp’s limit. Frequent blinking
of the LED is acceptable, since the amplifier’s incorporated clip limiter prevents distortion. Continuous lighting indicates that you have to be aware of degradation in the outputted sound. In that case, the master level has to be reduced.
The LIMIT LED also lights if the output level is reduced because of high amplifier temperature or activated Speaker Protection (see page 32).
3
2.9 Rear panel
73 - MAINS CONNECTOR
The PowerMate receives its power supply via the lockable Mains input. Only the provided power cord may be used. Connect the PowerMate only to a mains network, which corresponds to the requirements indicated on the type plate.
HINT: Press the yellow button at the plug to disconnect the power cord.
74 - POWER
Mains switch to turn the PowerMate on or off. The PowerMate is operational when the display indicates the selected
program numbers and the PROTECT LED goes off. Please make sure to set the master faders to their minimum position
or engage the STANDBY switch before switching the power on. This will save you, your audience, and the equipment
from unnecessary stress. In case additional external equipment is connected to the PowerMate – e.g. power amps, FX
units, EQs, etc. – please, proceed in the following order when switching your equipment on:
1. switch on the FX units
2. switch on the PowerMate
3. switch on external power amps
When switching the power off, please proceed in the opposite order.
75 - MIDI IN/OUT
The MIDI IN/OUT ports allow connecting MIDI devices to the PowerMate. Next to the PC MIDI interface controlling the
effect unit is possible via MIDI IN, please see page 32 for details.
27
POWERMATE
3
76 - SPEAKER OUTPUTS RIGHT / LEFT
The PowerMate is equipped with professional Speakon high-performance connectors, offering electrical and mechanical
secure connection, which complies to all security regulations. It also allows the use of high quality speaker cables with
diameters of 4 x 2,5mm
2
. The pin assignment is shown at the rear panel of the PowerMate.
CAUTION: The symbol representing the speaker connectors indicates the presence of touch-sensible voltages,
which can cause harm to body and health. Please, be sure to adhere to corresponding notes and
instructions in this owner’s manual when establishing speaker connections.
HINT: Using passive subwoofers, that add the input signal of the left and right channel, is not possible for techni-
cal reasons.
Illustration 2-20: Connection of a passive speaker
28
POWERMATE
BRIGHT HALL MONO DELAY
MAX LPN HIGH USB MIDI
5 55
Large Hall 3 230 ms 40%
FX1 FX2
12
3
4
5
6
7
8910111213
14
15
16
Edit FX 2
Main Menu
USB Record Routing
Equalizer Routing
Edit FX 1
BACK ESC
3 Display & functions
The PowerMate includes a premium OLED display. Compared to general LC displays the OLED display is brighter, has
a greater contrast ratio and a wider viewing angle.
3.1 Effect mode
3
The start screen appears after switching the PowerMate
on. After a few seconds the default effect for FX 1 & FX 2
and other system parameters are displayed.
Illustration 3-1: Effect mode
Pressing the function keys below the display allows selecting an effect in a quick and easy way.
3.2 Menu mode
Number Description
1 Speaker Protection indicator
2 Speaker (LPN) Processing indicator
3 USB / PEAK indicator
4 MIDI indicator
5 Effect group of effect unit FX 2
6 Effect number of effect unit FX 2
7 Effect description of effect unit FX 2
8 Increases the effect number of effect unit FX 2 by one
9 Description of function key
10 Decreases the effect number of effect unit FX 2 by one
11 Increases the effect number of effect unit FX 1 by one
12 Description of function key
13 Decreases the effect number of effect unit FX 1 by one
14 Effect description of effect unit FX 1
15 Effect number of effect unit FX 1
16 Effect group of effect unit FX 1
Press the MENU/ENTER rotary encoder in effect mode to
access the menu mode. When entering the menu mode
the main menu (see illustration 3-5) is indicated.
Illustration 3-2: Access the menu mode by pressing the MENU/
ENTER rotary encoder
Illustration 3-3: Main menu in menu mode
In menu mode the MENU/ENTER rotary encoder and the
four function keys below the display are used for navigation and for selecting and editing parameters. Turn the
MENU/ENTER rotary encoder to the left or to the right to
move the cursor in the menu. Press the MENU/ENTER rotary encoder to select or execute the highlighted menu
item. If a menu entry was highlighted, the corresponding
dialog is opened. If a parameter was highlighted, the value is shown in inverse font and can be edited by turning
the MENU/ENTER rotary encoder. Press the MENU/ENTER rotary encoder again to apply the edited parameter
value. The bottom line of the display indicates the function for the four function keys. The following table describes some of the functions avialable in menu dialogs.
Func tion Description
BACK Returns to the next higher menu level.
ESC Discards all edits in the dialog and returns to effect mode.
or
SAVE Opens the FX User Presets list to store the edited effect as an
OK Confirms the entry, e. g. when editing the name of an user pre-
Move the cursor to the left or to the right.
user preset.
set.
Table 3-4: Functions of the function keys
29
POWERMATE
Main Menu
Edit FX 1
Edit FX 2
USB Record Routing
Equalizer Routing
LPN Processing
Speaker Protection
FX Control Setup
Device Setup
Display Brightness
Tooltips
Play USB to 2TRACK
Factory Reset
Device Setup
Personalize
Screensaver
TAP Button Ctrl.
FX1 Start Preset
FX2 Start Preset
FX Control Setup
FX1 MIDI Channel
FX2 MIDI Channel
MIDI PrgCh Count
Firmware Info
MAX LPN HIGH USB MIDI
5 55
FX1 FX2
Footswitch Ctrl.
Reverb Decay : 40
Edit FX 1 BRIGHT HALL
Diffusion : 25
Low Cut : 50Hz
SAVE BACK ESC
Predelay : 16ms
101: --EMPTY--
FX 1 User Presets
BACK ESC
102: --EMPTY--
103: --EMPTY--
104: --EMPTY--
Set FX Name
OK BACK
DEFGHIJK MNOPQRSTL
L arge Hall 3
MENU STRUCTURE
Illustration 3-5: Menu structure of PowerMate
BRIGHT HALL MONO DELAY
Large Hall 3 230 ms 40%
3
EDIT FX 1 / FX 2
This dialog allows editing effect parameters for effect
unit FX 1 or FX 2. The available parameters will vary depending on the effect type, see page 34 for details. Additionally a custom name can be assigned to the edited
effect and it can b e stored a s a user preset. Up to 20 user
presets can be created.
Illustration 3-6: Edit FX 1 dialog
Turn the MENU/ENTER rotary encoder to highlight an entry in the left column of the Edit FX Menu. Press the
MENU/ENTER rotary encoder to select the corresponding
value in the right column. Now turn the MENU/ENTER rotary encoder to edit the value. Press the MENU/ENTER rotary encoder again to return to the left column. Press the
SAVE function key to store the edited effect as an user
preset. The FX User Presets dialog appears.
30
Illustration 3-7: FX User Presets dialog
Turn the MENU/ENTER rotary encoder to select the user
preset where the edited effect should be stored to. Press
the MENU/ENTER rotary encoder to open the Set FX
Name dialog.
Illustration 3-8: Set FX Name dialog
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