PD1023 Powered Mixer
Owners Manual And Instruction Guide
Thank you for choosing the L2 audio PD1023 professional mixing console. We’re confident that
your purchase will give you years of service and the high quality of sound reproduction that our
customers have come to expect. We pride ourselves in designing the right product for the right
application. We have listened to our customers and have designed what we consider to be the
best product in both performance and value for money that is available on the market today.
Please take some time to read this manual and then keep it somewhere safe for future reference.
Also, here at L2 audio, we welcome your feedback and information. We like to know what you’re
using your L2 audio product for!
Please take a few minutes to register your purchase online at www.l2audio.co.uk/warranty
within 14 days of purchase. Failure to do so could affect your warranty. This information is for
our information only and will not be passed on to any third party. Complete customer
satisfaction is our goal at L2 audio. If you have any questions, technical or otherwise please drop
us an email at info@mgdgroup.co.uk.
Once again, many thanks for your purchase.........
The L2 audio team.
INTRODUCTION
This manual is designed to help you get the most out of your L2 audio PD1023 powered mixing
console. The PD1023 is a POWERED mixing desk. This means that the amplifiers are built in,
consequently an external power amplifier is not required. Although designed specifically as a live
sound mixer, the PD1023 can also be used in a studio environment.
The most common set up is a PD1023 connected to a pair of L2 audio passive (unpowered
speakers) such as the IM or TM range. If subs or bass bins are required it is advisable to use an
external amplification source that can be from the PD1023 This can be either in the form of
passive subs such as the L2 audio TS115’s with a power amplifier (L2 audio PA range) or powered
subs, such as the L2 audio TSP115’s. The PD1023 has a variety of built in vocal effects and a built
in graphic equalizer.
Please take time to read through this manual to familiarize yourself with all the functions that are
at your fingertips.
1. XLR input. This for connecting standard balanced low impedance microphones. 8 balanced
microphone leads can be plugged into the desk.
2. +48v switch. The +48v phantom power switch should be activated when connecting
condenser microphones or DI boxes that require phantom power to the desk. There are 2
+48v switches, one for inputs 1-3 and one for inputs 4-6.
3. ¼” Jack input (line). This is for connecting either balanced line level signals or unbalanced
jacks such as an instrument cable. Usually a DI box is required if you are connecting a guitar
to these inputs to boost the signal
4. Low cut 75Hz. (Channels 1-6 only) This prevents any frequencies below 75Hz from entering
the microphone mix. This helps prevent low rumble feedback that can sometimes occur.
5. Gain. This sets the level of the incoming microphone signal. The gain range is 10 – 60dB.
6. Peak. This lights up when the signal into the channel is peaking. It’s ok if it lights up from
time to time during certain dynamics. If it stays on then the gain on the channel should be
reduced.
7. High. This is used to cut or boost high or treble frequencies. When the potentiometer is at
12 0 clock, this is referred to as flat position meaning that high has neither been cut or
boosted
8. Mid sweep. This control works in conjunction with the mid frequency pot, adjusting or ‘fine
tuning’ the wide range of mid frequencies.
9. Mid. This works in the same way as the high pot but adjusts frequencies in the mid range
10. Low. This operates in the same way as the mid and high pot, boosting or cutting low (bass)
frequencies
11. Aux (Auxiliary). This pot controls the amount of signal that is coming into the Aux channel,
such as a monitor or fold back feed. Because it is routed before the channel fader (pre fade)
the monitor signal is not affected when the fader is adjusted. It is put into the mix via the
aux send input .
12. EFX. This controls the amount of built in vocal effect that is routed to the channel.
13. Pan. This adjusts the position of the signal between the left and right outputs. Short for
panoramic after early American movie sound engineers who would move the microphone
in a panoramic fashion when capturing sound for the old movies, as the cameraman moved
in the same panoramic fashion! (useless information but true!)
14. Mute. This isolates the channel from the mix. Ideal if specific microphone channels are not
being used for some time, for example.
15. PFL. Short for pre fade listen. When activated it enable you to listen to that one channel via
the headphones. For optimum channel performance, the LED’s should be registering at
around 0dB. If they are pushing into the red section consistently, the gain on the channel
should be reduced
16. Fader. This adjusts the mix of the individual channel and sends it to the main output. It
gives a precise fine control over the channel with easy to see level indicators. As a general
rule, try to keep the channel around 0dB or just below.
17. Line, L mono & R. (Channels 7&8, 9&10 only). As with channels 1-6, these 2 channels have
a ¼” jack line input which also serves as the mono channel in these 2 stereo channels. The
primary function of these inputs is for signal source that require a stereo feed, such as
Keyboard, Music playback, drum machine, etc.
18. Line -10dB. (Channels 7&8, 9&10 only) This reduces the gain of the channel by 10dB. Use
this facility if you are putting line level feeds such as playback, keyboards, etc into the
stereo channels.
19. Mic gain. (Channels 7&8, 9&10 only). This sets the level of the incoming microphone signal.
The gain range is 10 – 60dB.
20. Rec out/2 track in. This allows you to plug a music source (CD, MP3 player) into the mixer
without having to use up one of the main channels. Record out will allow you to record
onto a recording medium such as a CDR, MP player or mini disc.
21. Aux 1&2 returns. Used for returning external effects units, etc. If you are returning a mono
signal, the left return should be used. Can also be used as additional line inputs for drum
machines, etc.
22. DSP effects processor. Here you can choose any one of 16 preset digital effects by using
the rotary pot to select the desired effect.
23. EFX Send. This pot enable you to dial in the right amount of effects
24. EFX to main/EFX to aux. This enable you to dial a different amount of effects to the out
front mix and the aux when using as a fold back.
25. Aux returns 1&2. These control the level of the signal returning into the send and return
loop
26. 2 track in. This controls the level for the Playback in from CD, MP3, mini disc, etc.
27. Phones. This controls the signal level in of the headphones.
28. Stereo graphic equalizer. This allows you to cut or boost certain frequencies to help
enhance the mix. The middle of each graphic is your 0dB starting point. Frequencies tend to
be cut or ‘notched out’ more than boosted. Ideal if you are in a room which does not have
particularly good acoustics. You can use the graphic to cut certain frequencies that
sometimes tend to feedback. There are 7 frequency bands on each graphic, ranging from a
low 125Hz to a high 8KHz.
29. L&R master sliders. These control the main mix level to the left and right outputs.
30. Mono. This provides a mono signal output which could be used to drive a Powered Sub.
31. Aux. This controls the overall output of the auxiliary.
32. Aux send. This is used to connect to an input on a monitor or to send the signal if using an
external effects processor.
33. Eff send/foot sw. This is used to send the signal to aux2/efx if using an external effects
processor or is used to defeat the internal effects
34. L&R stereo out. These outputs are used if you wish to connect the mixer to an external
power amplifier. When these outputs are selected the internal power amps are by passed.
35. Phones. Used for headphone monitoring. Activating the PFL switch on the channels enables
you to listen to the isolated channel. Deactivation enables you to listen to the main mix.
36. Mono out. Used to connect to an external power source, such as a sub bass bin for
example.
37. Level display. These are 3 stage LED indicators. Their primary function is to show you the
main output levels of both left and right outputs. The number indicators are in decibels
(dB). When in the green or yellow zone, this indicates that the main output is not being
overdriven. (Likewise when in PFL mode, which is measuring the channel input). Always aim
for the output to not exceed 0DB for any length of time. Try to avoid the LED’s spending too
much time in the red zone. This could damage speakers.
38. Power amp select. This enables you to ‘bridge’ both internal amplifiers to give you a mono
sum. When bridge is used output connection should be made from the left output. Output
level will then be indicated by the left slider and meter.
39. Mains switch. This is to switch the mixer on. Please be sure that the master sliders are
down before switching on
40. AC Power connector. This is where the mains IEC plugs in. It also houses the internal AC
power fuse.
41. Outputs. These are the left and right or mono bridge outputs that connect to the speakers.
In normal stereo mode the left output should go to the left speaker and the right output to
the right speaker. Only use Bridge mono output if you wish to ‘bridge’ the internal
amplifiers together to run 1 speaker enclosure.
WARRANTY TERMS AND CONDITIONS
1. L2 Audio is exclusively distributed by the MGD group limited (hereinafter referred to as
‘MGD’)
2. MGD or any MGD authorised agent warrant that the products supplied are free from
defective material or workmanship. This warranty is for a period of one year from date of
purchase. (Exceptions are listed in points 6 & 7)
3. The product should be registered within 14 days of purchase. There is a dedicated on line
form at www.l2audio.co.uk/warranty. If you are not able to register online, please
contact MGD at the address below within 14 days of purchase.
4. Your warranty is a RTB (return to base) warranty. In the unlikely event that your product
needs to be returned, please initially contact your place of purchase to obtain a returns
advice number. We will however always try first to establish if the fault can be rectified
without returning the product.
5. Every effort must be made to retain the original packaging. Any return not in original
packaging is more susceptible to transit damage. Any subsequent claim may be invalidated
due to insufficient packaging. MGD is not liable for any goods sent back that are received
damaged.
6. The warranty does not apply to any misuse, modifications, accidental damage, wear and
tear, neglect or loss occurred during transit.
7. Mains leads and batteries (rechargeable or other) are not covered under this warranty.
Please refer to ‘Battery care’ section of this manual for further information.
8. Your statutory rights are not affected.
C/O MGD Group Ltd
11 Pentrich Road
Giltbrook Trade and Industrial Park
Nottingham NG16 2UZ
England
E&OE
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