Dynacord PowerMate 1600 User Manual

OWNER‘S MANUAL

PowerMate 1000/1600

Power Mixer

CONTENTS

IMPORTANT SAFETY INSTRUCTIONS ....................... 31

IMPORTANT SERVICE INSTRUCTIONS ....................... 31

DESCRIPTION ....................... 32

UNPACKING AND WARRANTY ....................... 32

INSTALLATION ....................... 32

INPUT MONO ....................... 33

INPUT STEREO ....................... 38

EFFECT 1/2 ....................... 41

AUX 3/4 ....................... 43

MASTER ....................... 44

REAR PANEL ....................... 49

SETTING UP A STANDARD PA-SYSTEM ....................... 50

MASTER PATCHBAY ....................... 54

SPECIFICATIONS / TECHNISCHE DATEN ....................... 56

BLOCK DIAGRAM ....................... 57

DIMENSIONS / ABMESSUNGEN ....................... 58

IMPORTANT SAFETY INSTRUCTIONS

The lightning ash 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 sufcient 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

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 ampliers) 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. If the provided plug does not t into your outlet, consult an electrican 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 specied by the manufacturer.

12. Unplug this apparatus during lightning storms or when unused for a long period of time.

13. Refer all servicing to qualied 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.

14. Do not expose this equipment to dripping or splashing and ensure that no objects lled with liquids, such as vases, are placed on the equipment.

15. To completely disconnect this equipment from the AC Mains, disconnect the power plug from the AC receptacle.

16. The mains plug of the power supply cord shall remain readily operable.

important operating and maintance (servicing) instructions in the literature accompanying the appliance.

IMPORTANT SERVICE INSTRUCTIONS

CAUTION: These servicing instructions are for use by qualied 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 qualied to do so. Refer all servicing to qualied 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 retrotting 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.

SAFETY COMPONENT ( MUST BE REPLACED BY ORIGINAL PART )NOTE:

DESCRIPTION

First of all, we would like to thank you and congratulate you to your purchase of a DYNACORD power mixer.

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, ampliers, 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 insufcient 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 low-noise design in combination with its 24bit Dual-Stereo effect unit and the high-performance power amplier, 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 nd some useful and practical tips for the daily operation of the PowerMate. Even more important, you will nd some adjustment guidelines that should be painstakingly carried out; plus the description of a typical sound reinforcement installation, a block diagram, specications, connection guidelines, etc.… So, take your time and keep on reading.

Unpacking and Warranty

Open the packaging and take out the PowerMate. Remove the FX unit displays’ protective foil. In addition to this owner’s manual you will nd the mains supply cord and the warranty card. Please check, if the warranty registration form is lled out correctly. Only when this form is completed, you will be able to apply for warranty claims. DYNACORD grants 36 months of warranty, starting with the date when you received the appliance from your local dealer. Therefore, we would like to ask you to also keep the original certicate of purchase together with the warranty certicate.

Keeping all papers and the original packaging of the device is generally recommendable, since they come in handy re-selling an appliance.

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 sufcient airow during the operation. The device is equipped with electronically controlled ventilators to protect the power amplier against thermal overload. The direction of the airow is front-to-rear. 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 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 (vertically), you have to allow at least 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. When switching the power on, the internal fans will run for about 2 seconds at full speed to give you an acoustical signal that the PowerMate is ready to be operated. In addition dust particles that might have gotten into the device get blown out. 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).

INPUT MONO

1. MIC

Electronically balanced XLR-type inputs for the connection of low impedance microphones like the ones featured in major studio and live mixing consoles. This type of input stage provides 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 (MIC 1-6) button, which is located in the input section. The microphone gets its operating voltage (+48Vdc) through the mixer and you can forget about battery replacement times.

CAUTION: Always connect the microphones before turning on the phantom power or switching the PowerMate on with phantom power being activated. This is the only way to prevent your microphones from being damaged. Also make sure to engage the STANDBY button in the master section to prevent yourself and your environment from nasty power-on noise. Simultaneous connection of condenser type microphones and dynamic microphone models is generally possible with phantom power being activated. Before you do so, please consult the manual of the concerned microphone. The MIC input accepts levels between –60dBu … +21dBu – depending on the setting of the corresponding gain control. Because of their low impedance design and the phantom power these XLR-type inputs are not suitable for cascading other mixing consoles or the connection of FX units, keyboards or other electronic equipment. When connecting this kind of equipment, please use the LINE level inputs.

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 –40dBu … +41dBu. 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.

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.

One more note: 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-amplier with very high input impedance. Musical instruments with an active electronic output (battery-powered) can be connected without any problems.

INPUT MONO

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 button. This will save you, your audience, and the equipment from extensive wear from unpleasant pops.

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, de-noisers, etc. into the corresponding channel’s signal path. The insertion point is post gain controls, Lo-Cut lters, 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.

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 ow within the channel is interrupted.

4. GAIN

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 benets 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 amplication of 0dB is achieved when the control is set all the way to the left and +60dB when the control is set all the way to the right. Especially when dealing with very low input levels – during vocal recordings or when the sound source is located in a distance – the high gain is extremely protable. Using the LINE-input, the signal is generally attenuated by –20 dB while maintaining the total adjustment range of 60dB. The LINE-input’s unity gain – no amplication (0 dB) – is achieved at the 20dB mark. The following is meant as a short note for your assistance on how to determine the right input level:

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 PEAK LED is just not lit, but the SIGNAL 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 6dB 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 inuence on the channel’s overall level.

INPUT MONO

-35

-30

-25

-20

-15

-10

-5

20 20k50 100 200 500 1k 2k 5k 10k

-20

+20

-15

-10

-5

+10

+15

20 20k50 100 200 500 1k 2k 5k 10k

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 lter with microphone channels is a good advice, since it efciently suppresses popping sounds, rumbling noise and low-frequency feedback. The only exceptions are kick drum and acoustic bass. Sometimes it can be also very effective to combine the LO CUT lter with the voicing lter. 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 amplier 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 lter, too, since in this way they can enjoy a truly clear, natural, and powerful sound performance.

6. VOICING FILTER

This button activates an asymmetric microphone lter, which can be used in addition to the channel EQ. The voicing lter enhances the rst 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 lter is not restricted to vocals only. Horns, woodwinds, and other acoustic instruments can prot from the voicing lter as well. We leave it entirely up to your creativity and imagination to try the VOICING lter with as many different sound sources, as you want. Normally, you do not have to fear any problems with the occurrence of feedback.

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/ amplies the corresponding frequency range while turning it to the left lowers/attenuates the signal of that specic 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 sufcient 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 amplication 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.

INPUT MONO

-20

+20

-15

-10

-5

+10

+15

20 20k50 100 200 500 1k 2k 5k 10k

-20

+20

-15

-10

-5

+10

+15

20 20k50 100 200 500 1k 2k 5k 10k

LOW-HI EQ

MID EQ

Adjustments in the MID frequency range are certainly the most effective way to shape the sound. As a matter of fact, determining the correct center frequency is not always as easy as it seems. Here is one method – amongst others – how to quickly nd the right setting of the parametric EQ for your application:

Setting Instructions:

1. Slightly lower the channel fader to avoid feedback.

2. Turn the MID rotary control all the way to the right (+15dB).

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. AUX / FX 1/2

The AUX/FX controls allow adjusting individual amounts of the input signals to be routed to the integrated FX1 or the FX2 effects units. The signal path is split post volume fader – POST FADER – so that the fader setting also inuences the amount of the signal that is fed to the FX units. Using the AUX/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 FX1 unit to the lead vocals and a combined effects program – echo, hall, and chorus – via FX2 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 PEAK LEDs in the FX1/2 channels. The indicator should only light briey 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 FX1/2 units. (In case you are not using the internal FX units and/or you want to connect external signal processing units, the pre-mixed AUX/FX1/2 signals are outputted via the AUX1/2 send jacks.)

9. AUX 3/4

AUX 3 and AUX 4 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. PreFader Monitoring is especially preferable when monitoring and main 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 main mix. In most cases the mixing console is placed somewhere in the audience area (FOH) and is being operated by an experienced 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 establishing FX- or special monitoring mixes. Using the POST-Fader method is recommended when the mixer is also located on the stage and you have to operate it yourself.

INPUT MONO

Setting all AUX3 or AUX 4 controls to their center position, the main 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 AUX3/AUX4 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. The Post-Fader Monitoring method provides the possibility of canceling channels of some instruments – 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.

10. 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.

11. MUTE

The MUTE button mutes the input signal post fader, including all AUX sends. PFL and Signal/ Peak stay functional.

12. 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 main mix.

13. SIGNAL / PEAK Indicator

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 PEAK 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 Signal-LED lights at levels –30dB below clipping while the peak LED lights at a level of –6dB 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.

14. VOLUME

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 –5dB to 0dB, 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 amplication of +10dB, we would like to advise you to exceed the +5dB 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 amplier could be driven into clipping. Once you register, that some channel faders are set above the 0dB marking, lowering the setting of each channel fader by about –5dB 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.

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.

15.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 XLR-type 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 -60dBu … +11dBu. Low-level circuitry architecture and phantom power (+48V) 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.

16. 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 –20dBu .... +41dBu. 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.

17. 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 main output, becoming clearly intelligible in program breaks.

+ 22 hidden pages