Dynacord MP7 User Manual 2

OWNER’S MANUAL

MP7

ENTERTAINMENT SYSTEM

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 sufficient 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 block any of the ventilation openings.
Install in accordance with the manufacturer’s instructions.

8. Install only in rack with back cover.

9. Only use attachments/accessories specified by the manufacturer.

10. 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 objects have fallen
into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has
been dropped.

11. To completely disconnect mains power from this apparatus, the power supply cord must be unplugged

For US, CANADA and Japan only:

Do not defeat the safety purpose of the grounding-type plug. A grounding type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an
electrican for replacement of the obsolete outlet.

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) and the CSA E60065-00 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 location 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 (HAS TO BE REPLACED WITH ORIGINAL PART ONLY)

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DESCRIPTION

CONTENTS

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Input/Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Input/Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Transition/Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Standard installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Block diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Congratulations!

You will find out that purchasing a MP7 Entertainment System was an excellent decision.

The design of the MP7 is based on decades of experience, research and development as well as a steadfast
manufacturer-customer-relationship in the professional audio market. With the MP7 you own a power mixer that offers
a wide range of functionality in a truly compact frame. All the troubling experience with cabling and matching mixers,
amplifiers, FX-units and equalizers now belongs to history. The mixer’s ergonomic layout and clearly structured
controls allow instant access at all times. The MP7 additionally provides the possibility for connecting a litlite to
compensate for poor lighting in a live mixing environment. Recessed carrying handles in both side panels and an
extremely sturdy transport coverlid protecting the controls ensure easy and safe transportation. Besides, if you want
to include your MP7 in a 19" rack system, the only thing you have to do is to exchange the side panels for metal rack
ears. Its powerful 2x300W/4ohms power amp, a huge amount of functions, high dynamic range, low-noise design
and its 18-bit Dual-Stereo FX-section, the MP7 is best equipped for universal use.
The MP7 is going to fulfill all your expectations that you can possibly demand of an Entertainment System.
Use this owner’s manual as a guide when exploring the capabilities of your MP7. The vast amount of integrated
functions is all explained systematically and point-by-point. Moreover, you will find some useful tips on how to
overcome general difficulties during live-performance applications.

Unpacking and Warranty

Open the packaging and carefully take out the MP7. Detach the protective foil covering the FX-unit display. In addition
to this owner’s manual you will find the mains cord and the warranty card. Please make sure that the warranty
registration form is filled out correctly. You will be able to apply for warranty claims only when this form has been
completed. We grant 36 months of warranty, starting with the date of the original purchase. Therefore we ask you to
also keep the original certificate of purchase, stating the date of purchase. Experience has shown that keeping the
original packing as well as carefully storing all documents accompanying the appliance generally increases the price
when reselling the device.

Installation and Connections

Always install the MP7 on an even surface to allow for sufficient airflow during operation. The device is equipped with

an electronically controlled fan to protect the power amplifier section against thermal overload. The ventilation direction
is Front-to-Rear. Fresh, cold air enters the mixer at its front side and warm air leaves the appliance through the
ventilation louvers in the rear panel. Do not cover the frontal or the rear ventilation louvers, since otherwise, the MP7
would automatically enter protect mode, preventing damage through thermal overload. When protect mode is
engaged, the device is not going to be damaged. Nevertheless, regular operation is not possible during this period
of time. In case you have decided to install the MP7 in a 19" rack system, make sure to leave at least 2RU of room
above and at least 1RU of empty space below the appliance. Of course, you can cover the resulting gaps in the rack
system using optionally available blinds with ventilation louvers. Before establishing the mains connection, please
make sure that the appliance matches the voltage and frequency of your local mains supply. Mind the label next to
the mains switch stating the operation voltage your MP7 is factory-preset to. When switching the MP7’s power on,
the internal fan will run for approximately 2 seconds at full speed. This is to provide you with an acoustic signal that
the mixer is ready for operation. Additionally, any dust particles that might have gotten into the enclosure are blown
out. The SPEAKER OUTPUTS on the rear panel of the MP7 are provided through professional standard SPEAKON
high-performance connectors, which offer absolute secure connection. The pin-assignment of these sockets is 1+
(hot) and 1- (cold).

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INPUT/MONO

1. MIC

Electronically balanced XLR-type inputs (identical to the ones found on major studio and
live sound mixing consoles) for connecting low-impedance microphones. The input stage
provides extremely low noise and low hum signal processing at an outstandingly low
distortion rate (<0.002% typically) even in the high frequency range. Generally, any type of
microphone can be connected as long as its pin assignment
is in accordance with the diagram shown aside. Connecting
condenser-type microphones is no problem. In that case the
connected microphone gets its power supply (+24V) directly
from the mixer. So, battery replacement belongs to the past.

Using dynamic and condenser microphones together on these
inputs is generally possible. Nevertheless, please make sure to consider the owner’s
manual of the employed microphones. The MIC-inputs are capable of handling levels in the
range between -60dBu ... + 11dBu; depending on the setting of the corresponding gain
control. Because of their design, which is especially matched for connecting low-impedance
microphones as well as their phantom power capability these XLR-inputs are not suitable
for the connection of additional mixing consoles, FX-units, keyboard instruments, or other
electronic gear. When connecting this kind of equipment, please utilize the LINE-inputs.

2. LINE

Electronically balanced inputs for the connection of electronic instruments, such as
keyboards, drum computers, E-guitars and E-basses with an active output, as well as all
other high level signal sources, like additional mixers, FX units, CD player, etc. The
LINE-inputs have been designed to handle levels in the range between -40dBu … + 30dBu.
Connecting balanced or unbalanced signal sources is equally possible using monaural or
stereo phone plugs, with their pin-assignment matching the diagram. If the device that is
going to be connected is furnished with a balanced output stage, using balanced cables
with stereo phone plugs is certainly preferable. This type of connection is greatly insensitive
to the induction of external noise or HF interference.

Do not connect signal sources to a channel’s MIC and the LINE inputs at the same time,
since the signals cause mutual interference, which results in level reduction.

When connecting signal sources, please make sure that the corresponding channel
faders or at least the master faders are at their minimum settings. This will save
yourself, your audience, and the equipment from extensive wear from unpleasant
plug-in noise.

3. LO CUT 80Hz

The LO CUT-switch allows muting frequen­cies below 80 Hz by 18dB per octave.
Especially for microphone applications
using the LO CUT filter is good advice,
since it efficiently suppresses popping so­unds and rumbling noise as well as low-fre­quency feedback. Additionally, in most
cases activating the LO CUT filter allows
boosting the bass, without having the un­wanted “booming”.

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INPUT/MONO

Another welcome side effect is, that the power amplifier and the connected loudspeaker
systems are not “polluted” by low-frequency interference “closing off” the sound system,
which certainly is not in yours or the audience’s interest. Your speaker systems will provide
you with a truly clear, natural, and powerful sound performance when using the Lo CUT
filter.

4. GAIN

Rotary control for adjusting the MIC or LINE inputs’ sensitivity, while optimally matching the
incoming signals to the mixer’s internal operation level. Cautious adjusting offers the benefits
of an improved S/N-ration and provides you with the full bandwidth of the MP7’s outstanding
sound capabilities. On the XLR-type connectors an amplification of +10dB is achieved when
the control is set all the way to the left and +60dB when the control is set to its maximum
position to the right. Especially when dealing with very low input levels, like they occur during
vocal recordings or when picking up distant sound sources, 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 50dB. The LINE-input’s unity gain - no amplification
(0 dB) - is achieved at the 20dB mark. The following is meant as a short note for your
assistance on how to determine the correct input level.

Note on how to set the input level:

1. Set the gain control and the corresponding channel fader to their minimum setting.

2. Connect the desired sound source (microphone, musical instrument, ...) to the
corresponding MIC or LINE input.

3. Play the sound source at its highest volume setting; respectively, sing or speak as
loud as possible directly into the microphone.

4. While doing so, adjust the input level using the gain control, so that during the loudest
passages the PEAK LED is just not lit, but the SIGNAL-LED lights constantly

This is the basic channel setting, leaving you with at least 8dB of headroom. Which me­ans, you have at least a range of 8dB before signal clipping. 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 influence the
channel’s overall level.

.

5. EQ SECTION

The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within
different frequency bands. Turning an EQ level control 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 altering to the sound, all EQ controls should be set to
their neutral position; i.e. their markers point straight up (detent position). If possible, 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 a natural sounding
reproduction as an orientation mark and rely on your musically trained ear, which still is one
of the best instruments for judging the sound quality. Try to avoid excessive enhancement
of the MID band. The moderate use of the MID control is the best remedy to avoid acoustical
feedback. Lowering the frequency
band’s level more or less will provide
you with high amplification rates wi­thout feedback. Set the LO-EQ in ac­cordance to your personal taste, for
instance to achieve the desired, volu­minous vocal sound. Use the HI-EQ to
provide vocals with more crisp.

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INPUT/MONO

6. PAN

The setting of the PAN control defines the input signal’s position within the stereo image.
When set to its center position, the audio signal is fed with equal levels to the left and right
master busses. The PAN section’s design ensures that the overall relative level of an audio
signal is maintained, no matter to what position within the stereo image the PAN control is
set.

7. FX1/2

Using the FX1/2 control lets you route the corresponding input signal to the integrated digital
effects units FX1 or FX2 at variable levels. In this way assigning special effects to musical
instruments or vocals is fairly simple. When establishing an effect-mix, it is good advice to
start with all FX-controls set to their center position. From this point you can increase or
reduce the effect’s intensity, depending on your personal preferences. Please make sure
to carefully monitor the PEAK LED’s in the FX1/2 channels during a performance. The
indicator should only light briefly at the occurrence of peak signals. If the LED lights
constantly, it is strongly recommended to lower the affected channels’ send levels at their
FX1/2 controls. For further information, please refer also to the paragraphs on the FX1/2
units.

8. MUTE

Engaging the MUTE button mutes the audio signal of the corresponding input channel.

9. PFL

Engaging this button assigns a channel’s audio signal to the PFL bus. For monitoring the
PFL bus signal via headphones slide the PHONES MIX fader in the direction “PFL”.
Simultaneously assigning more than one channel to the PFL bus is possible, while the
individual channel’s volume fader setting is not recognized (PRE FADER LISTEN). Once
a PFL button is pressed, the master display automatically enters PFL/PGM mode (yellow
LED below the display lights). The right LED-chain indicates the level of the master audio
signal (PGM), while the left LED-chain indicates the PFL bus signal level. This allows you
setting a signal’s correct level or making special EQ-adjustments without the need of
including it in the main mix.

10. SIGNAL / PEAK indicator

The Signal / Peak indicator provides optical information of a channel’s actual signal level
at all times. As already mentioned in the chapter “setting instructions”, the “signal present”
LED should blink in the rhythm of the incoming signal. If this is not the case, increasing the
input level using the gain control is necessary. On the other hand, if the PEAK LED blinks
frequently or lights constantly, the corresponding channel is likely to enter clipping and you
have to reduce amplification using the gain control. The “signal present” LED lights at levels
30dB below clipping while the peak LED lights at a level of 8dB below the occurrence of
overdrive. To prevent the mixer’s input channels from clipping, which for instance may be
caused by increasing volumes, keeping an eye on these indicators during operation is a
good idea, too. Of course, engaging a channel’s PFL-button allows monitoring that channel’s
level via the display in the master section. Be sure to only engage the PFL-key of the channel
that you are about to adjust. The channel’s level is displayed in the master display’s left
LED-chain. Here as well, make sure that the red LED (+12dB) lights only briefly during
dynamic peaks.

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INPUT/MONO

11. VOLUME

The channel fader is used to set the volume of a single channel and to establish an accurately
proportioned mix of all input signals. The channel faders should be positioned within the
range of -5dB to 0dB, leaving you with a sufficient degree of control to allow precise matching
of relative big differences in the channel’s level settings. Afterwards the overall volume is
set through the use of the master fader. Even though the channel faders offer an additional
gain of +10dB, it is good advice not to exceed the +5dB position.

12. TALK

The TALK-key is specially meant for announcements or DJ-like moderation with background
music programs (talk over). Engaging this key automatically attenuates the signal levels of
the channels 2-7 by about 15dB. Therefore the announcer channel (channel 1) clearly
stands above the rest mix, without need to alter any of the mixer’s level settings. Since the
TALK function is only active as long as the TALK-key is kept pressed down, you have to
engage it for the entire period of time you want to make an announcement. As long as the
TALK-key is not engaged, channel 1 functions like channels 2 and 3.

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INPUT/STEREO

13. STEREO INPUT

A (CD/MD):

Unbalanced stereo inputs for connecting LINE level devices like for example: CD-Players,
MD-Players, Tape Decks, PC Soundcards, etc.

B (phono): only channels 4/5

- stereo inputs with RIAA equalization for the connection of magnetic turntable pickups.

Caution: Make sure to connect magnetic turntable pickup systems only. These inputs
are not suitable for connecting high-level audio signal sources like CD-Players, etc.!
Do not forget to connect the turntable’s ground wire to the PHONO GROUND binding
post. Otherwise it is likely that you are faced with interference noise.

Tip: When using turntables, high acoustic output levels can result in unwanted feedback.

You can avoid this from happening during a performance by rehearsing the latter scenario.
Set the sound system to the desired maximum output level while using a turntable as sound
source. Feedback mostly generates in the low-frequency range, for that the RIAA-equaliza­tion of the phono inputs amplifies the signal by up to approx. +20dB. Therefore, it is good
advice not to position turntables and mixer gear directly in front of the loudspeaker systems.
Pieces of plastic foam or special shock absorbers may be a remedy. But when using them
make sure not to cover any ventilation louvers of the equipment.

14. INPUT SELECT

Simultaneously connecting audio signal sources to both inputs (A and B) is possible. Using
the INPUT SELECT switch lets you select whether you want to reproduce the signal of
source A (CD/MD) or B (turntable for channels 4/5 or CD/MD for channels 6/7). Before
connecting a sound source, make sure to set the corresponding input’s CHANNEL FADER
(22) to its minimum position. This prevents the connected loudspeaker systems and the
audience from being abused by nasty crackling noise.

15. GAIN

The setting of this control defines a channel’s input sensitivity. It is fairly simple to match
the input level of different audio signal sources by individually adjusting the GAIN controls
of each channel, so that the signal LED “SIG” is constantly lit while the peak LED “PK” lights
briefly during peak levels only. GAIN adjustment should always be carried out with
EQ-controls set to their center position. This leaves enough headroom for later EQ-adjust­ment without clipping. Using the PFL/PGM Split function of the master display lets you trim
a channel’s input level setting more precisely. Engage a PFL button and the yellow PFL/PGM
LED beneath the master display will light while the right LED-chain indicates the level of
the momentarily running master signal (PGM) and the left LED-chain indicates the PFL-bus’
level.

Tip: The correct use of the PFL/PGM Split function during mixing facilitates the matching
of different signal levels to a great extent. Presuming that during playback you have set the
channel faders to their maximum position, pressing the PFL-button of the channel that you
are about to adjust the level for, lets you monitor the different levels on the master display.
The left LED-chain indicates the level of the PFL-channel while the right LED-chain displays
the level of the momentarily played back audio signal. Using the GAIN-controls this allows
optimally matching the two signal levels.

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