User's Manual
16-CHANNEL COMPACT INTEGRATED
L-16
LIVE SOUND MIXER WITH DIGITAL EFFECTS
R
LTO
www.altoproaudio.com
Version 1.0 September 2003
English
SAFETY RELATED SYMBOLS
CAUTION
RISK OFELECTRICSHOCK
DO NOTOPEN
This symbol, wherever used, alerts you to the presence of un-insulated and dangerous voltages within the product enclosure. These are voltages that
may be sufficient to constitute the risk of electric
shock or death.
This symbol, wherever used, alerts you to important operating and maintenance instructions.
Please read.
Protective Ground Terminal
AC mains (Alternating Current)
Hazardous Live Terminal
ON: Denotes the product is turned on.
OFF: Denotes the product is turned off.
WARNING
Describes precautions that should be observed to
prevent the possibility of death or injury to the user.
CAUTION
Describes precautions that should be observed to
prevent damage to the product.
WARNING
Power Supply
Ensure that the mains source voltage (AC outlet) matches
the voltage rating of the product. Failure to do so could
result in damage to the product and possibly the user.
Unplug the product before electrical storms occur and
when unused for long periods of time to reduce the risk of
electric shock or fire.
External Connection
Always use proper ready-made insulated mains
cabling (power cord). Failure to do so could result
in shock/death or fire. If in doubt, seek advice from
a registered electrician.
the recommended fuse type as indicated in this manual.
Do not short-circuit the fuse holder. Before replacing the
fuse, make sure that the product is OFF and disconnected
from the AC outlet.
Protective Ground
Before turning the product ON, make sure that it is
connected to Ground. This is to prevent the risk of
electric shock.
Never cut internal or external Ground wires. Likewise,
never remove Ground wiring from the Protective Ground
Terminal.
Operating Conditions
Always install in accordance with the manufacturer's
instructions.
To avoid the risk of electric shock and damage, do not
subject this product to any liquid/rain or moisture. Do
not use this product when in close proximity to water.
Do not install this product near any direct heat source.
Do not block areas of ventilation. Failure to do so could
result in fire.
Keep product away from naked flames.
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions
Follow all instructions
Keep these instructions. Do not discard.
Heed all warnings.
Only use attachments/accessories specified by the
manufacturer.
Power Cord and Plug
Do not tamper with the power cord or plug. These are
designed for your safety.
Do not remove Ground connections!
If the plug does not fit your AC outlet seek advice from a
qualified electrician.
Protect the power cord and plug from any physical
stress to avoid risk of electric shock.
Do not place heavy objects on the power cord. This
could cause electric shock or fire.
Do Not Remove Any Covers
Within the product are areas where high voltages may
present. To reduce the risk of electric shock do not remove
any covers unless the AC mains power cord is removed.
Covers should be removed by qualified service
personnel only.
No user serviceable parts inside.
Fuse
To prevent fire and damage to the product, use only
Cleaning
When required, either blow off dust from the product or
use a dry cloth.
Do not use any solvents such as Benzol or Alcohol.
For safety, keep product clean and free from dust.
Servicing
Refer all servicing to qualified service personnel only. Do
not perform any servicing other than those instructions
contained within the User's Manual.
1
PREFACE
Dear Customer:
Thank you for choosing the LTO L-16 16-Channel Compact Integrated Live Sound Mixer with Digital Effects, which
is the result of our LTO AUDIO TEAM's endeavours.
For the LTO AUDIO TEAM, music and audio are more than a profession, it is a passion and an obsession!
We have, in fact, been designing professional audio products for a number of years in cooperation with many of the
world's major brands.
The LTO line represents unparalleled analogue and digital products made by musicians, for musicians. With our
design centres in Italy, the Netherlands, and the United Kingdom we provide you with world-class designs, while our
software development teams continue to develop an impressive range of audio specific algorithms.
By purchasing our LTO products you become the most important member of our LTO AUDIO TEAM. We would
like to share with you our passion for what we design and invite you to make suggestions, which will aid us in developing future products for you. We guarantee you our commitment for quality, continual research and development,
and of course the best prices.
The LTO L-16 is an extremely flexible, ultra-low noise 16-channel compact integrated live sound mixer with Digital
Effects, configured with 8 mono and 4 stereo input channels, each channel is equipped with a variety of key features
including a warm, natural sounding EQ, Peak LEDs and PAN/BAL control etc.. Besides, the L-16 is equipped with the
miraculous 24 bit digital stereo effect processor with 256 presets. Seeing is believing, let's meet the LTO L-16.
We would like to thank all the people who made the LTO L-16 16-Channel Compact Integrated Live Sound Mixer
with Digital Effects possible, especially to our designers and LTO staff. It is their passion for music and professional
audio that has made it possible for us to offer you, our most important team member, our continued support.
Thank you very much
LTO AUDIO TEAM
2
TABLE OF CONTENTS
1. INTRODUCTION...................................................................................................................................................4
2. FEATURES...........................................................................................................................................................5
3. READY TO START?...............................................................................................................................................6
4. CONTROL ELEMENTS.......................................................................................................................................7
4.1 The MONO MIC/LINE Channels..................................................................................................................8
4.2 INPUT LEVEL Setting..................................................................................................................................8
4.3 MONO Channel INSERT..............................................................................................................................8
4.4 LOW-CUT FILTER......................................................................................................................................8
4.5 STEREO INPUTS........................................................................................................................................9
4.6 EQUALISER.................................................................................................................................................9
4.7 AUX SENDS Level Control........................................................................................................................10
4.8 PAN/BAL Control........................................................................................................................................10
4.9 SG/PEAK LED............................................................................................................................................10
4.10 MUTE Switch..............................................................................................................................................10
4.11 FADER ......................................................................................................................................................11
4.12 ASSIGNMENT Control......................................................................................................... .....................11
4.13 MASTER Section .......................................................................................................................................11
4.14 REAR PANEL Description ..........................................................................................................................15
5. INSTALLATION AND CONNECTION.....................................................................................................................19
6. PRESET LIST........................................................................................................................................................22
7. SYSTEM BLOCK DIAGRAMS.............................................................................................................................29
8. TECHNICAL SPECIFICATION..............................................................................................................................30
9. WARRANTY..........................................................................................................................................................32
3
1. INTRODUCTION
Thank you very much for expressing your confidence in products by purchasing L-16 16 Channel CompactLTO LTO
Integrated Mixer with Digital Effects. The L-16 is a professional compact mixer. You will get the smooth, accurate more
natural and open sound from this apparatus, it is really ideal for large gigs, recording and fixed PA installations.
The L-16 16 Channel Compact Integrated Mixer with Digital Effects is packed with features that can not be found in other
consoles of its size: 10 mono (these are provided with Ultra Low Noise microphone pre-amplifiers and Phantom Power
at +48 Volt) and 4 stereo input channels, and each of them is provided with warm, natural EQ (channel1-8 are mono
channels and equipped with 3 band MID sweep EQ; channel 9-16 are stereo channels and equipped with 4 band fixed
frequency EQ); (16 presets 16 variations); 4-AUX sends; se-24 bits digital stereo effect processor with 256 presets
parate level control on each channel; highly accurate 12-segment bar graph meters; 2-Track inputs assignable to main
mix, control room / headphone outputs and subgroups output.
Your L-16 is very easy to operate but we advise you to go through each Section of this Manual carefully. In this way
you will get the best out of your L-16.
4
2. FEATURES
The L-16 16 Channel Compact Integrated Mixer with Digital Effects is designed for professional appliance. It will provide
the following features:
10 MIC input channels with gold plated XLRs and balanced LINE inputs
4 Stereo input channels with balanced TRS jacks
Ultra-low noise discrete Mic Preamps with +48V Phantom Power
Extremely high headroom offering more dynamic range
60mm high precision faders
Each input channel with Mute, SOLO function, Overload & signal present LEDs and low cut filters (except for stereo
channel)
SUB 1-2, SUB 3-4 and MAIN L-R signal assignment switch
4 AUX sends per channel: 2 PRE/POST faders switch-able for monitoring application and effects & sound processor
input; 2 POST faders for internal digital DFX or as external send
4-band fixed EQ on stereo line channels
3-band EQ with swept mid on microphone channels
Channel inserts and direct outputs on each mono channel plus main mix insert for flexible connection of outboard
equipment
24-bit DSP effect
256 effects (16 presets 16 variations)
Stereo 9-band graphic EQ
TNC socket for connecting lamp
Control room/phones matrix
2-TRACK IN assignable to main mix, control room/headphone outputs
Highly accurate 12 segment output level meters
5
3. READY TO START?
3.1 Please check the AC Voltage available in your Country before connecting your L-16 to the AC socket.
3.2 Be sure that the main power switch is turned off before connecting the Mixer to the AC socket. Also, you should
make sure that all Input and Output Controls are turned down. This will avoid damages to your speakers and avoid
excessive noise.
3.3 Before turning on the L-16 you shall connect it to a power amplifier and turn-on the mixer BEFORE the power amplifier.
Once you have finished your working session you shall turn the mixer off AFTER the power amplifier.
3.4 Before disconnecting the L-16 always turn-off the Power switch.
3.5 Do not use solvents to clean your L-16. A dry and clean cloth will be OK.
6
4. CONTROL ELEMENTS
L-16
R
LTO
16 CHANNEL COMPACT INTEGRATEDLIVE SOUND MIXER
B
A
LAMP
12V 0.5A
PHONES
LEFT
RIGHT
(MONO)
LINE IN 16
LINE IN 15
TAPE OUT
LEFT
RIGHT
2-TRACK IN/OUT
MIC 8
MIC 7
MIC 6
MIC 5
MIC 4
MIC 3
MIC 2
MIC 1
L
R
(MONO)
TAPE IN
LINE IN 13
LINE IN 14
LEFT
RIGHT
(MONO)
BAL/UNBAL
LINE IN 11
LINE IN 12
LEFT
RIGHT
(MONO)
BAL/UNBAL
LINE IN 9
LINE IN 10
BAL/UNBAL
INSERT
LINE IN 8
BAL/UNBAL
INSERT
LINE IN 7
BAL/UNBAL
INSERT
LINE IN 6
BAL/UNBAL
INSERT
LINEIN5
BAL/UNBAL
INSERT
LINE IN 4
BAL/UNBAL
INSERT
LINE IN 3
BAL/UNBAL
INSERT
LINE IN 2
BAL/UNBAL
INSERT
LINE IN 1
0
0
LINE
GAIN
0
LINE
GAIN
0
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
TRIM
PWR
VARIATIONS
PRESETS
0
AUX1
-+158-+15
8
-+15
EFFECTS OUT
15/16
+20
-20
13/14
+20
-20
MIC
60dB
75Hz
18dB/Oct
LOW CUT
0dB
MIC
60dB
75Hz
18dB/Oct
LOW CUT
0dB
MIC
LINE
8
60dB
-45dB
75Hz
18dB/Oct
LOW CUT
0dB
+15dB
MIC
LINE
60dB
-45dB
75Hz
18dB/Oct
LOW CUT
0dB
+15dB
MIC
LINE
60dB
-45dB
75Hz
18dB/Oct
LOW CUT
0dB
+15dB
MIC
LINE
60dB
-45dB
75Hz
18dB/Oct
LOW CUT
0dB
+15dB
MIC
LINE
60dB
-45dB
75Hz
18dB/Oct
LOW CUT
0dB
+15dB
MIC
LINE
60dB
-45dB
75Hz
18dB/Oct
LOW CUT
0dB
+15dB
MIC
LINE
60dB
-45dB
75Hz
18dB/Oct
LOW CUT
0dB
+15dB
MIC
LINE
60dB
-45dB
75Hz
18dB/Oct
LOW CUT
0dB
+15dB
PHANTOM
DSP MUTE
DFX2(INT) RETURNS
EFFECTS TO MONITOR
0
0
0
0
0
0
0
0
0
0
0
0
0
-5
+5
-10
+10
+15
16K
8K
4K
2K
1K
500
250
125
AUX2
8
63
+10
+15
HI
EQ
12kHz
HI-MID
+15+15
0
-15-15
HI
EQ
12kHz
HI-MID
+15+15
0
-15-15
HI
EQ
12kHz
HI-MID
+15+15
0
-15-15
HI
EQ
12kHz
HI-MID
+15+15
0
-15-15
HI
MID
EQ
12kHz
+15+15
0
-15-15
HI
MID
EQ
12kHz
+15+15
0
-15-15
HI
MID
EQ
12kHz
+15+15
0
-15-15
HI
MID
EQ
12kHz
+15+15
0
-15-15
HI
MID
EQ
12kHz
+15+15
0
-15-15
HI
MID
EQ
12kHz
+15+15
0
-15-15
HI
MID
EQ
12kHz
+15+15
0
-15-15
HI
MID
EQ
12kHz
+15+15
0
-15-15
-15
0
-5
+5
-10
-15
EQ OFF
EQ ON
3kHz
500Hz
MID-LOW
+15
+15
0
0
-15
-15
3kHz
500Hz
MID-LOW
+15
+15
0
0
-15
-15
3kHz
500Hz
MID-LOW
+15
+15
0
0
-15
-15
3kHz
500Hz
MID-LOW
+15
+15
0
0
-15
-15
FREQ
+15
8kHz
0
800
-15
100Hz
FREQ
+15
8kHz
0
800
-15
100Hz
FREQ
+15
8kHz
0
800
-15
100Hz
FREQ
+15
8kHz
0
800
-15
100Hz
FREQ
+15
8kHz
0
800
-15
100Hz
FREQ
+15
8kHz
0
800
-15
100Hz
FREQ
+15
8kHz
0
800
-15
100Hz
FREQ
+15
8kHz
0
800
-15
100Hz
MAX
MAX
8
8
PHONES
-
-
SUB 1-2
SUB 3-4
MAIN MIX
CTRL ROOM SOURCE
SEND1
SEND2
TOAUX
TOAUX
0
0
1
STEREO GRAPHIC EQ
0
1
STEREO AUX RETURNS
0
1
AUX SENDS
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
80Hz
LOW
AUX
+15+15
0
-15-15
1
8
-+158-+15
2
0
8
-+158-+15
2
SOLO
SOLO
0
-+158-+158-+158-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
POST
PRE
0
8
8
-+15
-+15
2
CTRL ROOM
2TK IN
0
0
0
0
0
0
0
0
0
0
0
0
0
0
10
CLIP
3
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
DFX1
(EXT)
3
4
2
0
7
SOLO
2TK TOMIX
AUX RETURNS
CTRL/R
MAIN MIX
SUB 1/2
0
-+158-+15
4
SOLO
SOLO
0
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
(INT)
DFX2
0
-+158-+15
4
-2
LEVEL SET
MAIN MIX
SUB 3/4
8
4-DFX2 RETURN
8
4 - DFX2 SEND
8
8
8
8
8
8
8
8
8
8
8
8
-4
BAL
BAL
BAL
BAL
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
R
LEVEL
-7
-20
-10
-30
SOLOACTIVE
L
OUTPUT
AFL
PFL
SOLO MODE
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
SUBGROUPS ASSIGNTO MAIN MIX
LEFT
RIGHT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
RIGHTLEFT
0
5
-5
10
dB
0
5
10
dB
0
5
10
dB
0
5
10
dB
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
MUTE
SUB 1-2
0
5
10
dB
-25
-20
-30
-40
-10
-5
-10
-5
-10
-5
-10
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
SUB 3-4
-5
-10
-60
-25
-30
-40
-60
-20
-25
-20
-30
-40
-60
-25
-20
-30
-40
-60
-25
-20
-30
-40
-60
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
MAIN L-R
-20
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
SOLO
-25
-30
-40
-60
7
4. CONTROL ELEMENTS
4.1 The MONO MIC/LINE Channels
1
These are Channel 1 through Channel 8. You can connect balanced, low impedance microphones to the XLR socket. On the 1/4" phone jack you can
connect either a microphone or a line level instrument. You shall never connect
an unbalanced microphone to the XLR socket if you do not want to damage
both the Microphone and the Mixer.
48 Volt phantom power
4
It is available only to the XLR Mic sockets. Never plug in a microphone when
phantom power is already on. Before turning phantom power on, make sure
that all faders are all the way down. In this way you will protect your Stage
Monitors and Main Loudspeakers.
4.2 INPUT LEVEL Setting
2
This Control is provided with 2 different indication rings: One is
for the Microphone and the other for the Line levels. When you
use a microphone you shall read the OUTSIDE ring (0~60 dB),
When you use a Line level instrument you shall read the INSIDE
ring (+15~-45 dB). For optimum operation you shall set this control
in a way that the peak LED will blink occasionally in order to avoid
distortion on the input channel.
MIC 1
LINE IN 1
INSERT
60dB
0dB
-45dB
+15dB
LOW CUT
75Hz
18dB/Oct
12
3
BAL/UNBAL
TRIM
1
MIC
LINE
1
3
2
5
4.3 MONO Channel INSERT
4.4 LOW-CUT FILTER
POWER
ON
OFF
5
PHANTOM
By pressing this button you will activate a 75 Hz low frequency filter with a slope of 18 dB per octave. You can use
this function to reduce hum and stage rumble when using microphones.
4
8
4.5 STEREO INPUTS
6
These are Channel 9 through 16. They are organised
in stereo pair (9/10 and 11/12 pairs also feature XLR
Mic inputs 9 and 10) and they are provided with 1/4"
TRS phone sockets.
MIC 10
12
3
If you connect only the left jack, the input will operate
in mono mode.
Your L-16 also provides the practical input level setting:
MIC GAIN (the adjustable range is from 0dB to 60dB)
for MIC 9/MIC 10 and LINE GAIN (the adjustable range is
from -20dB to +20dB) for LINE IN 13/14 and LINE IN 15/16.
4.6 EQUALISER
The mono input channels (channel 1- channel 8) are equipped
with 3 band MID sweep EQ: HI band, MID band and LOW band;
And the stereo channels (channel 9-channel 16) are equipped
with 4 band fixed frequency equalization: HI band, HI-MID band,
MID-LOW band and LOW band. All bands provide up to 15dB
of boost or cut.
4.6.1 HI
7
This is the Treble control. You can use it to get rid of high
frequency noises or to boost the sound of cymbals or the
high harmonics of the human voice. The gain range goes
from -15dB to +15dB with a center frequency of 12 kHz.
4.6.2 MID
8
This is the Midrange control. It provides 15dB of boost or
cut, flat at the center detent and the FREQ knob sets the
center frequency, the adjustable range is from 100Hz to
8kHz. It can affect most fundamental frequencies of all
musical instruments and human voice. An attentive use of
this control will give you a very wide panorama of sound
effects.
4.6.3 HI-MID
9
This control gives you up to 15dB boost or cut at 3kHz.
It is useful for controlling voice. It can accurately polish
your performance via adjusting this knob.
LINE IN 11
(MONO)
BAL/UNBAL
LINE IN 12
60dB0dB
0
7
+15+15
-15-15
0
+15
-15
8
800
8kHz
100Hz
0
+15+15-15-15
0
1
8
-+15
0
2
8
-+15
0
3
8
-+15
0
4
8
-+15
LEFT
RIGHT
LEFT
RIGHT
MIC
GAIN
10
MIC
EQ
HI
12kHz
MID
FREQ
LOW
80Hz
AUX
DFX1
(EXT)
DFX2
(INT)
PAN
POST
POST
PRE
LINE IN 13
LINE IN 14
0
+20-20
0
-15-15
0
0
0
0
1
8
-+15
0
2
8
-+15
0
3
8
-+15
0
4
8
-+15
LEFT
(MONO)
+15+15
+15-15
+15-15
+15+15-15-15
RIGHT
LEFT
RIGHT
LINE
GAIN
13/14
EQ
12kHz
HI-MID
3kHz
MID-LOW
500Hz
LOW
80Hz
AUX
DFX1
(EXT)
DFX2
(INT)
BAL
HI
POST
PRE
6
9
9
4.6.4 MID-LOW
10
This control gives you up to 15dB boost or cut at 500Hz.
4.6.5 LOW
11
This is the Bass control. Boost male voice or kickdrum and
bass guitar. Your system will sound much bigger than what
it is. The gain range goes from -15dB to +15dB and the center
frequency is 80 Hz.
4.7 AUX SENDS Level Control
12
These four controls are used to adjust the level of the signal sent
to AUX buses, and their adjustable range goes from - to +15dB.
-15-15
-15
100Hz
0
EQ
HI
12kHz
+15+15
0
MID
+15
800
FREQ
8kHz
0
LOW
80Hz
+15+15-15-15
0
EQ
HI
12kHz
+15+15
-15-15
0
HI-MID
3kHz
+15-15
0
MID-LOW
500Hz
+15-15
0
LOW
80Hz
+15+15-15-15
10
11
AUX1 and AUX2 can be switched to PRE/POST-FADER via the
PRE/POST button, so, generally, they can be used for monitor
application and effects & sound processors input.
AUX3 and AUX4 are configured as POST-Faders.
In this typical compact unit, excluding sending out directly to the
external effect or processor equipment, AUX SEND 4 can also be
assigned to the internal onboard effect module.
4.8 PAN/BAL Control
13
The PANORAMA control for MONO channels, and the BALANCE
control for STEREO channels. Rotate the control to determine the
amount of channel signal sent to left/right of MAIN MIX when Main
L-R push-button is pressed. Keep the control in center position
and your signal will be positioned in the middle of stage. Turn the
control fully counterclockwise, the signal will be present only on
the left of MAIN MIX and vice-versa.
Besides, the PAN or BAL control has the same affection to SUB
1-2 and SUB 3-4 if the SUB 1-2 or SUB 3-4 push-button is pressed.
4.9 SG/PEAK LED
14
Inside your L-16 the audio signal is monitored in several different
stages and then sent to the SG/PEAK LED. When the LED shows
green, it indicates that there present signal on corresponding
channel; When the LED turns into red, it warns you that you are
reaching signal saturation and possible distortion, then you should
reduce the input level for avoiding distortion.
8
-+15
0
2
8
-+15
0
3
8
-+15
0
4
8
-+15
DFX1
(EXT)
DFX2
(INT)
POST
POST
PRE
2
3
4
PAN
MUTE
SUB 1-2
SUB 3-4
MAIN L-R
SOLO
LEFT
10
dB
5
0
-5
-10
-20
-25
-30
-40
-60
LEFT
SG/PEAK
10
dB
5
0
-5
-10
-20
-25
-30
-40
-60
RIGHT
8 9/10
8
-+15
0
8
-+15
0
DFX1
(EXT)
8
-+15
0
DFX2
(INT)
8
-+15
BAL
RIGHT
SG/PEAK
MUTE
SUB 1-2
SUB 3-4
MAIN L-R
SOLO
POST
PRE
12
13
14
15
4.9 MUTE Switch
15
Each channel is equipped with the MUTE switch. Pressing this
switch is equal to turning the fader down, which can mute the
corresponding channel output except for the PRE AUX sends,
channel INSERT send and SOLO (in PFL mode), and the MUTE
LED will illuminate.
10
4.10 FADER
16
This Fader will adjust the overall level of this channel and set the
amount of signal sent to the Main output or the corresponding
subgroup output.
4.11ASSIGNMENT Control
17
Each channel provides four push-buttons: SUB1-2, SUB3-4, MAIN
L-R and SOLO.
Pressing the SOLO button, the corresponding SOLO LED will illuminate and the SOLO signal will replace other signals sent to the
headphone/CONTROL ROOM and meters.
Usually use the SOLO function in live work to preview channels
before they are let into the mix. It is useful to set an instrument's
input level and EQ, and you can also solo any channel that you
want to. The SOLO switch never affects any mix other than the
CONTROL ROOM.
The other three buttons can be considered as signal assignment
switches. Pressing the SUB 1-2 will assign the channel signal to
Subgroup1/2, you can depend on the PAN/BAL switch to adjust
the amount of channel signal sent to the SUB1 versus SUB2,
when turns the PAN/BAL to completely left, then the signal can be
only controlled by Subgroup1 and vice-versa.
SG/PEAK
MUTE
SUB 1-2
SUB 3-4
MAIN L-R
SOLO
10
dB
5
0
-5
-10
-20
-25
-30
-40
-60
10
dB
5
0
-5
-10
-20
-25
-30
-40
-60
8 9/10
SG/PEAK
MUTE
16
SUB 1-2
SUB 3-4
17
MAIN L-R
SOLO
In the same way, pressing the SUB 3-4 or MAIN L/R will assign the
channel signal to Subgroup3/4 or MAIN MIX L/R, and will also be
affected by PAN/BAL control.
4.12 MASTER Section
- CONTROL ROOM SOURCE
18
You can choose to monitor any combination
of MAIN MIX, SUB1-2, SUB 3-4 and 2TK
IN via these MATRIX switches. Engaging
these switches, these stereo signals will
be delivered to the PHONES, CONTROL
ROOM and METERS display.
Note: When any SOLO switch was engaged,
the SOLO signal will replace other signals,
and also be sent to the CONTROL ROOM,
PHONES and METERS.
- PHONES/CTRL ROOM
19
Rotate these knobs to adjust the stereo
level of CTRL ROOM and PHONES outputs
separately, which can be varied from - to
MAX.
AUX SENDS
0
1
8
-+15
0
2
8
-+15
0
3
8
-+15
0
4
8
-+15
4 - DFX2 SEND
LEFT LEFT
SUBGROUPS ASSIGN TO MAIN MIX
STEREO AUX RETURNS
SOLO
8
-+15
2
SOLO
8
-+15
3
SOLO
8
-+15
4
SOLO
8
-+15
4-DFX2 RETURN
18
00
11
TO AUX
SEND1
8
-+15
0
0
0
0
2
8
-+15
MAIN MIX
CTRL/R
SUB 1/2
SUB 3/4
LEFT LEFT
RIGHTRIGHTRIGHT RIGHT
TO AUX
SEND2
AUX RETURNS SOLO
MAIN MIX
CTRL ROOM SOURCE
MAIN MIX
SUB 1-2
SUB 3-4
2TK IN
2TK TO MIX
LEVEL SET
SOLO ACTIVE
SOLO MODE
PFL
AFL
8
-
PHONES
8
-
CTRL ROOM
CLIP
10
-2
-4
-7
-10
-20
-30
LR
OUTPUT
MAX
19
MAX
7
4
2
0
LEVEL
11
- Master AUX SENDS
20
The four switches are used to determine
the master AUX SEND levels, which can
be varied from - to +15dB.
When the external effect unit connected
to mixer has no input gain control, you can
get a further +15dB gain available form
these AUX SEND outputs.
As to the AUX4, it can also provide the
lovable level adjustment for the internal
effect signal.
- SOLO
21
The function of these SOLO buttons are
the same as the channel SOLO button,
they can also be affected by SOLO MODE
switch.
Press the SOLO button, the corresponding
AUX send will be routed to CTRL ROOM/
PHONES outputs and METERS display.
- Master STEREO AUX RETURNS
These four controls set the level of effects
that received from the stereo AUX RETURN
connectors, which can be varied from to +15dB. They are used to provide the
further gain for low level effects.
22
20
27
21 22
SOLO
SOLO
SOLO
SOLO
10
dB
5
0
-5
-10
-20
-25
-30
-40
-60
STEREO AUX RETURNS
00
8
-+15
0
2
8
-+15
0
3
8
-+15
0
4
8
-+15
4-DFX2 RETURN
LEFT LEFT
10
dB
5
0
-5
-10
-20
-25
-30
-40
-60
SUBGROUPS
11
2
SUB 1/2
SUB 3/4
AUX SENDS
0
1
8
-+15
0
2
8
-+15
0
3
8
-+15
0
4
8
-+15
4 - DFX2 SEND
LEFT LEFT
SUBGROUPS ASSIGN TO MAIN MIX
10
dB
5
0
-5
-10
-20
-25
-30
-40
-60
SUB1 SUB2 SUB3 SUB4
2324
TO AUX
SEND1
8
-+15
0
TO AUX
SEND2
8
-+15
MAIN MIX
CTRL/R
AUX RETURNS SOLO
MAIN MIX
RIGHTRIGHTRIGHT RIGHT
10
dB
5
0
-5
-10
-20
-25
-30
-40
-60
CTRL ROOM SOURCE
MAIN MIX
SUB 1-2
SUB 3-4
2TK IN
2TK TO MIX
LEVEL SET
SOLO ACTIVE
SOLO MODE
PFL
AFL
8
-
PHONES
8
-
CTRL ROOM
CLIP
10
-10
-20
-30
LR
OUTPUT
10
dB
5
0
-5
-10
-20
-25
-30
-40
-60
MAIN MIX
LEVEL
7
4
2
0
-2
-4
-7
MAX
MAX
31
26
30
25
LEVEL
32
- TO AUX SEND1/2
23
28 29
The both rotary knobs assign the AUX
RETURN signals to their respective AUX
SEND outputs: The TO AUX SEND1 assign
the signal from AUX RETURN1 to AUX
SEND1 bus, and TO AUX SEND2 assign
the signal from AUX RETURN2 to AUX
SEND2 bus.
The adjustable range goes from - to
+15dB.
- MAIN MIX / CTRL/R
24
AUX RETURN3 is equipped with the MAIN MIX / CTRL/R button. Release the button to send the stereo signal
from AUX RETURN3 to MAIN MIX buses; Engage the button, then the stereo signal will be sent to CTRL/R
output.
12
- SUB1-2/SUB3-4/MAIN MIX
These three buttons are configured for AUX RETURN4, they can be regarded as the signal assignment switches.
Engage the SUB1-2 button to assign the stereo signal from AUX RETURN4 to Submix1/2; in the same way,
SUB3-4 for Submix3/4, MAIN MIX for MAIN MIX buses.
25
- AUX RETURN SOLO
The function of AUX RETURN SOLO is like the channel SOLO button. Engaging it sends the signal from AUX
RETURN (1-4) to the CTRL OUT, PHONES outputs and METERS display. It can also be affected by SOLO
mode button, and the LED next the button will illuminate.
- SUBGROUPS ASSIGN TO MAIN MIX
Through these switches, you can operate the subgroup faders as a master control for assigning the subgroups
to MAIN MIX. Engage the LEFT switch to send the corresponding subgroup signal to MAIN MIX L, and the RIGHT
switch for MAIN MIX R. When engaging the both switches, the signal will be sent to L/R of MAIN MIX.
- SUBGROUPS
These faders are used to control the levels of signals sent to the SUBGROUPS OUT, the adjustable range is
from - to +10dB. Any channel that is assigned to the subgroups, not muted and not turned down will be assigned to the SUB OUTS.
- MAIN MIX LEVEL
This fader sets the amount of signal sent either to the Main Mix Output sockets or to the Tape Output.
28
26
27
29
- LED METER
The stereo 12 segments LED Meter will indicate the signal level sent to CTRL ROOM and PHONE outputs.
- 2TK TO MIX
Engaging this switch allows you to combine the 2 TRACK Output with the MAIN MIX. In other words, feeds the
2TRACK IN signals into MAIN L/R output.
- SOLO MODE
This button provides two modes: up for PFL (Pre-Fader-Listen) mode, and down for AFL (After-Fader-Listen) mode.
Engage the button, the soloed signal will output following the LEVEL control, otherwise, release the button will
output the soloed signal before the level control
Please note that the SOLO function can never affect the mix at main recording output, and also can't be affected
by channel's MUTE switch.
30
31
32
13
- 24 BIT DIGITAL EFFECTS
PRESETS
33
Adjust this knob to select the right effect you wish
to perform. There are total 16 options for you: several
kinds of reverb, mono and stereo delay, effects with
modulation, and versatile two-effect combination.
36
00
-+158-+15
EFFECTS OUT
EQ OFF
EQ ON
8
8
-+15
63
+15
+10
+5
0
-5
-10
-15
AUX1
AUX2
0
1
16
2
3
15
14
13
4
5
6
12
11
7
8
10
9
PRESETS
DFX2(INT) RETURN
EFFECTS TO MONITOR
500250125
STEREO GRAPHIC EQ
1K
15
14
13
12
11
1
16
8
10
9
VARIATIONS
DSP MUTE
2K
2
3
4
5
6
7
PWR
PEAK
PHANTOM
16K
8K4K
+15
+10
+5
0
-5
-10
-15
14
- 2-TRACK IN/OUT
43
TAPE IN
Use the Tape input if you wish to listen to your Mix from a Taper
Recorder or DAT. You can assign the signal coming from the
Taper Recorder either to a pair of studio monitor using the
Control Room assignment on the front panel or you can also
send the signal directly to the Main Mix.
TAPE OUT
These RCA jacks will route the main mix into a tape recorder.
2-TRACK IN/OUT
L
R
TAPE OUT
TAPE IN
43 44
LAMP
12V 0.5A
- LAMP
44
This lovable LAMP is very convenient for your operation, it is located in the top right corner of the front panel,
and provides the 12V socket that can drive any standard TNC-type lamp. Please use the customized gooseneck
lamps, the GL-SQ and GL-RO are both options.
PHONES
- PHONES
These sockets will send out the monitor signal to a pair of headphones.
45
45
4.12 REAR PANEL Description
- POWER ON/OFF switch
This switch is used to turn the Main Power ON and
46
46
4
OFF.
- PHANTOM ON/OFF switch
This switch will apply +48 Volt Phantom Power only
4
ON
PHANTOMPOWER
to the 10 XLR microphone inputs. Never connect
microphones when the Phantom Power is on already.
OFF
Apparaten skall anslutas
Use only with a 250V fuse
Use only with a 250V fuse
Use only with a 250V fuse
till jordat uttag nar den
- AC inlet with fuse holder
47
ansluts till ett natverk
Use it to connect your L-16 to the Main AC with the
supplied AC cord. Please check the Voltage available
in your Country and how the Voltage for your L-16
is configured before attempting to connect your L-16
RATED POWER CONSUMPTION: 65W
AC INPUT
EUROPE
210-240V 50Hz
Fuse:T500mAL
to the Main AC.
A
B
15
47
100-120V 60Hz
Fuse:T800mAL
USA / Canada
UK / Aust
240V 50Hz
Fuse:T500mAL
49
MAIN MIX OUTPUT (BAL/UNBAL)
+4dBu
-30dBu
MAIN INSERT
L
12
3
MAIN
OUTPUT
LEVEL
TIP SEND
RING RETURN
MONO
0
CTRL OUT DFX OUT
48
54
R
12
3
L
R
LL
50 5152
- MAIN MIX OUTPUT
This stereo output is supplied with both the XLR and 1/4" phone sockets and it is controlled by the Main Mix
Level.
- MAIN OUTPUT LEVEL
This button sets the main mix output level to match the input of the device that you are ready to connect. Engage
this button to reduce the output level from MAIN MIX OUTPUT by 30dBu, it used to match the semipro -30dBu
device, on the contrary, to match the professional +4dBu device.
48
49
8
-+15
(BAL/UNBAL)
RR
FOOT SWITCH
53
55
- MAIN INSERT
50
These two 1/4" phone sockets are stereo insert points and used to connect processors such as compressors,
equalisers etc.. When insert a external processor into the jack, the Main stereo signal will be taken out after the
EQ and returned into the MAIN MIX output before the MAIN MIX fader.
- MONO OUTPUT
51
This 1/4" phone socket is balanced/unbalanced mono mix output connector, it can be regarded as a sum output
of the left and right of MAIN MIX.
- MONO LEVEL
52
This knob sets the level of mono mix output signal, which can be varied from - to +15dB.
- CTRL OUT
53
These 1/4" phone sockets will be used to send the control room signal to the Studio Monitor speakers or a second set of PA.
- DFX OUT
54
This 1/4" phone socket is used to output the effect signal that comes from internal DSP module and the signal
can be controlled in level by EFFECTS OUT control.
- FOOTSWITCH
55
This 1/4" phone socket can be used to connect an external footswitch to turn on/off the onboard effect module.
16
56
AUX SENDS
1
1
2
AUX RETURNS
2
43
43
LL
RR
LL
RR
57
- AUX SENDS
These 1/4" phone sockets are used to send out the signal from the AUX Bus to external devices such as effects.
- AUX RETURNS
Use these stereo 1/4" phone sockets to return the sound of an effect unit to the Main Mix. You can also use
them as an extra auxiliary input.
56
57
CH8 CH7
1
1
SUBGROUPS OUT
2
2
SUBGROUPS INSERT
DIRECT OUTS (BAL/UNBAL)
CH6
CH5
43
43
58
CH2
CH1CH4 CH3
5960
17
- DIRECT OUTS
Each MONO MIC/LINE channel (CH1-CH8) is equipped the 1/4" phone socket for direct output. These jacks
are used to send the signal from the channel path to external device for recording function etc..
58
- SUBGROUPS OUT
These 1/4" phone sockets are used to connect the inputs of deck or available for a complicated PA live sound
system. You will find it is the best tool when you operate the SUBGROUPS OUT.
- SUBGROUPS INSERT
These 1/4" phone sockets are insert points. They are used to connect processors such as compressor, limiter,
EQ etc.. When insert external processor into these jacks, the subgroup stereo signal will be taken out, then
returned to before subgroups fader. Of course, these jacks used must be stereo (Tip Send/Ring Return).
59
60
18
5. INSTALLATIONAND CONNECTION
Ok, you have got to this point and you are now in the position to successfully operate your L-16. However, we advise
you to read carefully the following section to be the real Master of your own Mix. Not paying attention enough to the
input signal level, to the routing of the signal and the assignment of the signal will result in unwanted distortion, a
corrupted signal or no sound at all. So you should follow this procedure for every single channel:
Turn down all Input and Output Gain Controls.
Connect phantom powered microphones before switching on the +48Volt Phantom Power switch.
If you have a power amplifier connected to your L-16 set the Level of the amplifier at no more than 75%.
Now, set the CONTROL ROOM/PHONES level at no more than 50%. In this way you will be able to hear later
what you are doing connecting a pair of headphones or a pair of powered studio monitor speakers.
Position EQ controls on middle position.
Position panoramic (PAN) control on center position.
With a headphone or studio monitor speakers connected apply a Line Level input signal so that the PEAK LED
does not light up.
At this point increase the input gain so that the PEAK LED will blink occasionally. In this way you will maintain
good headroom and ideal dynamic range.
Now connect a microphone and ask the singer to sing loud into the microphone. Turn slowly the Gain Control
clockwise and have the PEAK LED blink only occasionally.
Now repeat the same sequence for all input channels. The Main LED Meter could move up into the red section.
In this case you can adjust the overall output level through the MAIN MIX control.
19
5.1 SOME FINAL TIPS ON WIRING CONFIGURATION
You can connect unbalanced equipment to balanced inputs and outputs. Simply follow these schematics.
Strain Clamp
Strain Clamp
Sleeve
Tip
Ring
Sleeve=Ground/Screen
Use for Headphone
Ring=Right Signal
1/4" Stereo (TRS) Jack Plug
Sleeve
Tip
Sleeve=Ground/Screen
Use for Mono Line In, Mono 1/4"Jack Plugs
1/4" Mono (TS) Jack Plug
Tip=Left Signal
Tip=Signal
Strain Clamp
2
2=Hot(+)
3=Cold(-)
Use for Balanced Mic Inputs
(For unbalanced use, connect pin 1 to 3)
1
3
Sleeve
Tip
Ring
Sleeve=Ground/Screen
Use for Insert Points
Ring=Return Signal
1/4" Stereo (TRS) Jack Plug
1=Ground/Screen
2=Hot(+)
(For unbalanced use, leave pin 3 unconnected)
Tip=Send Signal
2
1
3
3=Cold(-)
Use for Main output
1=Ground/Screen
3-pin XLR Male Plug
(seen from soldering side)
3-pin XLR Line Socket
(seen from soldering side)
20
Ring=Return Signal (Connected together)
Sleeve=Ground/Screen
Tip=Signal
Sleeve=Ground/Screen
'Tapped' Connection Direct Output Lead
(Enables the Insert to be used as a Direct Output
while maintaining the channel signal flow)
To Channel Insert
To Tape or FX Input
To Processor Input
Sleeve=Ground/Screen
Tip
Tip=Send Signal
To Channel Insert
Sleeve
Ring
Ring=Return Signal
To Processor Output
-Stereo lead for insert Connection
(To be used when the processor does not employ a
single jack connection for the In/Out Connections)
21
6. PRESET LIST
01. VOCAL1
No
10
12
13
14
15
16
02. VOCAL2
No
10
12
13
14
15
16
11
11
Pre-delay
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
84 1.00
30
0 4.50 10
55
10 1.20 9
79
45
45
25
0
45
114
40
50
45
55
Pre-delay
114
45
79
10
55
0
30
84
55
45
50
40
114
45
0
25
Rev Time
1.00 8
3.60
3.60
0.8
1.50
2.40
0.90
1.50
1.00
1.00
2.10
4.50
1.70
Rev Time
1.00
0.80
3.60
1.20
3.60
4.50
1.00
1.00
1.70
4.50
2.10
1.00
1.00
1.50
0.90
2.40
Room Size
39
11
8
41
41
9
41
10
45
9
10
11
Room Size
10
41
8
9
11
10
8
39
11
41
9
45
10
41
41
9
Rev. Type
Hall
Tape
Spring
Plate
Spring
Hall
Plate
Plate
Spring
Tape
Plate
Hall
Spring
Tape
Plate
Plate
Rev. Type
Spring
Plate
Hall
Spring
Plate
Spring
Tape
Hall
Plate
Plate
Tape
Spring
Hall
Plate
Tape
Spring
Hi Damp
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
Hi Damp
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
03. LARGE HALL
No
1
2
3
4
5
6
7
8
Pre-delay
55
55
40
40
50
50
27
27
Rev Time
5.40
5.40
5.40
5.40
4.50
4.50
4.50
4.50
22
Room Size
45
45
35
35
43
43
33
33
Hi Damp
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
Rev level
79
79
78
78
82
82
82
82
9
10
11
12
13
14
15
16
04. SMALL HALL
50
50
27
27
45
45
23
23
4.00
4.00
4.00
4.00
3.60
3.60
3.60
3.60
42
42
32
32
41
41
30
30
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
82
82
82
82
88
88
88
88
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
05. LARGE ROOM
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Pre-delay
45
45
23
23
40
40
20
20
40
40
20
20
40
40
20
20
Pre-delay
55
55
40
40
50
50
27
27
50
50
27
27
45
45
23
23
Rev Time
2.90
2.90
2.90
2.90
2.10
2.10
2.10
2.10
1.50
1.50
1.50
1.50
1.00
1.00
1.00
1.00
Rev Time
4.50
4.50
4.50
4.50
4.00
4.00
4.00
4.00
3.60
3.60
3.60
3.60
2.90
2.90
2.90
2.90
Room Size
39
39
28
28
38
38
27
27
37
37
26
26
36
36
25
25
Room Size
20
20
11
11
19
19
11
11
18
18
10
10
18
18
10
10
Hi Damp
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
Hi Damp
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
Rev level
92
92
92
92
100
100
100
100
100
100
100
100
100
100
100
100
Rev level
82
82
82
82
82
82
82
82
88
88
88
88
88
88
88
88
23
06. SMALL ROOM
07. PLATE
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Pre-delay
45
45
23
23
40
40
20
20
40
40
20
20
40
40
20
20
Pre-delay
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
Rev Time
2.10
2.10
2.10
2.10
1.50
1.50
1.50
1.50
1.00
1.00
1.00
1.00
0.70
0.70
0.70
0.70
Rev Time
6.10
5.40
4.50
4.00
3.60
2.90
2.40
2.10
1.70
1.50
1.30
1.20
1.00
0.80
0.70
0.60
Room Size
17
17
9
9
17
17
9
9
16
16
8
8
16
16
8
8
Room Size
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
Hi Damp
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
Hi Damp
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
-2.08
Rev level
92
92
92
92
100
100
100
100
100
100
100
100
100
100
100
100
08. TAPE REVERB
No
1
2
3
4
5
6
7
8
Pre-delay
84
84
84
84
84
84
84
84
Rev Time
5.4
5.4
4.50
4.50
4
4
3.60
3.60
24
Room Size
38
38
35
35
31
31
28
28
Hi Damp
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
Rev level
79
79
79
79
84
84
84
84
9
10
11
12
13
14
15
16
09. SPRING REVERB
0
0
0
0
0
0
0
0
3.60
3.60
2.90
2.90
2.10
2.10
1.30
1.30
23
23
23
23
21
21
21
21
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
92
92
92
92
100
100
100
100
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
10. MONO DELAY
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Pre-delay
35
35
30
30
30
30
30
84
0
0
0
0
0
0
0
0
Delay
650
625
600
577
555
535
517
500
484
461
448
434
350
250
100
60
Rev Time
5.4
5.4
4.50
4.50
4
4
3.60
3.60
2.90
2.90
2.40
2.40
1.70
1.70
1.30
1.30
F.B.
60
60
60
60
60
60
60
60
60
60
60
60
60
65
0
0
Room Size
35
35
33
33
30
30
28
28
22
22
22
22
22
22
22
22
Hi Damp
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
-0.96
-12.00
Rev level
79
79
79
79
87
87
87
87
92
92
100
100
100
100
100
100
25
11. STEREO DELAY
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
12. FLANGER
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Delay
400
375
352
326
312
300
288
277
267
258
250
241
238
230
222
214
Mod. Freq
2.79
2.52
2.33
2.25
2.10
1.99
1.75
1.61
1.34
1.22
1.00
0.80
0.65
0.54
0.42
0.16
Right Delay
200
187
176
163
156
150
144
138
133
129
125
120
119
115
111
107
Pitch. Depth
30
40
40
40
40
40
40
50
50
70
70
70
70
70
70
70
Left F.B.
51
51
40
40
40
40
40
40
30
38
37
36
36
37
38
37
Left F.B.
38
42
38
38
42
38
42
38
42
58
62
62
58
68
68
68
Right F.B.
72
72
72
72
72
72
66
66
66
73
73
73
73
74
73
73
Right F.B.
42
38
42
42
38
42
38
42
38
62
58
58
62
72
72
72
13. CHORUS
No
1
2
3
4
5
6
7
8
9
10
Mod. Freq.
5.00
4.74
4.39
4.12
3.90
3.67
3.32
3.02
2.87
2.63
Pitch. Depth
15
15
15
15
30
30
30
30
30
40
26
IHFR
-3(0)
-4(0)
-4(0)
-4(0)
-4(0)
-4(0)
-4(0)
-4(0)
-4(0)
-4(0)
11
12
13
14
15
16
14. REVERB+DELAY
2.33
1.99
1.70
1.35
1.00
0.50
40
40
40
40
70
70
-3(0)
-3(0)
-3(0)
-2(0)
-2(0)
-2(0)
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Rev Time
2.90
2.90
2.90
2.90
2.40
2.40
2.40
2.40
2.10
2.10
1.50
1.50
1.50
1.50
1.00
1.00
15. REVERB+FLANGER
No
Rev Time
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
2.90
2.90
2.90
2.90
2.90
2.90
2.90
2.90
1.50
1.50
1.50
1.50
1.50
1.50
1.00
1.00
Room Size
39
39
39
39
39
39
39
39
26
26
26
26
26
26
26
26
Room Size
39
39
39
39
39
39
39
39
26
26
26
26
26
26
26
26
Left Delay
375
326
300
277
258
241
230
211
375
326
300
277
258
241
230
211
Mod. Freq.
Right Delay
2.52
2.25
1.99
1.61
1.22
0.80
0.54
0.16
2.52
2.25
1.99
1.61
1.22
0.80
0.54
0.16
187
163
150
138
129
120
115
107
187
163
150
138
129
120
115
107
Pitch. Depth
Left F.B.
40
40
40
50
70
70
70
70
40
40
40
50
70
70
70
70
48
28
28
28
28
28
28
28
48
28
28
28
28
28
28
28
Right F.B.
82
67
67
67
60
49
49
49
82
67
67
67
60
49
49
49
Left F.B.
40
40
40
40
60
60
70
70
40
40
40
40
60
60
70
70
Rev level
80%
80%
80%
80%
80%
80%
80%
80%
90%
90%
90%
90%
90%
90%
90%
90%
Rev level
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
27
16. REVERB+CHORUS
No
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Rev Time
2.90
2.90
2.90
2.90
2.90
2.90
2.90
2.90
1.50
1.50
1.50
1.50
1.50
1.50
1.00
1.00
Room Size
39
39
39
39
39
39
39
39
26
26
26
26
26
26
26
26
Mod. Freq.
4.74
4.12
3.67
3.02
2.63
1.99
1.35
0.50
4.74
4.12
3.67
3.02
2.63
1.99
1.35
0.50
Pitch. Depth
40
40
40
40
40
40
70
70
40
40
40
40
40
40
70
70
Left F.B.
100
100
100
100
100
100
100
100
100
100
100
100
100
100
100
100
Rev level
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
90%
28
7. SYSTEM BLOCK DIAGRAMS
PHONES
A
12
11
10
LEVEL
9
8
D
12
11
MAIN OUT
213
R
S
T
10
9
MIX
EL
LEV
8
MAIN
T
RIGH
LEFT
MIX
MAIN
MAIN MIX
213
R
S
T
C
T
LEFT
RIGH
TAPE OUT
2TK
TAPE IN
B
B
PHONE
R
S
T
LEFTMETER
RIGHTMETER
7
T-BUS
LINE IN TRIM:+15dB~-45dB
-BUS
LEFT
RIGH
T-BUS
-BUS
RIGH
AFL-L
AFL-R
SOLO(PFL)
AUX2
AUX1
AUX1
AUX2
ON
T
SOLO
()
PRE
POS
z
OL
75H
SG/
HI PASS
AFL-R
AFL-L
SOLO(PFL)
ON
SOLO
()
ANCE
BAL
FADER
12K
EQ
500
+/-15db
4-BAND
80
-
-
+
+
(CH9-16)
LEFT
EL
LEV
-
-
+
+
TO CH1
CHANNELS
S
IDENTICAL
CH2-CH8
S
T
T
RN
RN
TN
TN
R
R
3c5e1a4d2b
3c5e1a4d2b
INPUT
T
STEREO
MONO)
RIGH
LEFT(
R
3c5e1a4d2b
AUX RTN1
STEREO
S
T
T
RN
RN
TN
TN
R
3c5e1a4d2b
AUX1
PAN
FADER
+48V
POWER
AUX4
T-BUS
-BUS
RIGH
LEFT
12K
EQ
100Hz-8kHz80
+/-15db
3-BAND
+
-
213
CH1
CH1
MIC GAIN:0~60dB
EFXSEND
SOLO(PFL)
AFL-R
AFL-L
AUX2
AUX1
6
RIGHT-BUS
LEFT-BUS
5
4
HI
(FREQ)
LO
3
GAIN
2
NTOM
PHA
1
2TK
S
AFL L
SOLO(PFL)
AFL R
DFXSEND
SOLO(PFL)
AFL-R
AFL-L
AUX2
AUX1
RIGHT-BUS
LEFT-BUS
7
6
5
4
3
2
1
D
C
B
A
29
8. TECHNICAL SPECIFICATION
Mono input channels
Microphone input
Frequency response
Distortion (THD & N)
Gain range 0dB to 60dB (MIC)
SNR (Signal to Noise Ratio)
Line input
Frequency response
Distortion (THD & N)
Sensitivity range
Stereo input channels
Line input
Frequency response
Distortion (THD & N)
Impedances
Microphone input
Channel Insert return
All other inputs
Tape out
All other output
Equalization
Hi shelving
Mid bell (mono)
Hi Mid (stereo)
Mid low (stereo)
Low shelving
Low Cut filter
DSP Section
A/D and D/A converters
DSP resolution
Type of effects
Presets
Controls
Main Mix Section
Noise (Bus noise) Fader 0 dB, channels muted: 100dBr (ref.:+4dBu)
Max output
AUX Returns gain range
AUX Sends max out
electronically balanced, discrete input configuration
10Hz to 55kHz, + 3dB
0.005% at 4dBu, 1kHz+
115dB
electronically balanced
10Hz to 55kHz, 3dB
0.005% at 4dBu, 1kHz+
15dBu to 45dBu
+
Balanced/unbalanced
10Hz to 55kHz, 3dB
0.005% at +4dBu, 1kHz
1.4kOhm
2.5kOhm
10kOhm or greater
1kOhm
120Ohm
15dB @12kHz
+
+
15dB @100Hz to 8kHz
+
15dB @ 3kHz
15dB @500Hz
+
15dB @80Hz
+
75Hz, 18dB/oct.
24 bit
24 bit
Hall, Room, Vocal & Plate REVERBS
Mono & Stereo DELAY (max DELAY TIME 650ms)
Chorus, Flanger & Reverb MODULATIONS
REVERB+DELAY, REVERB+CHORUS,
REVERB+FLANGER combinations
256
16-position PRESET Selector
16-position VARIATION selector
PEAK LED
MUTE SWITCH with LED indicator
Fader 0dB, all input channels assigned and set to
UNITY gain: 90dBr (ref.:+4dBu)
+22dBu balanced XLR,
22dBu unbalanced, 1/4" jacks+
- to +15dB
+22dBu
+
+
30
Power supply
Physical
Main voltage
Power Consumption
Fuse
Main connection
Dimension (W D H)
Net weight
USA/Canada 100 120V~, 60Hz
Europe 210 240V~, 50Hz
U.K./Australia 240V~, 50Hz
65 watts
100 120V~ : T800mAL
210 240V~ : T500mAL
Standard IEC receptacle
495mm 495mm 38/117mm
(19.48" 19.48" 1.50"/4.58")
7.8Kg (17.21lb)
31
9. WARRANTY
1. WARRANTYREGISTRATION CARD
To obtain Warranty Service, the buyer should first fill out and return the enclosed Warranty Registration Card within
10 days of the Purchase Date.
All the information presented in this Warranty Registration Card gives the manufacturer a better understanding of
the sales status, so as to purport a more effective and efficient after-sales warranty service.
Please fill out all the information carefully and genuinely, miswriting or absence of this card will void your warranty
service.
2. RETURN NOTICE
2.1 In case of return for any warranty service, please make sure that the product is well packed in its original shipping
carton, and it can protect your unit from any other extra damage.
2.2 Please provide a copy of your sales receipt or other proof of purchase with the returned machine, and give detail
information about your return address and contact telephone number.
2.3 A brief description of the defect will be appreciated.
2.4 Please prepay all the costs involved in the return shipping, handling and insurance.
3. TERMS AND CONDITIONS
3.1 warrants that this product will be free from any defects in materials and/or workmanship for a period
LTO
of 1 year from the purchase date if you have completed the Warranty Registration Card in time.
3.2 The warranty service is only available to the original consumer, who purchased this product directly from the
retail dealer, and it can not be transferred.
3.3 During the warranty service, may repair or replace this product at its own option at no charge to you for
LTO
parts or for labor in accordance with the right side of this limited warranty.
3.4 This warranty does not apply to the damages to this product that occurred as the following conditions:
Instead of operating in accordance with the user's manual thoroughly, any abuse or misuse of this product.
Normal tear and wear.
The product has been altered or modified in any way.
Damage which may have been caused either directly or indirectly by another product / force / etc.
Abnormal service or repairing by anyone other than the qualified personnel or technician.
And in such cases, all the expenses will be charged to the buyer.
3.5 In no event shall be liable for any incidental or consequential damages. Some states do not allow the exclu-
LTO
sion or limitation of incidental or consequential damages, so the above exclusion or limitation may not apply to you.
3.6 This warranty gives you the specific rights, and these rights are compatible with the state laws, you may also
have other statutory rights that may vary from state to state.
32
SEIKAKU TECHNICAL GROUP LIMITED
No. 1, Lane 17, Sec. 2, Han Shi W. Road, Taichung, 401 Taiwan
http://www.altomobile.com Tel: 886-4-22313737
email: info@altomobile.com Fax: 886-4-22346757
All rights reserved to ALTO Mobile. Due to continued development in response to
customer feedback, product features, specifications and/or internal/external design may be
changed without prior notice. No photocopying, translation or reproduction of any part of this user
manual is allowed without prior written permission.Copyright 2004 Seikaku Technical Group Limited.
c
NF01493-1.0
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