Yorkville MP8DX Owner's Manual

OWNER’S MANUAL

GUIDE DE L’UTILISATEUR

mp8dx-v3 V.3.1 .0399

IMPORTANT SAFETY INSTRUCTIONS

INSTRUCTIONS PERTAINING TO A RISK

OF FIRE, ELECTRIC SHOCK,

OR INJURY TO PERSONS.

CAUTION:

TO REDUCE THE RISK OF ELECTRIC SHOCK, DO

NOT REMOVE COVER (OR BACK).

NO USER SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFI ED

SERVICE PERSONNEL.

Read Instructions:

The

Owner’s Manual

before operation of your unit. Please, save these instructions for future reference.

Packaging:

Keep the box and packaging materials, in case the unit needs to be returned for service.

Warning:

When using electric products, basic precautions should always be followed, including the following:

Power Sources:

Your unit should be connected to a power source only of the voltage specified in the owners manual or as marked on the unit. This unit has a polarized plug. Do not use with an extension cord or receptacle unless the plug can be fully inserted. Precautions should be taken so that the grounding scheme on the unit is not defeated.

Hazards:

Do not place this product on an unstable cart, stand, tripod, bracket or table. The product may fall, causing serious personal injury and serious damage to the product. Use only with cart, stand, tripod, bracket, or table recommended by the manufacturer or sold with the product. Follow the manufacturer’s instructions when installing the product and use mounting accessories recommended by the manufacturer.

The apparatus should not be exposed to dripping or splashing water; no objects filled with liquids should be placed on the apparatus.

Terminals marked with the “lightning bolt” are hazardous live; the external wiring connected to these terminals require installation by an instructed person or the use of ready made leads or cords.

No naked flame sources, such as lighted candles, should be placed on the apparatus.

Power Cord:

The AC supply cord should be routed so that it is unlikely that it will be damaged. If the AC supply cord is damaged

OPERATE THE UNIT

Service:

The unit should be serviced only by qualified service personnel.

should be read and understood

DO NOT

INSTRUCTIONS RELATIVES AU RISQUE

DE FEU, CHOC ÉLECTRIQUE, OU

BLESSURES AUX PERSONNES.

AVIS:

AFIN DE REDUIRE LES RISQUE DE CHOC ELECTRIQUE,

N’ENLEVEZ PAS LE COUVERT (OU LE PANNEAU

ARRIERE). NE CONTIENT AUCUNE PIECE REPARABLE

CONSULTEZ UN TECHNICIEN QUALIFIE

Veuillez lire le manuel:

Il contient des informations qui devraient êtres comprises avant l’opération de votre appareil. Conservez S.V.P. ces instructions pour consultations ultérieures

Emballage:

Conservez la boite au cas ou l’appareil devait être retourner pour réparation.

Warning:

Attention: Lors de l’utilisation de produits électrique, assurez-vous d’adhérer à des précautions de bases incluant celle qui suivent:

Alimentation:

L’appareil ne doit être branché qu’à une source d’alimentation correspondant au voltage spécifié dans le manuel ou tel qu’indiqué sur l’appareil. Cet appareil est équipé d’une prise d’alimentation polarisée. Ne pas utiliser cet appareil avec un cordon de raccordement à moins qu’il soit possible d’insérer complètement les trois lames. Des précautions doivent êtres prises afin d’eviter que le système de mise à la terre de l’appareil ne soit désengagé.

Hazard:

Ne pas placer cet appareil sur un chariot, un support, un trépied ou une table instables. L’appareil pourrait tomber et blesser quelqu’un ou subir des dommages importants. Utiliser seulement un chariot, un support, un trépied ou une table recommandés par le fabricant ou vendus avec le produit. Suivre les instructions du fabricant p our installer l’appare il et utiliser les accessoires recommandés par le fabricant.

Il convient de ne pas placer sur l’appareil de sources de flammes

nues, telles que des bougies allumées.

L’appeil ne doit pas être exposé à des égouttements d’eau ou des éclaboussures et qu’aucun objet rempli de liquide tel que des vases ne doit être placé sur l’appareil.

Les dispositifs marqués d’une symbole “d’éclair” sont des parties dangereuses au toucher et que les câblages extérieurs connectés à ces dispositifs de connection extérieure doivent être effectivés par un opérateur formé ou en utilisant des cordons déjà préparés.

Cordon d’alimentation:

Évitez d’endommager le cordon d’alimentation.

L’APPAREIL

Service:

Consultez un technicien qualifié pour l’entretien de votre appareil.

PAR L’UTILISATEUR.

POUR L’ENTRETIENT.

N’UTILISEZ PAS

si le cordon d’alimentation est endommagé.

SAFE_V4.doc Version 4.0 02/11/99 11:54 AM

INTRODUCTION

INTRODUCTIONINTRODUCTION

INTRODUCTION

We have coupled our extensive experience in the development and production of powered mixers, (with state of the art, computer assisted design technology) to create the smallest, lightest, and most powerful

combination mixer/amplifiers available. We at Yorkville Sound are confident that you will find your new

MP8

you get the maximum performance from your

to be an efficient and versatile solution to your mixer needs. This manual contains information to help

MP8

. We hope you'll take the time to read it.

INPUT CHANNEL

INPUT CHANNELINPUT CHANNEL

1. MICROPHONE & LINE INPUTS

1. MICROPHONE & LINE INPUTS1. MICROPHONE & LINE INPUTS

MP8

features standard XLR type Low-impedance MIC IN connectors

The on all channels. These microphone inputs are electronically balanced for maximum noise suppression and have characteristics matching all low impedance dynamic microphones. Condenser microphones may also be connected with 24 Volt DC phantom power activated via the back-panel PHANTOM push-button. (Note: condenser and dynamic mics may be used together with the PHANTOM power activated. It will not affect the performance of the dynamic mics). Additionally, there are high-impedance 1/4" BAL LINE IN jacks on channels 1 through 6. These are electronically balanced line-level inputs, but will accept either balanced or unbalanced input cables from high impedance microphones, guitars, amplifier Line outputs, synthesizers, electric pianos, etc. (Note: when connecting a balanced signal, employ balanced patch cables with a ring/tip/sleeve (stereo) 1/4" plug on the mixer end). Channels 7 and 8 have dual TAPE/CD/LINE IN RCA type inputs. Either the XLR or RCA type inputs (not both) may be used to connect a tape deck, CD player or an outboard mixer to these channels (using both RCA jacks is OK). A phono preamplifier must be connected to the

MP8

inputs for optimum turntable performance.

• Do not connect signals to both types of inputs on any one channel (e.g.

the MIC and LINE IN's on channels 1 to 6 or the XLR and RCA type TAPE/CD/LINE IN's on channels 7 and 8). To do so will cause improper operation of the input circuit. (Note: you may connect a stereo source to channels 1 through 6 but you must use two channels, one for left and one for right).

2. CHANNEL GAIN CONTROLS & CLIP LEDS

2. CHANNEL GAIN CONTROLS & CLIP LEDS2. CHANNEL GAIN CONTROLS & CLIP LEDS

The GAIN control has a range of 40dB. This adjustment determines both the input sensitivity of the channel and the signal level sent to the MAIN mixing bus. (The

MP8

channel circuitry does not require separate gain and level

controls). The CLIP LED is set to illuminate when the channel’s overall signal level is 3dB below the onset of actual clipping distortion. As a result, small amounts of LED activity are acceptable, however frequent or continuous activity indicates the need to turn down the GAIN control.

3. CHANNEL LOW, MID, & HIGH EQUALIZATION

3. CHANNEL LOW, MID, & HIGH EQUALIZATION3. CHANNEL LOW, MID, & HIGH EQUALIZATION

The

MP8

’s LOW, MID & HIGH EQ controls independently adjust the bass, middle

and treble frequencies for each channel. Center frequencies have been carefully selected for optimum sonic adjustments and the gain range for each control is plus or minus (+/-) 15dB to provide versatile equalization consistent with the clean

simplicity of the

MP8

’s design. As with all equalizers, boosts at one or more

frequencies increase the channel’s signal level. If the channel is already at a fairly high operating level, this may cause clipping, in which case the CLIP LED will light. Reduce the GAIN setting and/or the EQ boosts if CLIP activity is excessive. (Note: center position reflects a neutral or flat EQ control setting, however lower EQ control settings may be effectively employed to reduce feedback and/or distortion).

4. CHANNEL MON CONTROL

4. CHANNEL MON CONTROL4. CHANNEL MON CONTROL

Each channel has a MON (monitor send) control which varies the amount of channel signal being tapped off and sent to the monitor bus in the

MP8

. The MON signal is

pre-fader and pre-channel EQ, in other words it is taken before the GAIN and EQ controls so that the monitor mix can be independent of the main mix. As a result, channel EQ settings do not affect the sound of the monitor signals, nor do the channel GAIN controls regulate their volume.

5. CHANNEL EFX CONTROL

5. CHANNEL EFX CONTROL5. CHANNEL EFX CONTROL

Each channel has an EFX (effects send) control which adjusts the level of the channel signal being tapped off and sent to the

MP8

’s effects bus. This signal is post-fader and post-EQ, in other words it is affected by both the channel EQ controls and the channel GAIN control. Normally, the output signal from the effects bus is internally routed to the DIGITAL EFFECTS PROCESSOR. In this situation, the EFX control would regulate the intensity of the built-in effects on that channel’s sound through the main PA system and the RECORD OUT jacks. In standard operating mode with the built-in effects working, you can connect a regular on/off footswitch (e.g.

Yorkville model IFS-1A) to the EFX FOOTSWITCH/SEND jack to turn the internal

effects on and off. See the section EFX FOOTSWITCH/SEND later in this manual for more information. Alternatively, this signal can be connected to the input of an external effects unit and returned via a channel. However, if you do not require any effects at all, the effects bus output signal can be connected to the input of an additional monitor system or other amp/speaker system via the EFX FOOTSWITCH/SEND jack using a standard shielded patch cord. In this case, the EFX controls would act as send controls to achieve a semi-separate mix. (Remember that the channel GAIN controls will also affect this signal).

MASTER SECTION

MASTER SECTIONMASTER SECTION

1. MAIN MASTER CONTROL & CLIP LED

1. MAIN MASTER CONTROL & CLIP LED1. MAIN MASTER CONTROL & CLIP LED

The MAIN MASTER control adjusts the overall level of the main mix and the PA volume. Beside this control is a CLIP LED, which indicates high signal levels within the main mixing bus. Reduce the MAIN MASTER, or the channel GAIN controls, if the MAIN CLIP LED is more than slightly active. (Note: to ensure maximum signal headroom and clarity, operate the mixer with the MAIN MASTER set at 7 or so. This way, you will be running the channel GAIN controls at lower settings, which helps to ensure that the channels do not clip).

2. MONITOR MASTER CONTROL

2. MONITOR MASTER CONTROL2. MONITOR MASTER CONTROL

The overall level of the monitor mix is adjusted with the MONITOR MASTER control. Beside it is a CLIP LED, which indicates high signal levels within this bus. Reduce the MONITOR MASTER or the channel MON levels if the MONITOR CLIP LED is more than slightly active. (Note: as with the MAIN MASTER, keep the MONITOR MASTER at a relatively high setting to ensure maximum clarity).

3. MAIN EFFECTS MASTER CONTROL

3. MAIN EFFECTS MASTER CONTROL3. MAIN EFFECTS MASTER CONTROL

The MAIN EFX master control regulates the amount of signal going from the output of the internal DIGITAL EFFECTS PROCESSOR to the MAIN mixing bus where it is mixed with the dry signals direct from the channels. It controls overall effects intensity on the MAIN output signal and RECORD OUT signal as well as through the main PA speakers.

4. MONITOR EFFECTS MASTER

4. MONITOR EFFECTS MASTER4. MONITOR EFFECTS MASTER CONTROL

CONTROL

CONTROLCONTROL

The MONITOR EFX master control regulates the amount of signal going from the output of the internal DIGITAL EFFECTS PROCESSOR to the MONITOR mixing bus where it is mixed with the dry signals direct from the channel MON send controls. It controls overall effects intensity of the MONITOR LINE OUT signal.

5. MAIN LINE OUT

MAIN LINE OUT

5. 5.

MAIN LINE OUTMAIN LINE OUT

& AMP A IN JACKS

& AMP A IN JACKS& AMP A IN JACKS

These jacks can serve a variety of patching and routing purposes. The MAIN LINE OUT is positioned in the signal path after the

MP8

’s main graphic equalizer and is therefore regulated by it (i.e. it is post-EQ).

The main bus signals are

available at line level (not speaker level, use the SPEAKER outputs on the back panel to drive speakers) from the MAIN LINE OUT jack. Taking a signal from this jack has no effect on the operation of the

MP8

built-in power amplifier. It is therefore possible to feed an external power amplifier or even several,

interconnected power amps, with the MAIN output signal while the internal power amplifier is also functioning (although it is not necessary to have speakers connected e.g. if you want to use the unit strictly as a mixer).

The AMP A IN jack is a direct input to the MAIN 400 Watt power amplifier, it is referred to as AMP A. An alternative use for the AMP A IN jack is as a patching input. Because this is a switching jack, when you plug into it, you interrupt the internal flow of the signal going from the output of the Main mixing bus to the input of the built-in 400 Watt power amp. This allows

you to insert signal control devices such as an élite processor, an additional equalizer, or a

compressor/limiter into the Main signal path. It is even possibleto connect another mixer to the

MP8

’s power amplifiers via the AMP A IN jack. This slaves the amplifier to that mixer’s signals

(i.e. it no longer receives the built-in mixer’s signals), which means that you could use the built- in mixer to do another, totally separate mixing job. For example, you could patch the

MP8

’s

MAIN output to an input on another mixer connected to amps driving a PA speaker system while using the

MP8

’s internal A amp to power control room speakers.

’s

6. MONITOR LINE OUT & AMP B IN JACKS

6. MONITOR LINE OUT & AMP B IN JACKS6. MONITOR LINE OUT & AMP B IN JACKS

These jacks can serve a variety of patching and routing purposes. They are positioned in the signal path after the

MP8

’s monitor graphic equalizer.

The monitor mix signal is available at line level from the MONITOR LINE OUT

jack at all times. Taking a signal from this jack has no effect upon the configuration of the

MP8

, so it is possible to feed an external power amplifier with the monitor

mix signal while the internal power amplifier also amplifies the monitor mix signal. However, plugging into the MONITOR AMP B IN jack will break the internal monitor mix signal path. This allows you to insert a signal processing device (such as

an élite processor or digital delay unit), into the monitor signal path of the

MP8

. To

achieve this connect a cable from the MONITOR LINE OUT jack to the processor’s input jack, and a cable from the processor’s output jack to the

MP8

’s MONITOR

AMP B IN jack.

You can deliver an external signal to the monitor power amplifier of the

MP8

route the

from any line level source via the AMP B IN jack. In this case you would

MP8

’s monitor mix from the MONITOR LINE OUT jack to another

mixer, or to an external power amplifier.

To summarize, the MONITOR LINE OUT and MONITOR AMP B IN jacks may be used as a post-mix effects loop or a signal processing patch, the MONITOR LINE OUT jack can serve as a monitor mix output, and the MONITOR AMP B IN jack can be used as an auxiliary input to the internal 200 Watt power amplifier.

7. RECORD OUT JACKS

7. RECORD OUT JACKS7. RECORD OUT JACKS

These phono connectors carry the pre-EQ (not affected by the MAIN EQ) main mix signals. RECORD OUT signal levels are regulated by the MAIN master. Using phonoto-phono patch cords, connect the RECORD OUT jacks to the Aux. (line-level) inputs on the tape deck. Actual recording levels would now be adjusted using the tape deck's record level control/s.

Best results for recording will be achieved with the MAIN master and channel levels set fairly high. If you need to record while the

MP8

is operating in a PA situation and set at lower levels, perhaps in a church, you can have a technician make up two short **padded patch cables as specified below. These would be connected between the MAIN LINE OUT jack and the AMP A & jack. They will reduce the amount of signal going to the power amplifier inputs so that the MAIN master and channel levels can be set high enough to provide adequate RECORD OUT signal levels without the PA system being too loud.

** To fashion the -20dB padded patch cables, start with two short, shielded patch cords. On each cord, solder a

Ohm

resistor in series with the tip of the plug to be inserted in a

across the plug to be inserted in an

plugs on both cords perhaps with tape or a dab of paint on the plug jacket.

8. EFX FOOTSWITCH/SEND JACK

8. EFX FOOTSWITCH/SEND JACK8. EFX FOOTSWITCH/SEND JACK

AMP IN

jack. It would then be advisable to identify either the

LINE OUT

jack, then solder a

2.2k Ohm LINE OUT

resistor

10k

AMP

This jack may be used to connect a standard on/off footswitch for the internal DIGITAL EFFECTS PROCESSOR or alternately as an effects send jack to another

effects processor. In this latter function, both the internal effects and the other devices would be sent signal. In that instance, you could connect the external unit’s output to a LINE input on any channel. Here you would need to keep the GAIN level of that channel fairly low and make sure that its EFX control is turned off.

As another

alternative, the EFX FOOTSWITCH/SEND jack may be used to deliver line-level signal to the input of an auxiliary amp/speaker system or a tape deck.

9. POWER LED & THE SWITCH

9. POWER LED & THE SWITCH9. POWER LED & THE SWITCH

The POWER LED lets you know that the power on/off switch is on the rear panel of the unit.

10. PHANTOM POWER

10. PHANTOM POWER10. PHANTOM POWER

The PHANTOM power LED indicates that 24 volts of DC phantom power is present on all the XLR microphone inputs to power condenser microphones. Regular dynamic mics may be connected while the PHANTOM POWER is activated without encountering problems. The PHANTOM POWER push-button is located on the rear panel.

DIGITAL EFFECTS PROCESSOR

DIGITAL EFFECTS PROCESSORDIGITAL EFFECTS PROCESSOR

1. DIGITAL EFFECTS PROCESSOR SELECT & MODIFY CONTROLS

1. DIGITAL EFFECTS PROCESSOR SELECT & MODIFY CONTROLS1. DIGITAL EFFECTS PROCESSOR SELECT & MODIFY CONTROLS

The SELECT control selects from 16 banks of reverb sounds, delays and other effects. Settings A through G represent single reverbs or echo delays. Settings H through P are combined or

combo effects where two or more effects are blended together. Simply rotate the SELECT control to the basic type of effect you prefer. This is a continuous type of control so you may simply rotate it in either direction to reach the desired setting. Lists of effects banks appear in this manual and on the front panel of the

Each bank of effects contains 16 individual effect variations. The MODIFY control selects each one of these variations. For example, if bank E (Medium Delays), has been selected, position 1 will give you 200 milliseconds of delay, and positions 2 through 16 will give you progressively longer delays up to 375 milliseconds. Bank P is the exception to this rule. It consists of sixteen different special effects, such as pitch shift up, or down, detune flanger, etc.

MP8

is plugged in and turned on. The AC

2. EFFECTS CLIP LED

2. EFFECTS CLIP LED2. EFFECTS CLIP LED

Situated between the SELECT and MODIFY controls, the CLIP LED indicates that the digital processor is receiving an input signal which is too strong, possibly resulting in distortion. For maximum dynamic range, the CLIP LED should flash briefly, but only on high-energy transients such as loud snare drum hits. If there is too much CLIP activity, turn down the channel EFX controls.

3. EFFECTS TABLES

3. EFFECTS TABLES3. EFFECTS TABLES

• See the last page of this manual for the

effect table.

BUILT IN GRAPHIC EQUALIZERS

BUILT IN GRAPHIC EQUALIZERSBUILT IN GRAPHIC EQUALIZERS

General

A graphic equalizer, represents a set of limited-range (+/-12dB) gain controls. In this case there are 9 sliders for the MAIN and 5 sliders for the MONITOR The MAIN EQ operates over a one-octave portion of the overall band of sound frequencies. Please note that equalizers can have an effect on the gain of the main and monitor system as well as its frequency response. Once adjusted, you may need to turn down the MAIN and/or

MONITOR MASTER level/s if the CLIP LED/s beside them become very active.

There Are 3 Main Functions for the Graphic EQ

1. To adjust the system for feedback reduction, the normal technique is to turn the

main or monitor system up to the point of feedback and move the EQ sliders, one

at a time, to determine which frequency band is causing the feedback.

(Remember to push them back up to center position if they don't stop the

feedback). When isolated, the offending band is then pushed down about 3 to 6

dB. Usually only 2 or 3 bands can be reduced before the feedback elimination

process begins to affect the sound quality.

2. To adjust for deficiencies in the main speaker system's bass response, the most

common adjustment is to boost the 63 Hz about 6 dB and the 125 Hz about 3 dB.

However, use of the graphic EQ to extend the deep bass frequency response of a

speaker cabinet does use up a lot of the available system power, so this technique

should be used with caution to avoid distortion and possible speaker damage. On

the other hand, in applications where it is appropriate to sacrifice deep bass for

higher overall sound output, the 63 Hz slider should be taken down 6 dB below

center. You may now increase the MAIN level for added volume.

• Boosting low frequencies for the MONITOR mix is not recommended

because it may interfere with the sound of the MAIN speakers.

3. The third use of the graphic equalizer is to adjust the sound character for artistic

reasons. Each frequency is adjusted until the sound is what the musicians feel

sounds best. The best sound system operators, however, usually strive to use a

minimum of equalization for this purpose, or for boosting the bass. Instead, they

use very minimal sound-shaping adjustments to ensure that the threat of

feedback and distortion will also be minimal.

+ 16 hidden pages

Yorkville MP8DX Owner's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual