Toa RXA-212, RXA-216 Operating Instructions Manual

Operating Instruction Manual

TOA POWERED CONSOLE

Model RXA-212, RXA-216

RXA-216

RXA-212

TOA ELECTRIC CO., LTD.

KOBE, JAPAN

Contents

General

Features

Front

Front

Description

.........................................

...................................................

Panel,

Panel,

Input

Section

Output

...................................

Section

..................................

2

2

3

4

Meter Panel (RXA-212, RXA-216) ........................... 5

Rear Panel, (RXA-212) ........................................ 6

Rear Panel, (RXA-216) ........................................ 7

Connection

Connection

Connection

Signal

Caution

Example

Example

Example

Flow

on

Installation

(RXA-212)

(RXA-216)

(RXA-216)

..............................

..............................

..............................

................................................

......................................

8

9

10

11

11

How to get a good mixing..................................... 12

Channel and Graphic EQ's application ...................... 13~14

General

Input & Output

Characteristic

Block Diagram.............................................. 17

Level

Dimensional Diagrams....................................... 18

Precautions

1. Power Switch

The power switch should be on after all connections have been completed.

2. XLR (Cannon) Connectors

The connectors are wired in the following manner: Pin 1 is ground (shield); pin 2 is
cold (low, minus); pin 3 is hot (high, plus).

Specification

Diagrams

Diagram

..............................................

(RXA-212;

Specifications

.....................................

RXA-216)

....................

................................

14

15

16

18

3. Description of components and functions on the RXA-212 and RXA-216.

In our Operating and Instruction Manual explanation of components and functions
is made according to our usage for them.

- 1 -

General Description

The RXA-212 is a self-powered console with 12 input channels, 2 program outputs, 2
foldback outputs, 1 echo output, and 2 built-in power amplifiers of 120 watts each into
8 ohms. The RXA-216 is a self-powered console with 16 input channels, 2 program

outputs, 2 foldback outputs, 1 echo output, and 4 built-in power amplifiers of 120

watts each into 8 ohms. Each input channel has a balanced, low impedance,

transformer-isolated, XLR connector, and a high impedance, unbalanced, 1/4" jack.
An input level switch and trim control on each input channel are provided to permit

optimum gain settings. A four-band equalizer is included on each input channel. A

peak indicator LED on each input detects excessive inputs and helps avoid clipping. A

pan control on each input channel assigns the fader output signal of the channel to
program L and R. A cue switch on each input channel, stereo input, aux-echo input,
program output, foldback output and echo send allows monitoring the respective, pre­fader (pre-volume) signals through the phones output. All faders are log-linear type

with 60mm travel. Two additional stereo inputs are used to connect stereo playback
decks, disk players and other auxiliary equipment. Two independent foldback

outputs are included, (pre-fader, pre-EQ) signals. An analog, electronic echo is built
in, but can be bypassed (via Echo Send/Return) for external delay, reverb or special

effects. Dual Graphic Equalizers (1/1 octave, 9 bands) are switchable to program

outputs, foldback outputs, or "off". A fluorescent bargraph peak meter (2-color,
vertical type) monitors the outputs of program L and R, and foldback 1 and 2. Each

power amplifier is switchable to either program or foldback outputs or can be

connected to external input sources. The RXA-212 and 216 are designed for use in

professional sound reinforcement systems, and provide the versatility necessary to

meet a wide range of requirements. The high performance and modular construction

assures reliability, easy maintenance, and serviceability.

Features

1. 2 built-in power amplifiers of 120 watts each into 8 ohms (RXA-212). 4 built-in
power amplifiers of 120 watts each into 8 ohms (RXA-216).

2. Internal power amplifiers may be used for either program outputs or foldback
outputs, or can be used independently with external sources.

3. Balanced, low impedance, (transformer-isolated) XLR connector plus unbalanced

high impedance 1/4 inch jack, on each input channel.

4. Input level switch and trim control on each input channel.

5. Peak indicator LED on each input channel.

6. Four-band equalizer on each input channel.

7. Cue switch on each input channel, stereo input, AUX echo input, program output,
foldback output and echo send for permitting monitoring the respective pre-fader

(pre-volume) signals through the phones output.

8. All faders are log-linear type with 60mm travel.

9. Two additional, stereo inputs for connecting stereo playback decks, disk players
and other auxiliary equipment.

10. Built-in, electronic analog echo unit.

11. Dual graphic equalizers (1/1 octave, 9 bands) are switchable to either the program

or foldback outputs.

12. Fluorescent bargraph peak meters for monitoring the program L and R, and

foldback 1 and 2.

- 2 -

Front Panel, Input Section (RXA-212, RXA-216)

Peak Indicator

The peak indicator lights if clipping occurs in the pre-amp stage of the corresponding input
channel. When the light comes on, an adjustment must be made with the Input Level Selector
Switch and/or the Input Trim control.

Input Level Selector Switch (INPUT)

Selection is made in accordance with the output of the microphone or other equipment

connected to each input channel (XLR connector and phone jack). (-20, -40 and -60) dB

indicates the input sensitivity of the XLR connector input when the trim control is set at the "0"

position. The "UN-BAL" position permits using the phone jack input. The unbalanced input

sensitivity is -30dB when the trim control is set at the "0" position.

Input Trim Control (TRIM)

The input trim varies the gain of the pre-amplifier stage of each input channel, providing a
continuously variable control of gain in the range of 0 to -30dB from the input level switch
position. For instance, with the input level selector switch set at -60dB, the variable range is

between -60dB and -30dB.

High Equalizer Control (HIGH EQ)

The high control in each input channel alters the frequency response of the channel input,

allowing a variety of high frequency characteristics. The high control provides ±15dB of

continuously variable shelving equalization at 10kHz, having fla t audio response at the

detented "0" position.

High-Mid Equalizer Control (HI-MID EQ)

The high-mid control provides ±15dB of continuously variable peaking equalization at 3kHz.
The detented "0" position is flat.

Low-Mid Equalizer Control (LOW MID EQ)

The low-mid control provides ±15dB of continuously variable peaking equalization at 300Hz,

having flat audio response at the detented "0" position.

Low Equalizer Control (LOW EQ)

The low control provides ±15dB of continuously variable shelving equalization at 100Hz,

having flat audio response at the detented "0" position.

Foldback Control 1 (FB 1)

The Foldback 1 control assigns the pre-equalizer, pre-fader input signal to the foldback 1
mixing bus. This control is used to route the input signal to stage monitor systems.

Foldback Control 2 (FB 2)

The Foldback 2 control assigns the pre-equalizer, pre-fader signal to the foldback 2 mixing

bus.

Echo Control (ECHO)

The echo control assigns the post-equalizer, post-fader signal to the echo bus.

Pan Pot

This control assigns the fader output signal of the channel to the Program L, R mixing busses.

At the center position, the pan pot routes the signal equally to the L and R mixing busses.

Panning from one side to the other gradually assigns the input signal to either the Program L or

R mixing busses exclusively.

(PAN)

Writing Block

The name of the input equipment or microphone setting can be written in with an eraseable
felt pen or a wax pencil.

Input Fader

The fader provides continuously variable adjustment of the channel's output to the program L
and R mixing busses, and to the echo mixing bus. The nominal level is at the "0" position, with

the fader retaining a 6dB margin.

Cue Switch (CUE)

The cue switch is for monitoring the post-EQ, pre-fader signal in each input channel through
headphones. The switch is a "push-on push-off" type. When more than two switches are "on",

the signals are combined.

- 3 -

Front Panel, Output Section (RXA-212, RXA-216)

FB 1 Volume Control (FB1)

This control attenuates the echo-

return signals from the built-in echo

or an external echo unit and assigns

them to the FB 1 mixing bus.

FB 2 Volume Control (FB2)

This control attenuates the echo­return signals from the built-in echo
or an external echo unit and assigns

them to the FB 2 mixing bus.

Stereo Input Switches (INPUT)

Each switch has two positions, aux
and phono. The aux position accepts

line level signals such as tape

recorders. The phono position

provides direct input and RIAA

equalization for a turntable.

FB 1 Volume Control (FB1)

This control attenuates the stereo
input signals, mixes them to a
monaural signal, and assigns them

to the FB 1 mixing bus.

FB2 Volume Control (FB2)

This control attenuates the stereo
input signals, mixes them to a
monaural signal, and assigns them

to the FB 2 mixing bus.

Balance Control (BALANCE)

This control adjusts the level
balance of the stereo input signals
fed to the program L & R mixing
busses.

The name of the input equipment
can be written in with an eraseable
felt pen or a wax pencil.

Stereo Input Volume Controls

These controls adjust the level of the
stereo in 1 and 2 signals to be fed to
the program L and R mixing busses.

The cue switch is for monitoring the
pre-fader signal in each stereo input

channel through headphone. This

feature is useful for cueing the start

of a tape or record.

The name of the input equipment or
microphone setting can be written in

with an eraseable felt pen or a wax

pencil,

The program faders control the

overall signal level of the program

mixes which are fed to the program
L & R outputs, and thus the output

level of the assigned internal power

amplifier.

The cue sw itch is for monitoring the
pre-fader program signals through
headphone. This is useful for
independent audition of the

(STEREO 1, STEREO 2)

Program Fader L and R

Writing Block

Cue Switch (CUE)

Writing Block

(PGM

L, PGM R)

Cue Switches (CUE)

program mixes.

Echo Time Control (T1 DELAY)

This control permits continuously
variable adjustment of the echo time

in either short or long ranges. The

short range is from 14m to 40m

seconds; the long range is from 40m

to 140m seconds.

Echo Time Switch

The switch changes the echo time to
either the short or the long range.

(SHORT, LONG)

Regeneration Control (T2 REGEN)

The T2 control is provided to adjust

the echo pattern (number of repeats)

of the internal analog delay.

Headphone Jack

The headphone jack will accept any
stereo headphone with 8 ohms
impedance, or higher.

Phones Level Control (PHONES)

The phones level control adjusts

both the program L and R signals fed
to the phones output and permits
stereo monitoring when th e cue
switch is off. When the cue switch is
on, the control adjusts the corres­ponding cue signal. When tw o or
more of the cue switches are on, the
control adjusts the corresponding
combined cue signals.

Pan Pot

(PAN)

The pan pot control assigns the
signals from the built-in echo or
external echo unit to the program L

and R.

Echo Return Volume Control

(ECHO RETURN)

This control sets the signal level
from the built-in echo or from an

external echo unit and sends it

(through the pan control) to the pro-

gram L and R.

Echo Send Volume Control

(ECHO SEND)

This control is provided to adjust
the overall signal level of the echo
mix to the echo send output, or to the
internal analog delay.

Cue Switch (CUE)

The cue switch is used for monitor­ing the signal prior to the Echo/Send

volume control.

Cue Switch (CUE)

The cue switch is used for monitor-

ing the signal prior to the

Echo/Return volume control.

FB Fader 1 and 2 (FB1, FB2)

These faders control the overall

signal level of the mixes which are

fed to FB outputs 1 and 2.

Cue Switch (CUE)

The cue switch is used for monitor-

ing the signals prior to the FB 1 and 2

outputs.

- 4 -

Meter Panel (RXA-212, RXA-216)

RXA-212

Graphic Equalizer (EQUALIZATION)

Two channel, 1/1 octave graphic equalizer

with 9 bands (filters) enables 12dB of boost

and attenuation at each center frequency

with the "0" position of each filter providing
flat response. The graphic equalizer is
switchable to either the program or foldback

outputs, or "off" for A-B comparison.

Graphic Equalizer Selector Switch

(PGML, FB1, OFF)

The 3-position switch assigns the equalizer
to either the program L or FB 1 circuits, with
the "off" position completely removing the

equalizer from the signal flow path .

Power Amplifier Indicators

(POWER AMP 1, 2)

Green LED's indicate that each amplifier is

connected to either the FB output or program
output; red LED indicates that the output of
each amplifier is near clipping. The power
amplifier assignment switch is located on the

rear panel.

Graphic Equalizer Selector Switch

(PGM

R, FB 2,

The 3-position switch assigns the equalizer

to either the program R or FB 2 circuits, with

the "off" position completely removing the
equalizer from the signal flow path.

OFF)

Program L Output Meter (PGM L)

The meter indicates the program L output
level.

Program R Outp ut Meter (PGM R)

The meter indicates the program R output
level.

FB 1 Output Meter (FB 1)

The meter indicates the FB 1 output level.

FB 2 Output Meter (FB 2)

The meter indicates the FB 2 output level.

RXA-216

*The RXA-216 is the same in its meter panel functions as the

RXA-212, except for the Power Amplifier Indicators.

Graphic Equalizer (EQUALIZATION)

Graphic Equalizer Selector Switch
(PGM

L, FB 1,

off)

Power Amplifier Indicators, 1, 2, 3 and 4

(POWER AMP 1, 2, 3, 4)

Green LED's indicates that the corresponding
amplifier is connected to either the FB output

or program output; red LED indicates that the
output of the corresponding amplifier is near
clipping.

Graphic Equalizer Selector Switch
(PGM

R, FB 2,

off)

Program L Output Meter

Program R Output Meter

FB 1 Output Meter

FB 2 Output Meter

- 5 -

Rear Panel (RXA-212)

Power Fuse (FUSE)

Power Switch (POWER)

This switch provides AC power to the

mixer. Power should only be applied after

all audio connections have been completed.

Ground Terminal

(GND)

The chassis must be
grounded.

Power Cord

Power Amplifier 1 Sensitivity Switch

(SENSITIVITY)

This switch changes the input sensitivity of
built-in amplifier 1 to either +20dB or +4dB.

Power Amplifier 1 Input Selector Switch

This switch assigns built-in amplifier 1 to

either FB1 or PGM L mix.

Power Amplifier 1 Input Jack (EXT IN)

The jack is provided to independently drive

power amplifier 1 with external equipment.
When a plug is inserted, the amplifier is
automatically "switched" out or the internal
mixing circuitry.

Channel Input, Unbalanced Jacks

(CHANNEL IN 1—12)

These 12 standard 1/4" phone jacks are unbalanced

with an input level of –30dB and input impedance of
10k ohms. They will accept low or high impedance

sources. When plugs are inserted into these jacks, the

input level switch must be set to the "UN-BAL"
position.

Channel Input, Balanced Connectors

(CHANNEL IN 1—12)

The XLR connectors are balanced, transformer­isolated, floating, with an input impedance of 600
ohms, and will accept low impedance microphones
as well as other impedance sources. When the XLR
connectors are employed, the input level switch on
the front panel must be set at the "BAL" positions.

Proper adjustment of both input level switch and

trim control make it possible to provide the optimum

setting for each input.

Power Amplifier 2 Input Jack (EXT IN)

The jack is provided to independently drive

power amplifier 2 with external equipment.

Power Amplifier 2 Sensitivity Switch

(SENSITIVITY)

The switch changes the input sensitivity of

the built-in amplifier 2 to either +20dB or

+4dB.

Power Amplifier 2 Input Selector Switch

This switch assigns the built-in amplifier 2

to either FB 2 or PGM R mix.

Speaker Output Jacks (SPEAKER)

Each built-in amplifier will drive speaker

systems with an impedance of 8 ohms. When

more than two speakers are connected to

each paired speaker jack, the total impedance
of the speaker systems may be 8 ohms. These

jacks are locking type, so that press the

stopper on the plug when taking off the jacks.

These jacks are the outputs of the console

deriving the signals prior to the built-in

power amplifiers. The jacks are provided for

connection to external power amplifiers, and
can be also for output cascading. The output

impedance and level are 600 ohms and +4dB,
respectively.

These five jacks are directly connected to the

corresponding mixing busses (program L, R,
FB1, 2, and echo), and are provided for
cascade connection to expand the input

capacity.

(LINE OUT, PGM L, R , FB1, 2)

(SUB IN PGM L, R, FB 1, 2, ECHO)

Line Output Jacks

Sub Input Jacks

Stereo Input Pin jacks (STEREO IN 1, 2)

Each stereo input has both AUX input and
PHONO input connectors that are switch-

able on the front panel. RIAA equalization is

provided on the phono input for accepting
turntables with magnetic cartridges.

Ground Terminals (GND)

These may be used to provide ground connec­tion for tape decks or turntables.

Recording Output Pin Jacks

(REC

OUT,

The jacks are unbalanced and provide pre-

graphic EQ, pre-program fader signals for

connection to tape recorders.

Auxiliary Echo Input Jack
(AUX ECHO IN)

This standard phone jack is unbalanced and
accepts low or high impedance sources at

nominal —20dB level. The jack sends an echo

or reverb return signal directly to the
program L and R mixing busses. Inserting a

plug in the jack interrupts the return signal
from the built-in echo unit. The echo or

reverb return signal can be controlled by the

echo return volume on the front panel.

Echo Output Jacks (ECHO SEND)

These jacks are unbalanced, with an output

impedance of 600 ohms. One jack is for +4dB
output and the other is for —20dB output. The
jacks are provided for connection to external

echo machines. The +4dB jack can be used for

output cascading.

PGM L, R)

- 6 -

Rear Panel (RXA-216)

The RXA-216 is the same as the RXA-212 in functions, except that the RXA-216 has 16 inputs

and 4 built-in amplifiers.

Power Fuse (FUSE)

Power Switch

Power Amplifier Sensitivity Switches

(SENSITIVITY 1—4)

Power Amplifier Input jacks (EXT IN 1—4)

The jacks are provided to independently drive the
power amplifiers with external equipment.

Power Amplifier 1—4 Input Selector Switches

Each switch changes the connection of the

corresponding power amplifier to either the FB or

Program. Power amplifiers 1 and 3 are switchable
to either the FB 1 or program L, and power
amplifiers 2 and 4 to either FB 2 or program R. For
many applications power amplifiers 1, 2, 3 and 4
are connected to the program L, program R, FB 1

and FB 2 respectively.

Channel Input, Unbalanced Jacks

(CHANNEL IN 1-16)

Channel Input, Balanced Connectors

(CHANNEL IN 1-16)

AC Cord

Ground Terminal

Power Cord Clamp

A plastic covered metal clip is

provided to prevent accidental

disconnection of the AC power
cord.

Speaker Output Jacks 1—4
(SPEAKER 1—4)

These jacks are speaker level out puts for the

4 built-in amplifiers. Each built-in amplifier
will drive speaker systems with an
impedance of 8 ohms. When more than two

speakers are connected to each paired
speaker jack, the total impedance of the
individual speaker systems may be 8 ohms.
These jacks are locking type, so that press
the stopper on th e plug when taking off the
jacks.

Sub Input Jacks (SUB IN PGM L, R, FB 1, 2, ECHO)

Line Output Jacks (LINE OUT, PGM L, R, FB 1, 2)

- 7 -

Stereo Input Pin Jacks

(STEREO IN 1, 2)

Ground Terminals

Recording Output Pin Jacks

(REC

OUT,

PGM L, R)

Auxiliary Echo Input Jack

(AUX ECHO IN)

Echo Output Jacks

(ECHO SEND)

Connection Example (RXA-212)

When the built-in power amplifiers are used to drive the speaker systems for main speaker

systems, the power amplifier input selectors shown by "*" mark should be set to the PGM L

and R.

Sub-mixer

Wireless tuner or other
associated equipment
with line level output.

Main Mixer

The line outputs (PGM L, R, FB 1 and FB 2) and Echo Send

output of another RXA-212 or RXA-216 should be connected to

the Sub inputs (PCB L, R, FB 1, FB 2 and Echo) for cascade

connections to expand input capability.

Channel Input Connector

These XLR connectors are
transformer-isolated, floating and
accept low impedance sources of from
+10dB to -60dB nominal level. The
input level must be adjusted by the

input level selector switch and trim

control.

Ground for turntables

Power Amplifiers

Foldback Speaker Systems
(Stage Monitor Speaker Systems)

Main Speaker Systems

- 8 -

Record Player with

Playback Tape-Deck

Associated equipment with an output

level of –20dB to +4dB, such as a

playback tape-deck

Dashed lines indicate chassis ground

Tape-Deck for recording

magnetic cartridge

Connection Example (RXA-216)

When the 4 built-in power amplifiers are used to drive the main speaker systems and monitor

speaker systems, the power amplifier input selectors shown by "*" mark should be set
properly.

Sub-mixer to expand input capability

Wireless tuner or other
associated equipment

with line level output.

Main Mixer

The line outpu ts (PGM L.R. FB 1 and FB 2) and Echo Send
output of another RXA-212 or RXA-216 should be connected to

the Sub inputs (PGM L, R, RB 1, FB 2 and Echo) for cascading.

Channel Input Connectors

These XLR connectors are

transformer-isolated, floating and

accept low impedance sources of

+10dB to -60dB nominal level. The
input level must be adjusted by the

input level selector switch and trim

control.

Foldback Speaker Systems

(Stage Monitor Speaker Systems)

The impedance of the speaker

system connected to the built-in

power amplifier should be 8 ohms.
In case more than two speaker

systems are connected in parallel,

the total impedance also should be
8 ohms.

Main Speaker Systems

- 9 -

Record Player with

magnetic cartridge

Associated equipment with an

output level of -20dB to +4dB,

such as a playback Tape-Deck

Tape-Deck for recording

Dashed lines
indicates motor
ground of a
record player,
and chassis
ground of a tape­deck.

Connection Example (RXA-216)

The following connection example indicates that the 4 built-in power amplifiers are used for

multiple amplification of speaker systems. The built-in graphic equalizers are connected to the

program L and R.

RV-14

Two-way Speaker System

(Multiple driving)

Electronic Dividing Network

Foldback Speaker Systems

(Stage Monitor Speaker Systems)

Two-way Speaker System

(Multiple driving)

RV-14

Electronic Dividing Network

Two-channel Graphic Equalizer

for Foldback Speaker System

Dual Power Amplifier

for Foldback Speaker System

- 10 -

Signal Flow on Output Section (RXA-212, RXA-216)

From Channel Input

From Stereo Input 1

From Stereo Input 2

The signal from the built-in echo unit is fed to

the ECHO RETURN VOL via the AUX

ECHO jack. When connecting an external
echo machine, a connection must be made

from the ECHO SEND of the console to the

input of the echo machine and from the
output of the echo machine to the AUX
ECHO input of the console.

To the line output jacks and to the power amplifiers
via the power amplifier input selector switches.

Caution on installation

Do not cover over the ports on both top and

•

bottom panels as the RXA-212 and RXA-216

incorporates high power amplifiers. Covering

over will cause damage or trouble.

Do not put drink on the top panel. Spilling drink

•

will cause damage or trouble.

mark indicates the signal flow to the

master fader via the graphic equalizer

selector switch on the meter panel.

Care must be taken to assure that the speaker cables and microphone cables keep a distance

•

between them as the RXA-212 and RXA-216 have high gain. Keeping them near will cause

trouble like oscillation.

- 11 -

How to get a good mixing

Before connecting the equipment to the self-powered console, check the impedance and level

•

of both. If the impedances and levels do not match, mixing will be very difficult and the S/N

ratio will also be adversely affected.

Each input channel of the RXA-212 and RXA-216 is provided with a Trim control. Thorough

•

understanding of the function of a Trim control will make mixing easier.

For example, 2 microphones with

output levels of -50dB, -35dB

respectively, and a wireless tuner

with an output level of –20dB can
be connected to the console.

The function of the Trim control is that the negative

•

feedback volume of the head amp is changed so that the

gain of the head amp can also be changed. Because of this,

enough dynamic range even for the high level signals is

ensured. Also, S/N ratio will be better by decreasing the

gain of the head amp proper.

Microphone in

-50dB level

Microphone in

-35dB level

Wireless tuner in

-20dB level

First the Trim control must be turned down so that the

peak indicator will not be lit if an excessive signal comes in.
Nevertheless, if it is still on, the input level switch must be

rotated to the left 1 step. This can be applied to the "BAL"

inputs only, not to the "UN-BAL" inputs.

The input selector switch is set as shown in the left figure.
Trim control is set as shown in the left figure. Also, if the
volume balance of each instrument (microphone) is kept by

the Trim control the position of each channel fader will be
uniform, thus mixing becomes easier.

The faders in each channel are used in general between 0

and 10. If the hall is full and there is not enough volume, the

master fader must be turned up.

The level meter will not almost light up when the output

volume is low therefore making it difficult to take an

accurate reading. To correct this the sensitivity switch of a

power amplifier must be changed from +4dB to +20dB

position and the program fader must be turned up, then the

level meter is easier to read. (Please refer to the function

explanation of the rear panel on page 6 or 7.)

- 12 -

Channel and Graphic Equalizers

Equalization for music

The Graphic Equalizer is designed not only for use in preventing feedback and equalizing

uneven room frequency response to be flat, but also for equalizing frequency response to your
tastes and producing favourable sound for you. Fig. 1 shows each frequency band and its

corresponding auditory feeling. Fig. 2 and Table 1 show the relation between each musical
instrument and its frequency band. They can be of great help in the equalizer operation. (They
are referenced from a book entitled "Practical Guide for Concert".)

EQUALIZATION CHART

These sounds
are felt more
than really
heard. They
give a sense of

power. Too

much produces
a muddy
sound.

The rhythm
section appears
here. Either a fat
or thin sound can
be heard by mis­EQ here. Too much
becomes boomy.
Bass guitar-Snare-

Toms.

INSTRUMENT CHART

Figure 2

Probably the most
important of all. Most
all instruments
contain harmonics

here.

300Hz boosting can

cause horn-like
sounds. 1k to 2k
sounds tinny. Too

much here sounds
like the telephone.

INSTRUMENT EQUALIZATION CHART

Acoustic guitar

Electric guitar

Bass guitar

Human voice

Piano (Acoustic)

Piano (Electric)

Organ

Violin

Brass instruments

Bass drum

Snare drum

Tom Tom

Floor Tom

Hi Hat

Cymbal overhead

Talk Box

Upper vocal region.

Too much here will
cause great fatigue,

and loss of speech

intelligence. Reducing

3k can bring vocals

on top.

Presence range.

Great achievement
in overall level can

be had here. Too
little causes a "far

away" sound.

Sibilance

levels can be
controlled
here. Bright,
clean defini­tion.

Figure 1

Bass strings resonate between 70 to 120Hz, body around 300Hz.
Avoid boosting these to stop feedback. 3kHz and 5kHz give great
"clarity".

Resonances differ — depending on type. Good full sounds around
300 t o 500Hz. Clarity at 3kHz.

Extreme lows are at 60 to 90Hz. "Pick" or "pluck" sounds are
around 800 to 1200Hz. Upper harmonics clarified about 3kHz.

Good fullness at 150Hz. Watch for "boominess" around 250Hz.

Mid-range 10kHz.

Bass strings resonate around 100Hz, Watch for sub-harmonics at
30 t o 50Hz.

Good mid-clarity at 3kHz to 5kHz thins out rapidly in high end. Be

careful around 1.5kHz to 2.5kHz to avoid the "bar room sound."

Usually dies under 200Hz. Has great mid-sounds around 1200 to
2000Hz. Top end cuts off at 6kHz.

Rich fullness at 400Hz. Natural mids around 1500 t o 2500Hz.
Avoid "scratch" sounds at 8kHz.

Watch for "hot" mids around 2kHz. Low end boost around 400Hz.
Top end clarity at 6kHz.

Great low "kick" at 40Hz. The mids at 2kHz gives the familiar

"punch."

Good f ull ne ss at 100Hz. The "crack" is boosted at 2kHz. The

snares ex tend to above 4kHz.

The main fullness is around 200Hz. The mid punch extends to
4kHz.

Same as torn, but extends down to 80Hz.

Watch for the "gong" sound around 300Hz. Good "shimmer"
sounds are around 8kHz to 10kHz.

About the same as hi-hat but has more low end around 150Hz.

Depending on the guitar sound driving it and the resonance of each
player's mouth, should have great "bite" around 1200Hz and dies
above 6kHz.

Table 1

- 13 -

Channel and Graphic Equalizers

Feedback Prevention

When the overall gain of a sound system is increased, feedback will occur at frequencies where

the system response has peaks. Suppose the system has uneven frequency response like that

shown in the following diagram.

The frequency at which feedback will occur when gain is increased is about 500Hz. In this
case, feedback may be prevented by attenuating levels at 500Hz by 3dB to 5dB with an
equalizer. If the overall gain is again gradually increased, feedback will occur next at about

125Hz. It may be stopped by attenuating the levels 3dB to 5dB at that frequency. In this

procedure, sufficient gain in the sound system is obtained before feedback.

General Specifications (RXA-212, RXA-216)

Frequency Response (Measurement of source impedance 150

ohms)

LINE OUT (CH IN — LINE OUT) at +4dB*

+0dB, –0.5dB 50Hz to 15kHz

+0dB, –2dB 20Hz to 30 kHz

SPEAKER OUT (EXT IN — SPEAKER OUT) at 1W

+0dB, –0.5dB 30Hz to 30kHz

+0dB, –1.5dB 20Hz to 60kHz

Total Harmonic Distortion

LINE OUT

0.3% (+4dB*/600 ohms at 1kHz)

0.05% (+20dB*/600 ohms at 1kHz)

SPEAKER OUT

0.025% (120W/8 ohms at 1kHz)

0.3% (120W/8 ohms 20Hz to 20kHz)

Power Output

120W/8 ohms

Hum and Noise

LINE OUT (Input termination of 150 ohms, Input level sw at

BAL -60, Trim at "0", output termination of 600 ohms)

Equivalent Input Noise

-126dB* (20Hz — 20kHz)

-128dB* (IHF-A weighted)

S/N (Program fader and one input fader at nominal)

66dB (20Hz — 20kHz)
68dB (IHF-A weighted)

SPEAKER OUT (EXT Input short circuit, sensitivity
switch at "+4dB", output termination of 8 ohms)

Equivalent Input Noise

-104dB* (20Hz — 20kHz)

–111dB* (IHF-A weighted)

S/N

108dB (20Hz — 20kHz)

115dB (IHF-A weig hted )

Maximum Voltage Gain

104dB CH IN t o SPEAKER OUT

76dB CH IN to LINE OUT (PGM, FB)

82dB CH IN to ECHO SEND (+4)

56dB CH I N to REC OUT

Channel Equalizer (+15dB maximum)

Graphic Equalizer (±12dB maximum)

Crosstalk

Internal Echo Unit

Peak Indicator

Meter ("0" = +4dB* output at LINE OUT)

Power Consumption

Finish

Dimensions (W×D×H)

Weight

Accessory

LOW 100Hz Shelving

LOW MID 300Hz Peaking

HI-MID 3kHz Peaking
HIGH 10kHz Shelving

Center Frequency

63Hz, 125Hz, 250Hz, 500Hz, 1kHz, 2kHz,
4kHz, 8kHz, 16kHz

60dB at 1kHz, input to output

Delay Time SHORT 12msec— 40msec

LONG 40msec— 140msec

LED built into each input channel turns on when the pre-

fader, post EQ signal reaches 6dB before clip.

LED built into each built-in power amplifier turns on when

the output level reaches 3dB before nominal.

2 pairs of fluorescent bargraph meter for PGM L, R AND FB

1,2.

RXA-212 260W
RXA-216 500W

Black panel, rosewood trim

RXA-212

574 × 751 × 206 mm 22-5/8" × 29-5/8" × 8-1/8"

RXA-216

694 × 751 × 206 mm 27-3/8" × 29-5/8" × 8-1/8"

RXA-212 29kg (64 lbs)
RXA-216 40kg (88 lbs)

Fuse

*0dB is referenced to 0.775V RMS

- 14 -

Input & Output Specifications

INPUT SPECIFICATIONS

Input

CHANNEL IN

STEREO IN

AUX ECHO IN

SUB IN

EXT IN

BAL –60
BAL –40
BAL –20

UN-BAL

AUX

PHONO

+4
+20

OUTPUT SPECIFICATIONS

Output

SPEAKER OUT

LINE OUT

ECHO SEND

REC OUT

PHONES

+4

-20

Actual

Load

Impedance

550 ohms
800 ohms
900 o hms

25k ohms

10k ohms

50k ohms

10k ohms

10k ohms

12k ohms

14k ohms

For Use

With

Nominal

50 to 600

ohms

10k ohms

10k ohms

47k ohms

10k ohms

10k ohms

10k ohms

Sensitivity*

–72dB (0.2mV)
–52dB
–32dB (20mV)

-42dB (6.2mV)

-32dB (20mV)

-62dB (0.62mV)

-32dB (20mV)

-2dB (615mV)

+4dB (1.23V)
+20dB (7.8V)

Actual Source Impedance

0.5 ohms

220 ohms

180 ohms

64 ohms

1k ohms

18 ohms

–60dB (0.78mV) to –30dB (25mV)

(2mV)

–40dB (7.8mV) to –10dB (250mV)
–20dB (78mV) to +10dB (2.5V)

-30dB (25 mV) to 0dB (775mV)

For Use With Nominal

8 ohms or higher

-20dB (78mV)

–50dB (2.5mV)

-20dB (78mV)

+4dB (1.23V)

+4dB (1.23V)
+20dB (7.8V)

8 ohms

600 ohms

600 ohms

10k ohms

Input Level (Trim 0 to Trim –30 )

Nominal

–40dB (7.8mV) to –10dB (250mV)
–20dB (78mV) to +10dB (2.5V)
0dB (775mV) to +30dB (25V)

–10dB (250mV) to +20dB (7.8V)

Output Level

Nominal

120W/8 ohms ,

+32dB (31V)

+4dB (1.23V)

+4dB (1.23V)

–20dB (78 mV)

–10dB (250mV)

75mW/8 ohms,

0dB (775mV)

MAX Before Clip

+10dB ( 2. 5V)

-20dB (78mV)

0dB (775mV)

+24dB (12.3V)

MAX Before Clip

+20dB (7.8V)

+20dB (7.8V)

-4dB ( 490mV)

+10dB (2.5V)

370mW/8 ohms,

+ 7d B (1.7V)

Connector *

XLR-3-31

type

PHONE JACK

RCA

PIN JACK

PHONE JACK

PHONE JACK

PHONE JACK

Connector**

PHONE JACK

PHONE JACK

PHONE JACK

RCA PIN JACK

STEREO

PHONE JACK

0dB is referenced to 0.775V RMS.

*Sensitivity is the level required to produce a nominal speaker output level.

**All XLR type connectors are floating, balanced and transformer-isolated.

Stereo phone jack is wired: Tip=Left, Ring=Right and Sleeve=Common

Note:

As is described in the beginning of the operation manual, the XLR type connectors of the RXA-212 and RXA-216 are wired as follows

Pin No. 1 — Ground

Pin No. 2 — Cold (Low)

Pin No. 3 — Hot (High)

Specifications are subject to change without notice.

- 15 -

Characteristic Diagrams

Frequency Response

Input EQ Characteristics

Graphic EQ Characteristics

Power Band Width (Power Amplifier Section) Total Harmonic Distortion

(Power Amplifier Section)

- 16 -

Block

Diagram

- 17 -

Level Diagram

Dimensional Diagrams

RXA-212 RXA-216

- 18 -

TOA ELECTRIC CO., LTD.

KOBE, JAPAN

Printed in Japan

133-02-562-20