Yorkville PM1622 Owner's Manual

OWNER’S MANUAL

MANUEL DE L’UTILISATEUR

Model Type: YS1011

3200 WATT STEREO MIXING CONSOLE

S ERIES TWO

The exclamation point within an equilatereal triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

Le point d’exclamation à l’intérieur d’un triangle équilatéral

est prévu pour alerter l’utilisateur de la présence

d’instructions importantes dans la littérature accompagnant l’appareil en ce qui concerne l’opération et la

maintenance de cet appareil.

This lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient

magnitude to constitute a risk of electric shock to persons. Ce symbole d’éclair avec tête de flèche dans un triangle

équilatéral est prévu pour alerter l’utilisateur de la présence d’un « voltage dangereux » non-isolé à proximité de l’enceinte du produit qui pourrait être d’ampleur suffisante pour présenter un risque de choque électrique.

IMPORTANT SAFETY INSTRUCTIONS

safety-4v7 • May 7/2008

CAUTION: TO REDUCE THE RISK OF ELECTRIC

SHOCK, DO NOT REMOVE COVER (OR BACK).

NO USER SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED

SERVICE PERSONNEL.

FOLLOW ALL INSTRUCTIONS SUIVEZ TOUTES LES INSTRUCTIONS

Instructions pertaining to a risk of fire,

electric shock, or injury to a person

Read Instructions: The Owner’s Manual should be read and understood before operation

of your unit. Please, save these instructions for future reference and heed all warnings.

Clean only with dry cloth. Packaging: Keep the box and packaging materials, in case the unit needs to be

returned for service. Warning: To reduce the risk or fire or electric shock, do not expose this apparatus to rain or

moisture. Do not use this apparatus near water! 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. An apparatus with CLASS I construction shall be connected to a Mains socket outlet with a protective earthing ground. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

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. Only use attachments/accessories specified by the manufacturer

Note: Prolonged use of headphones at a high volume may cause health damage on your ears.

The apparatus should not be exposed to dripping or splashing water; no objects

filled with liquids should be placed on the apparatus.

Te rminals 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.

Ensure that proper ventilation is provided around the appliance. Do not install near

any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

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

Power Cord

Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the

obsolete outlet. The AC supply cord should be routed so that it is unlikely that it will be damaged. Protect the power cord from being walked on or pinched particularly at plugs. If the AC supply cord is damaged DO NOT OPERATE THE UNIT. To completely disconnect this apparatus from the AC Mains, disconnect the power supply cord plug from the AC receptacle. The mains plug of the power supply cord shall remain readily operable.

Unplug this apparatus during lightning storms or when unused for long periods of time.

Service

The unit should be serviced only by qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

AVIS: AFIN DE REDUIRE LES RISQUE DE CHOC

ELECTRIQUE, N’ENLEVEZ PAS LE COUVERT (OU LE

PANNEAU ARRIERE) NE CONTIENT AUCUNE PIECE

REPARABLE PAR L’UTILISATEUR.

CONSULTEZ UN TECHNICIEN QUALIFIE

POUR L’ENTRETIENT

Instructions relatives au risque de feu,

choc électrique, ou blessures aux personnes

Veuillez Lire le Manuel: Il contient des informations qui devraient êtres comprises avant

l’opération de votre appareil. Conservez. Gardez S.V. P. ces instructions pour consultations ultérieures et observez tous les avertissements.

Nettoyez seulement avec le tissu sec.

Emballage: Conservez la boite au cas ou l’appareil devait être retourner pour réparation. Avertissement: Pour réduire le risque de feu ou la décharge électrique, n'exposez pas

cet appareil à la pluie ou à l'humidité. N’utilisez pas cet appareil près de l’eau! 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. Un appareil construit selon les normes de CLASS I devrait être raccordé à une prise murale d’alimentation avec connexion intacte de mise à la masse. Lorsqu’une prise de branchement ou un coupleur d'appareils est utilisée comme dispositif de débranchement, ce dispositif de débranchement devra demeurer pleinement fonctionnel avec raccordement à la masse.

Risque

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 pour installer l’appareil et utiliser les accessoires recommandés par le fabricant. Utilisez seulement les attachements/accessoires indiqués par le fabricant

Note: L'utilisation prolongée des écouteurs à un volume élevé peut avoir des conséquences néfastes sur la santé sur vos oreilles. .

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.

Assurez que lappareil est fourni de la propre ventilation. Ne procédez pas à l’installation près de source de chaleur tels que radiateurs, registre de chaleur, fours ou autres appareils (incluant les amplificateurs) qui produisent de la chaleur.

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

Ne pas enlever le dispositif de sécurité sur la prise polarisée ou la prise avec tige de mise à la masse du cordon d’alimentation. Une prise polarisée dispose de deux lames dont une plus large que l’autre. Une prise avec tige de mise à la masse dispose de deux lames en plus d’une troisième tige qui connecte à la masse. La lame plus large ou la tige de mise à la masse est prévu pour votre sécurité. La prise murale est désuète si elle n’est pas conçue pour accepter ce type de prise avec dispositif de sécurité. Dans ce cas, contactez un électricien pour faire remplacer la prise murale. Évitez d’endommager le cordon d’alimentation. Protégez le cordon d’alimentation. Assurezvous qu’on ne marche pas dessus et qu’on ne le pince pas en particulier aux prises. N’UTILISEZ PA S L’APPAREIL si le cordon d’alimentation est endommagé. Pour débrancher complètement cet appareil de l’alimentation CA principale, déconnectez le cordon d’alimentation de la prise d’alimentation murale. Le cordon d’alimentation du bloc d’alimentation de l’appareil doit demeurer pleinement fonctionnel.

Débranchez cet appareil durant les orages ou si inutilisé pendant de longues périodes.

Service

Consultez un technicien qualifié pour l’entretien de votre appareil. L'entretien est nécessaire quand l'appareil a été endommagé de quelque façon que se soit. Par exemple si le cordon d’alimentation ou la prise du cordon sont endommagés, si il y a eu du liquide qui a été renversé à l’intérieur ou des objets sont tombés dans l'appareil, si l'appareil a été exposé à la pluie ou à l'humidité, si il ne fonctionne pas normalement, ou a été échappé.

S2125A

214

313

412

511

610

214

313

412

511

610

Modify

Room Reverb Hall Reverb Hall Reverb - Vo cals Hall Reverb w/Echo Plate Reverb Plate Reverb - Vocals Plate Re ve r b w /Ec ho Gated Reverb

decay

ModifyEffect

decay

gain pitch

delay

rate

10.

11.

12.

13.

14.

15.

16.

Fast Echo Short Decay Echo Long Decay Echo Chorus Flanger Rotary Speaker Distortion Harmonizer

ModifyEffect

+12

-6

-12

+12

-6

-12

+12

-6

-12

+10

-2

-4

-7

-10

-20

-30

-38

+12

-6

-12

+12

-6

-12

+12

-6

-12

Post-Fader Channe l EQPre-Fader

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

AuxEFX

EFX

Send

Aux

Optimum Level

For Recording

is ‘0 db’ on Master VU

EFX

Aux

EFX

Mon 1

Mon 2

Bal

Aux

EFX

Mon 1

Mon 2

Mon 1

Mon 2

Main

Mon 1

Mon 2

Internal

EFX Defeat

Mon 2

Main

Mon 1

Mon 2

Main

Bal

12345678910 11 12 13 1514 16

Record

Out

Lamp

Foot sw.

Returns

AMPLIFIER Inputs

LINE LEVEL Outputs

EFX 1 EFX 2

63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K

Main EQ

STATUS

Monitor 1 EQ

Monitor 2 EQ

63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K

Speaker

Processor

Solo Mode

Active

Solo

Active

Solo

PFL

Channel

Set

AFL

clip

Enable

Slope

50 Hz 80 Hz

clip

Phones

Aux Send

Mon 2

Send

Mon 1

Send

RETURN Levels

VU Meter

Solo

EFX 2AUX

Power Phantom

ABCD

Amplifier Full-Power

Solo

clip / defeat

EFX 1

Solo

defeat

Sends

EFX1EFX

clip

Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

HPF

80Hz

Line

Mic

Insert Insert Insert Insert Insert

Tip: SEND

Ring: RETURN

Insert

Tip: SEND

Ring: RETURN

Tip: SEND

Ring: RETURN

Tip: SEND

Ring: RETURN

Tip: SEND

Ring: RETURN

Tip: SEND

Ring: RETURN

2-TRK 2-TRK

Bal Line Bal Line

Channel 1 - 6 Overload Protection

Defeat

Protect Protect Protect Protect Protect Protect

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

Act

Clip

13/14

15/16

Low 80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Hi Mid

Gain

Low

80Hz

250Hz 250Hz

2.5KHz 2.5KHz

High

Gain

12KHz

Hi Mid

Lo Mid Lo Mid

Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo

1 1 1 21234567891 0

Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute

123456789101112

13/14 15/16

MAIN

clip

-15 +15

mic

+20

+30

-20 +56

+10

-1 0 +50

-36+40

line

+20

-20

-6

+10

mic

+20

+30

-20 +56

+10

-1 0 +50

-36+40

line

+20

-20

-6

+10

mic

+20

+30

-20 +56

+10

-1 0 +50

-36+40

line

+20

-20

-6

+10

mic

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+30

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+10

-1 0 +50

-36+40

line

+20

-20

-6

+10

mic

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+10

-1 0 +50

-36+40

line

+20

-20

-6

+10

mic

+20

+30

-20 +56

+10

-1 0 +50

-36+40

line

+20

-20

-6

+10

mic

+20

+30

-20 +56

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-1 0 +50

-36+40

line

+20

-20

-6

+10

mic

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+10

-1 0 +50

-36+40

line

+20

-20

-6

+10

mic

+20

+30

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+10

-1 0 +50

-36+40

line

+20

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-6

+10

mic

+20

+30

-20 +56

+10

-1 0 +50

-36+40

line

+20

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+10

mic

+20

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-1 0 +50

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line

+20

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+10

mic

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-1 0 +50

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line

+20

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-6

+10

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

80 8K

2.5 K

1.5 K

200

100

-36+40

line

+20

-20

-6

+10

-36+40

line

+20

-20

-6

+10

3200 WATT STEREO MIXING CONSOLE

SERIES TWO

Introduction

Welcome to PowerMAX, possibly the most advanced, most powerful, mixer/amplifier in the world. Comprehensive audio mixing and advanced features including...

• Two onboard digital effects processors with 16 presets and parameter adjust on each)

• A speaker processor

• Four built-in power amplifiers with over 3200 Watts in total

• Three graphic EQ’s, channel EQ with sweepable mids

• Channel input overload protection

• Solo and mute functions and much more…

This manual outlines the various functions and how they interact. Realizing that some

PowerMAX users may be unfamiliar with certain features, we include user tips and additional information, which appears separately in the applicable sections.

For general information about mixing and other facets of sound-reinforcement check out our P.A. User Guide available on the internet... (http://www.yorkville.com).

Input Channel Features

123456

Bal Bal Bal Bal Bal Bal Line

Mic

Line

Mic

Line

Mic

Line

Mic

Line

Mic

Line

Mic

Channel 1 - 6 Overload Protection

Defeat

Protect Protect Protect Protect Protect Protect

789101112

Bal Bal Bal Bal Bal Bal Line

Mic

Line

Mic

Line

Mic

Line

Mic

Line

Mic

Line

Mic

Insert Insert Insert Insert Insert

Tip: SEND

Ring: RETURN

Insert

Tip: SEND

Ring: RETURN

Tip: SEND

Ring: RETURN

Tip: SEND

Ring: RETURN

Tip: SEND

Ring: RETURN

Tip: SEND

Ring: RETURN

1. Channel Overload Protection

Mono input channels 1 to 6 in the PowerMAX 16 (1 to 12 in the PowerMAX

22) feature Channel Overload Protection - a

sonically transparent limiting function suitable for percussive sources such as

bass guitar (either direct,

mic'ed or a direct line

from the amplifier), popprone and feedback prone microphones. (e.g. kick-

drum, flat top guitar, and

other troublesome sources).

Each channel features a Protect LED to indicate when the overload protection is working.

A single Defeat switch activates this feature on a group of six channels simultaneously.

2. Insert Jacks

The mono channels with-

out Channel Overload Protection feature Insert

jacks. These are 1/4-inch Tip-Ring-Sleeve (TRS) con-

nectors, which combine send and return functions for patching outboard signal processing directly into a channel. A suitable patch

cable for this function (e.g. Yorkville model PC-6iSPH)

would consist of a single

TRS (stereo) 1/4-inch plug and two lengths of shielded cable with a common ground branching to two regular (mono) 1/4-inch plugs. The TRS wiring is tip/send, ring/return and sleeve/ground. Since the PC-6iSPH comes with the leads marked Tip and Ring, connect the Tip plug to the input of the signal processor (EQ, compressor, echo, etc.); connect the Ring plug to the processor’s output. The TRS plug would go into the Insert jack. The send function is post-Gain and post-HPF (high-pass-filter).

Alternately, the Insert jack may be used to send an audio signal from that channel to a powered monitor (some people want to hear only themselves). Simply use an unbalanced shielded patch cable – in this one case, a balanced cable will not work. Be sure to Insert the plug only to the first “click” when using the Insert as a channel send, otherwise the signal will be interrupted and the channel will not work. If this happens, you have Inserted the plug too far. Simply pull the plug out gently to the first stop.

3. Mic Inputs

The PowerMAX active input circuitry will accept microphones with impedances ranging from 50 ohms through 10,000* ohms. All low impedance microphones are compatible. Phantom power (covered in the section 4, Phantom Power Switch and LED, below) is available on all Mic inputs when activated. This feature is meant for condenser micro-

phones but dynamic microphones may also be connected with no ill effects.

* Although it would be customary to plug high impedance microphones into the Bal Line jacks, most of them will also work in the Mic inputs, provided the microphone’s built-in XLR connections are pin 1 and pin 2 and pin 3 is connected to pin 1.

4. Phantom Power Switch and LED

15 16

2-TRK

Bal Line

1/4-inch Phone Plug

1/4-inch T.R.S. Phone Plug

XLR Plug

Phantom

Phones

Phantom Power is available for condenser microphones. It may be applied to channels with regular dynamic microphones connected with no problems. When connecting micro-

phones it is safest to turn off phantom power to avoid loud pops. The Phantom Power On/Off button is located on the front of the mixer, beside the Headphone jack and the Phantom Power LED is in the upper right area of the control panel.

48 Volt Phantom Power is available on channels 1 through 12 (1 through 18 on the PowerMAX-22).

5. Balanced Line Inputs

Mono line-level sources, such as amplifier line outputs and high-impedance microphones, can be connected to the mono or stereo channels through these jacks (use the L/Mono jacks on the stereo channels). Stereo audio sources such as digital audio players, CD-player, and tape decks may be connected to the Bal Line inputs on the stereo channels. RCA connectors are used to simplify this operation. It is possible to connect stereo sources to the mono channels, however you will need to plug the L&R signals into separate channels to avoid the risk of inter-modulation distortion (do not combines the signals using a “Y” connector into a single Bal Line jack).

The balanced connector references are: Tip (or XLR pin 2) = hot, in phase; Ring (or XLR pin 3) = hot, reverse phase; Sleeve (or XLR pin 1) = ground

You can connect an unbalanced source to the Bal Line inputs with a standard unbalanced shielded patch cable without any adverse affects.

A slight modification to a balanced patch cable will help achieve noise cancellation when connecting PowerMAX to an unbalanced unit. Simply undo one end of a balanced patch cord and de-solder the wire from the ring tab, then resolder the wire to the shield tab making sure that it does not touch anything else. Now re-assemble the plug and mark it with some tape for future reference. This will be the end that you plug into the unbalanced unit (this will also work with an RCA connector).

The L&R Bal Line inputs on the Stereo channels are wired together internally so that a single (mono) signal connected to the L/Mono input will also be patched over to the R input (as long as nothing is plugged into the R jack). This simplifies connecting a mono source should the need arise (perhaps all the mono channels are taken).

In addition to being able to connect either a stereo or mono source to these jacks, you may alternately connect two different mono sources to them and use the Bal control to regulate their relative volumes. As an example, a guitar amp line-output and a keyboard amp line-output could be connected and mixed this way. However, now you must also con-

vert the PowerMAX to mono operation, otherwise one instrument will only come out the left

speakers and the other only through the right speakers. Mono conversion is accomplished simply by plugging a “Y” patch cable from the L/Mono (left Main) Line Level Output to the Amp A & B Amplifier Inputs. Now both main power amps will be receiving identical signals. See under Pan Control for another user tip regarding mono operation.

6. 2-Trk Inputs (Stereo Channels Only)

These RCA jacks are included for convenience since many audio sources such as digital audio players, CD-player, and tape decks have RCA outputs. Media players that use 1/8-inch (3 mm) jacks may be connected using an RCA to 1/8-inch (3 mm) TRS adapter cable. Because it is primarily a live audio mixer, PowerMAX does not feature RIAA phono input circuitry.

As a rule you would connect a tape deck or CD-player to either the 2-Trk inputs or the 1/4-inch Bal Line inputs, but not both. However, connecting sources to both sets – say, a media player to the 2-Trk inputs and a CD-player to the Bal Line inputs on the same channel – will work. Naturally there will not be any separate level control for one or the other, so the source with the stronger signal (or higher output impedance) will be louder. If you are not running both sources at once, this won’t be a problem. In any case there

will be no loading distortion or other ill effects.

Post-Fader Cha nne l EQPre-Fader

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

EFX

Aux

EFX

Mon 1

Mon 2

Pa n

HPF

80Hz

HPF

80Hz

Act

Clip

Act

Clip

Low 80Hz

High

12KHz

Mid

Sweep

Gain

Low

80Hz

High

12KHz

Mid

Sweep

Gain

Solo Solo

Mute Mute

-15 +15

mic

+20

+30

-20 +56

+10

-10 +50

-36+40

line

+20

-20

-6

+10

mic

+20

+30

-20 +56

+10

-10 +50

-36+40

line

+20

-20

-6

+10

80 8K

2.5K

1.5K

200

100

80 8K

2.5K

1.5K

200

100

7. HPF Button

Situated at the top of the mono channel strips, this switch activates a High-Pass Filter (a bass roll-off of 18 dB per octave below 80 Hz). The stereo channels do not have this feature, as they are normally used for pre-recorded material.

The HPF (High-Pass Filter) is useful for controlling unwanted low-frequency spillover picked up by microphones located too close to the bass drum, bass amp or the keyboard amp. It is also effective in regulating acoustic guitar pickups that are sounding too boomy (the lowest note on a concert-tuned guitar is 81.2 Hz, so you aren’t losing anything by rolling off the input response below 80 Hz). Additionally, the HPF works to reduce pops and thumps from vocal microphones. Any microphone, or pickup, which reflects a source that does not go below 80 Hz should have the HPF activated. This

includes most wind instruments, most male voices, nearly all female voices and all drum

microphones except for the kick-drum.

Why roll off the bass on these channels? …because you will obtain better clarity and improve the system’s gain before feedback.

8. Gain Control

PowerMAX features active input circuitry with exceptionally high headroom. The Gain control regulates the channel gain level to match it with the input signal strength. There are two gradation circles, the outer one (-20 dB to +56 dB) for the Mic input, the inner one (-36 dB to +40 dB) for the Bal Line input. Since this control has a range of 70 dB, it

presents the user with considerable variability given the slightest amount of movement.

A quick way to ensure that the Gain is adjusted correctly is to turn it up during a sound check until the Clip LED begins to flash (keep the channel fader at a safe, low setting during this process), then turn the Gain down slightly. PowerMAX’s Clip LED drive circuits are preset to fire at 6 dB below the onset of actual clipping so you need not worry

about seeing some activity on the lights. You will find that this or any system performs

more cleanly and quietly with the Gain controls all set properly. Also, you may use PFL (Pre-Fade Listen) and the VU meter to set 0 dB.

9. Channel EQ

The mono channels feature 3-band Equalization with control of +/-15dB. Mids are swept from 80 Hz to 8 kHz (2.5 kHz highlighted in the graphics as (our) standard mid frequency). The High EQ is shelving at 12 kHz and Low EQ shelves at 80 Hz. The stereo channel EQ is 4-band (+/-15dB) with fixed mids at 250 Hz and 2.5 kHz. The Low EQ control (+/15dB) are the same as the mono channels.

Setting the channel EQ, like setting the Gain, is best done during a sound check. In this case however, the less you vary things above or below “0,” the better. +/-15dB represents considerable level change. If you need to turn down the High EQ on a channel, perhaps due to a persistent feedback problem with that microphone, you may need to readjust the level fader. In any case, big boosts are probably best avoided.

One cure for a bad feedback problem is to Insert (see Insert Jack) a graphic or parametric EQ into the problem channel and adjust it to attenuate only the feedback frequency. That way, fewer innocent frequencies will be affected. However, the channel EQ’s Mid Sweep control can often be used quite effectively to perform a similar function. Simply set the Mid at about -6 dB then rotate the Sweep control until the feedback stops. Now turn the Mid up slightly to normalize the frequency response as much as possible without feedback.

10. Mon 1 and Mon 2 Sends

These are pre-fade, post-EQ sends. Internal routing is…

1. to the Mon masters and Solo buttons

2. to the Mon 1 and 2 EQs

3. to the Mon 1 and 2 Line Level Outputs

4. through the cutoff switches in the Amp C and D Amplifier Inputs

5. to the built-in, 800-Watt amplifiers C&D and finally

6. to the Mon 1 and 2 Power Amplifier Outputs.

Aux

EFX

Mon 1

Mon 2

Bal

Act

Clip

15/16

Low 80Hz

250Hz

2.5KHz

High

Gain

12KHz

Hi Mid

Lo Mid

Solo

Mute

15/16

-15 +15

-36+40

line

+20

-20

-6

+10

Dual monitor systems permit setting up two zones of coverage. Certain channels may

be isolated through one system or at least mixed louder through it. As an example, the

vocalists might want to hear themselves predominantly through their monitors. The other system might carry a more generalized mix for the rest of the band’s monitors. Remember that the channel Mon 1 and 2 send controls are affected by the channel EQ, but NOT the fader. When feedback sets in, it’s often the monitors, not the mains, although it comes through both systems so it’s hard to tell. When it happens, turn down the suspect channel’s MON sends. You’ll probably kill the feedback and that channel’s level through the main P.A. can remain unchanged. Now you can adjust the Mon 1 or Mon 2 EQ then turn that channel’s Mon send back up (carefully, you may still have some EQ-ing to do).

11. AUX Send

The channel Aux send is post-EQ and post-fader. Internal routing is

1. to the Aux Send master and Clip LED, and

2. to the Aux Send jack.

Since the Aux sends are post-fader, any changes to the channel fader levels will result in changes to the Aux send levels. Therefore the Aux sends are useful for adding external effects (there are also stereo Aux Returns), and for mono recording purposes such as speeches, a demo record rhythm track, etc.; which do not require effects or graphic -EQ (this is a pre-effects, pre-EQ dry signal).

12. Efx 1 and 2 Sends

Like the Aux send, these are post-fader and post-EQ. The EFX1 send is internally routed…

1. to the Efx 1 Send master fader,

2. to the internal digital effects 1 system,

3. to the Efx 1 Return masters.

The Efx 2 send is internally routed…

1. to the Efx 2 Send master fader,

2. to the internal digital effects to system, and (simultaneously) to the Efx 2 Send jack,

3. to the Efx 2 Return masters.

The PowerMAX effects processors operate independently as two discreet stereo effects systems with sixteen presets and a parameter control each. You can, for example, have reverb on the Efx 1 system and a special effect on Efx 2. These would be mixed together on the main and monitor signals by the Efx Return to L&R and Mon 1 and 2 masters.

To get started, figure out which channels you want effects on (e.g. vocals, lead guitar, horns and keyboards - most likely not on the drums or the bass). During a sound check, turn up the Efx 1 send controls on those channels about halfway at first and push up the channel level faders also about halfway. Now dial in the desired effect using the Efx 1 Select and Parameter controls – the menu of presets with the parameter adjusted by the parameter pot appears below the dials. Next, turn up the Efx 1 L&R (main system) Return Levels master about halfway. Now push up the L&R main master faders to a moderate listening level, as well as the Efx 1 send master. Finally, re-adjust the channel Efx 1 send levels to add or subtract the effect’s intensity in the main mix. Alternatively, you may preview the effects through headphones using the Solo buttons covered later on. To preview the effects on the monitor mixes, plug in headphones (jack located at front of mixer) depress the Mon 1 and/or Mon 2 Solo buttons, set the Solo Mode to PFL and turn up the Headphone master.

The channel Efx 1 send controls are exclusively for the internal effects system.

The channel Efx 2 send controls allow you to add external or internal effects. With no external effects units connected between the Efx 2 Send jack and L/R Return jacks, the internal Efx 2 system will be available to the mains and monitors. Simply set the Efx 2

Select and Parameter controls for the desired effect in the same manner as Efx 1, then adjust the Efx 2 Send and Return masters to blend in the effect with the dry signals. Use headphones and the Mon 1 and/or Mon 2 Solo buttons to listen to the effects mix in the monitor system. The Monitor Solo works the same with the AFL (After-Fader-Listen) and the PFL (Pre-Fader-Listen).

The Efx 2 send signal is available at the Efx 2 Send jack and is regulated by the Efx 2 Send master fader. You may connect external effects between the Send and Return jacks, or you may alternately use the Send jack to supply mono recording or broadcast signals not requiring effects (like the Aux signal, Efx 2 is dry and post-channel fader).

When using an external effects processor, connect the Efx Send jack to the input of the unit and the Efx Return jacks to its outputs. It is possible to use both an external effect unit and the internal unit if the external returns are connected to one stereo or two mono channels. If it's not a stereo effect, connect its output using a ‘Y’ cable to both the L&R Efx 2 Return jacks. The effect processor’s output may be cued through headphones with the Efx 2 Solo button depressed and the Solo Mode button in PFL position. AFL gives you Efx 2 to Main Return level.

13. Pan Control (Mono Channels)

This controls the post-fader channel signal routing to the L&R main faders. Signal levels are compensated at the L&R rotation extremes so that panning during a performance will result in minimal SPL losses in the center-field audience areas.

In a stereo setup, the Pan controls would normally be set at, or near, center so audience members on both sides can hear everything properly. However if stereo is not an essential part of your P.A. sound, you might opt to convert PowerMAX to mono operation. To accomplish this, simply patch the L/Mono (left main/mono) Line Level Output into both the Amp A and Amp B Amplifier Inputs with a standard “Y” cable. Now, both main power amps are receiving a mono mix. This will enable you to use the Pan controls to set up two submaster groups – for example you could pan all the drum channels left and all the rest right. Now the L&R master faders become group masters. These master faders are placed close together, so it is easy to move them both at once when making main system level changes.

14. Balance Control (Stereo Channels)

This controls both the channel output routing to the L&R main faders and the comparative levels of the stereo signals within the channel. If you have patched for mono operation (see number 13. Pan control, above) it is possible to connect two different mono line-level sources to a stereo channel and use the Bal control to regulate their relative volumes. For more on this, see under Bal Line Inputs.

15. Clip/Mute LED

The Clip LED is triggered at 6 dB below the channel’s actual clipping level. When the Mute button is depressed, the Clip light will illuminate at half–brightness and will still flicker to indicate clipping. With the Clip light threshold set below actual clipping level, it is possible to allow a certain amount of light activity without worrying about distortion. As a result, you may use the Clip light to help you adjust the Gain control. See under 8. Gain Control for more about this.

16. Mute Switch

The Mute switch shuts off the specific channel and all sends except PFL. Mute is a timesaving feature that enables you to put channels, which you have adjusted during the sound check, on hold until they're needed. It's important to do this since every open microphone connected to a mixer reduces the system’s gain before feedback (by several decibels).

17. Solo Active LED

This LED flashes with channel activity and stays illuminated to indicate Solo activation. It will still pulse slightly with channel activity in Solo mode.

Just a reminder to take channels off Solo when you are through listening to them through the headphones and/or checking their audio level on the VU-Meter.

18. Solo Switch

The Solo switch is pre-Mute or post-Fader and introduces no attenuation. Routing is,

1. to the AFL/PFL Solo Mode selector

2. to the VU-Meter plus the Headphone level and amplifier.

The Solo feature allows you to isolate a channel or master buss through the headphones and on the VU-Meter. Because it is pre-Mute in the PFL mode, you can still Solo a channel on Mute – a convenience for digital audio players, CD-player, and tape decks on the stereo channels, or listening in on the mono channels for problems such as feedback or a distorted microphone. Also with the Solo Mode master button set for PFL, you can solo each channel during the sound check and adjust the channel Gain so that the VU-Meter averages around 0 dB.

The Clip LED is another way to help set the Gain control. The above method is more precise, but the Clip lights can all be seen with a quick look, hence they are better for making Gain adjustments later on. Look under 8. Gain control for more on this.

Soloing the effects busses lets you hear only effects through headphones, with no dry signal mixed in. This aids in selecting and adjusting the effects. Then, to preview the final main P.A. mix with dry and effects signals, switch off all the Solos. Only the main

stereo mix will now be on the headphones.

During a sound check, use the Solo button/s to help you set Gain Level/s, one channel

at a time as follows:

1. Depress the Solo button on a channel you wish to adjust, making sure that all other

channel and master Solos are off.

2. Set the SOLO MODE button so that the PFL light flashes.

3. Turn up the channel’s Gain control until the VU-Meter peaks at “0”.

4. Adjust the level fader and EQ as desired.

5. Re-adjust the GAIN if needed for 0dB readings on the VU-Meter

19. Level Fader

All Level Fader gradations have 0 dB reference. This relates to 0 dB on VU-Meter when one channel is in operation on PFL Solo with continuous signal at the input and the channel Gain is adjusted for that reading. Switch to AFL with the channel and main faders at 0dB and the VU level reading should remain approximately 0 dB with one channel in operation (reduce main levels as you add channels to the mix to maintain 0dB readings in the AFL mode).

Level fader taper is expanded in the upper mid-slide area for precise adjustments and condensed at the extremes for fast off or max. Signal routing goes simultaneously to the Efx 1, the Efx 2 and Aux sends and Pan control.

Master Section

Aux

Optimum Level

For Recording

is ‘0 db’ on

Master VU

EFX

Aux

EFX

Mon 1 Mon 2

Internal

EFX Defeat

Record

Out

Lamp

Footsw .

Returns

AMPLIFIER Inputs

LINE LEVEL Outputs

ABCD

Sends

20. Record Outputs

These unbalanced RCA outputs are pre-EQ, pre-Speaker Processor and post-faders (L&R), as well as post-effects.

The Record output signal consists of the L&R level (including effects) from the L&R masters. The signal is pre-graphic-EQ and speaker processor. This way, you can EQ the speaker system without those EQ adjustments being present on the Record output signals. As the panel artwork indicates, optimum level for recording is 0 dB (average) on the VU-Meters. For more information on setting gain levels for 0 dB, see under 18. Solo Switch.

21. Efx 2 and Aux Send Jacks

These jacks carry the dry, mono output of the Efx 2 and Aux summing stages and are controlled by their Send masters (and are TRS balanced).

You can connect either or both of these outputs to the inputs of an external effects processors. Alternately, either may be used as an audio output, perhaps to another P.A. system, recording (mono) or broadcast mixer. Just remember that the channel Efx 2 and Aux send controls are post-fader, in other words their send signal levels are affected by the channel faders.

The Efx 2 and Aux Send jack signals are dry; they are not affected by the L/R graphicEQ and have no internal effects. They are balanced connectors, but will work with either balanced or unbalanced cables. However, for optimum quiet performance, use balanced

patch cords whenever possible.

22. Mon 1 and 2, Efx 1 and 2, Aux Send Masters, Solos and Clip LEDs

Each master regulates the output levels of its gain stage. Each stage also has a Clip LED and, with the exception of the Efx 1, Efx 2 and Aux busses, a Solo button and LED. Output signals are available at the applicable Send jacks except for Efx 1, which is internally routed to the input of built-in effects processor.

Adjust these sends for maximum level at the input of the connected (or internal) units without clipping. If clipping is indicated on a Send LED, reduce that master’s level. The same action should be taken if clipping is indicated on the input of anything connected to the Send jacks or on the Efx 1 Return Levels channel.

The Solo features allow you to listen (to each Master Send) through headphones. The LED indicates that the signal is being summed into the solo (AFL and PFL busses). Remember to turn Solos off when you are done listening to them.

23. Efx 2 and Aux Return Jacks

These are the inputs to the Efx 2 and Aux Return master sections. The L/Mono Aux Return jacks are patched internally to the Right Return jacks which are switching jacks that interrupt the patch when a jack is Inserted. Both returns are TRS balanced.

Mon 1

Mon 2

Main

Mon 1

Mon 2

Main

Mon 1

Mon 2

Main

clip

RETURN Levels

Solo

EFX 2AUX

Solo

clip /

defeat

EFX 1

Solo

defeat

The output/s of mono or stereo effects processors would be connected here. If an effects processor is mono, plug its output into the L/Mono Aux Return jack or use a ‘Y’ cable to the Efx 2 Return jacks. If it's stereo, use both jacks. Signals coming into the Efx 2 and/or Aux Return jacks are routed to the Efx 2 and Aux Return masters so that their mix levels to both Mon 1 and Mon 2 channels and the L/R main P.A. channel can be regulated precisely.

These jacks may alternately be used to connect another audio source, e.g. digital audio players, CD-player, tape decks, instrument amp line out, keyboard or even another mixer. The Efx 2 and Aux Return Masters regulate their mix levels to the main and monitor systems. The EFX2 and Aux Return jacks are balanced, but will work with either balanced or unbalanced cables. For optimum, quiet performance, use balanced patch cords whenever possible.

24. Return Levels Masters, Solos and Clip LEDs

Efx 1 is the internal effects processor bus. The Efx 1 Return masters are between its output and the internal inputs to the Mon 1, Mon 2 and L/R (main) busses. The Efx 2 and Aux Return masters are between their respective Return jacks and the internal inputs to the Mon 1, Mon 2 and L/R (main) busses. Solos can be PFL or AFL as per the Solo Mode button setting. In mono effects mode Efx 2 gets signal from intenal-Efx 2. Efx 1 Return features a Defeat LED to indicate that the effect has been muted by the Internal Efx Defeat Footswitch.

These Masters permit mixing internal and/or external effects or other input signals to the Mon 1 and Mon 2 monitor channels and the L/R main channel. The Solo buttons let you preview through headphones whatever signals are coming into each Return Levels channel before turning up these masters (Solo Mode button set for PFL) or after they are turned up (Solo Mode at AFL). The Solo LED stays on to indicate that Solo is active. Remember to depress the button again when you are finished soloing.

Aux Clip and Efx 2 Clip/Defeat indicate excessive signal levels coming in via the Aux Return. This can mean that the Efx 2 Send fader or the Aux Master Send levels are set too high causing the effects units to put out too much signal. Turn them down. Trying to reduce clipping at this stage by turning down the Return Levels masters will not work.

Clipping is more likely to happen when a high-output

audio source, possibly another mixer or an instru-

ment amp’s line output, has

been connected to one or

both of the Return jacks. In this case lower that mixer’s (or whatever’s) master level

or other volume controls

until the Clip LED goes out.

Again, do not try to remedy the problem by turning

down the Return levels. Efx 2 Clip/Defeat LED indicates

that the effect has been

muted by the Internal Efx Defeat Footswitch. This

footswitch mutes only the internal effects. An external device should have its own footswitch.

Aux

Mon 1

Mon 2

Active

Solo

Active

Solo

clip

Aux

Send

Mon 2

Send

Mon 1

Send

Master Sends Section

25. Mon 1 and 2 Send Masters, Clip LEDs and Solo Switches

Mon 1 and 2 Master Sends, Clip LEDs and Solo switches

are between the summed channel send signals and

its designated EQ and Send jack. The Solos and the Clip LEDs are post-master. Once again, the main L/R buss is on Solo when all the other

solos are off.

The Clip LEDs indicate near-overload conditions. Reduce the appropriate master Mon Send setting or the channel Mon send settings to avoid distortion.

Because the monitor

buss Solo is post-master,

you hear the final mix through headphones with

the Solo Mode in either AFL or PFL. Final monitor mix

levels will therefore appear

on the VU-Meter in either AFL or PFL.

26. Aux Send Master and Clip LED

The Aux Send master is an attenuator between the summed channel Aux sends and the Aux Send jack. The Clip LED is post-master.

If the Aux Clip LED becomes active, reduce the Aux Send master setting or the channel Aux send levels to reduce the risk of distortion. Otherwise, set the Aux master as required for the application - high enough to deliver ample signal strength but not too high for the connected unit’s input headroom (check the unit’s input clip indicator).

27. Efx 1 and 2 Send Masters and Clip LEDs

These faders are between the channel Efx sends and either the internal effects processor (Efx 1) or the Efx 2 Send jack (Efx 2). The Clip LEDs are post-fader.

See under Input Channel Features – Efx 1 and 2 Sends for tips about setting up effects.

28. Internal Efx Defeat Footswitch Jack

This regulates internal Efx, Efx 1 and Efx 2. Connect a standard footswitch here (e.g. Apex model AFS-1) to switch the internal effects on and off.

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