Alto | TYPHOON SERIES | User`s manual | Alto TYPHOON SERIES User`s manual

R
LTO
For music with passion
User's Manual
Typhoon
large scale mixing console
R
www.altoproaudio.com
Version 1.3 November. 2005
English
Fuse
SAFETY RELATED SYMBOLS
To prevent fire and damage to the product, use only
the recommended fuse type as indicated in this
manual. Do not short-circuit the fuse holder. Before
replacing the fuse, make sure that the product is
OFF and disconnected from the AC outlet.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
This symbol, wherever used, alerts you to the presence of un-insulated and dangerous voltages within the product enclosure. These are voltages that
may be sufficient to constitute the risk of electric
shock or death.
Protective Ground
Before turning the product ON, make sure that it is
connected to Ground. This is to prevent the risk of
electric shock.
This symbol, wherever used, alerts you to important operating and maintenance instructions.
Please read.
Never cut internal or external Ground wires. Likewise,
never remove Ground wiring from the Protective
Ground Terminal.
Protective Ground Terminal
Operating Conditions
AC mains (Alternating Current)
Always install in accordance with the manufacturer's
instructions.
Hazardous Live Terminal
ON:
To avoid the risk of electric shock and damage, do
not subject this product to any liquid/rain or moisture.
Do not use this product when in close proximity to
water.
Denotes the product is turned on.
OFF: Denotes the product is turned off.
WARNING
Do not install this product near any direct heat source.
Describes precautions that should be observed to
prevent the possibility of death or injury to the user.
Do not block areas of ventilation. Failure to do so
could result in fire.
CAUTION
Keep product away from naked flames.
Describes precautions that should be observed to
prevent damage to the product.
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions
Disposing of this product should not be
placed in municipal waste and should be
Separate collection.
Follow all instructions
Keep these instructions. Do not discard.
Heed all warnings.
WARNING
Only use attachments/accessories specified by the
manufacturer.
Power Supply
Ensure that the mains source voltage (AC outlet)
matches the voltage rating of the product. Failure
to do so could result in damage to the product and
possibly the user.
Power Cord and Plug
Do not tamper with the power cord or plug. These are
designed for your safety.
Unplug the product before electrical storms occur
and when unused for long periods of time to reduce
the risk of electric shock or fire.
Do not remove Ground connections!
External Connection
Protect the power cord and plug from any physical
stress to avoid risk of electric shock.
If the plug does not fit your AC outlet seek advice from
a qualified electrician.
Always use proper ready-made insulated mains
cabling (power cord). Failure to do so could result
in shock/death or fire. If in doubt, seek advice from
a registered electrician.
Do not place heavy objects on the power cord. This
could cause electric shock or fire.
Cleaning
When required, either blow off dust from the product
or use a dry cloth.
Do Not Remove Any Covers
Within the product are areas where high voltages
may present. To reduce the risk of electric shock do
not remove any covers unless the AC mains power
cord is removed.
Do not use any solvents such as Benzol or Alcohol.
For safety, keep product clean and free from dust.
Servicing
Covers should be removed by qualified service
personnel only.
No user serviceable parts inside.
Refer all servicing to qualified service personnel only.
Do not perform any servicing other than those instructions contained within the User's Manual.
1
PREFACE
Dear Customer:
Thank you for choosing the
For
LTO TYPHOON which is the result of our
LTO AUDIO TEAM's endeavours.
LTO AUDIO TEAM music and audio are much more than a job, they are a passion and an obsession!
We have, in fact, been designing professional audio products for a number of years in cooperation with many of the
world's major brands.
The LTO line represents unparalleled analogue and digital products made by musicians, for musicians. With our
design centres in Italy, the Netherlands, and the United Kingdom we provide you with world-class designs, while our
software development teams continue to develop an impressive range of audio specific algorithms.
By purchasing our LTO products you become the most important member of our LTO AUDIO TEAM. We would
like to share with you our passion for what we design and we invite you to make suggestions, which will aid us in developing future products for you. We guarantee you our commitment to quality, continual research and development,
and of course the best performance/price ratio.
The LTO TYPHOON is a large format versatile 8-bus sound reinforcement mixing console designed for all types
of live sound production as well as for recording purposes. Each channel is equipped with a variety of key features
including a warm, natural sounding four band sweep EQ (4 band fixed EQ for stereo channels), 8 Auxiliary sends,
Clip preamp and fader LEDs etc.. Besides, the TYPHOON is equipped with fully featured intercom and talkback sections that will allow the sound engineer to work in a very fast and reliable way. Seeing is believing, let's meet LTO
TYPHOON.
We would like to thank all the people that worked with us to make a vision real! Our designers and LTO staff made
the LTO TYPHOON, large format 8-bus sound reinforcement mixing console, a very reliable and high quality product
ready for all your venues. And thanks to their passion for music and professional audio it has been possible for us to
offer you, our most important team member, our continued support too.
Thank you very much
LTO AUDIO TEAM
2
TABLE OF CONTENTS
SAFETY INSTRUCTIONS ..........................................................................................................................1
PREFACE ...................................................................................................................................................2
TABLE OF CONTENTS .............................................................................................................................3
INTRODUCTION ........................................................................................................................................4
MAIN FEATURES ......................................................................................................................................5
INSTALLATION AND CONNECTIONS ..................................................................................................6-7
TYPHOON PICTURES ...........................................................................................................................8-9
FUNCTIONAL DESCRIPTION ............................................................................................................10-31
Typhoon Mono input channels .............................................................................................................10-14
Typhoon Stereo input channels ...........................................................................................................15-19
Typhoon Master Section ......................................................................................................................20-27
TYPHOON CONNECTIONS WIRING .................................................................................................28-31
GLOSSARY ..............................................................................................................................................38
TECHNIQUE & TROUBLESHOOTING ..............................................................................................32-37
BLOCK DIAGRAMS ...............................................................................................................................39
TECHNICAL SPECIFICATIONS .........................................................................................................40-41
EXTRA PAGE ......................................................................................................................................42-51
WARRANTY .............................................................................................................................................52
3
INTRODUCTION
Our current top mixer line...fitted with a wide range of controls to satisfy the needs of the most demanding professional
with its real hi-fi specs and its user-friendly and ergonomic design despite the very high quantity of controls! These
models are ideal for large venue and large bands.
Thank you very much for expressing your confidence in LTO products by purchasing LTO's first large format mixing console Typhoon, an 8-bus sound reinforcement mixing console designed for all types of live sound production.
We're proud to introduce you our first large format mixing console, designed and developed to meet the needs of the
demanding live sound engineers, providing the quality, all the features and the reliability you deserve, with its real hi-fi
specs and its user-friendly and ergonomic design despite the very high quantity of controls!
The Typhoon is an all purpose FOH mixing console that can be used as Monitor mixer as well, thanks to its 8 independent auxiliary sends. Each mono channel offers microphone and line input, direct out and insert points, lo-cut filter,
four band sweep EQ. etc. The stereo channel offers stereo (left & right) line input with four band fixed EQ, as well as
mono input with discrete mic &line connections and lo-cut filter.
Following the needs of professional live sound engineers we included a lot of special features, like a Talkback section
and a 3-frequency Oscillator, and double CLIP indicator to immediately understand at a glance the behaviour of every
channel mono signal.
The Typhoon is a large format professional mixing console. You will get a smooth, accurate more natural and open
sound from this tool, it is really ideal for gigs, recording and fixed PA installations.
Your Typhoon has been designed to be a very versatile and user-friendly mixing console, so it's very easy to operate
but we advise you to go through each section of this manual carefully. In this way you will get the best out of your
Typhoon in all application.
4
MAIN FEATURES
Pre-insert preamp CLIP LED
Extremely high headroom offering excellent dynamic range
Post-fader, post-EQ Direct output, can become pre-fader post-EQ by an internal jumper
Pre-fader, pre-eq channel insert
MIC input channels with golden plated XLRs and balanced LINE inputs
4-band sweep EQ on mono channels
4 Stereo input channels with left-right balanced TRS jacks, and mono MIC & line inputs
4-band fixed EQ on stereo channels
Ultra-low noise discrete Mic Preamps with +48V Phantom Power
100mm high precision faders
Each input channel features Mute & SOLO switches, Overload & signal present LEDs and low cut filters
(except stereo line inputs)
Fader CLIP LED
SUB 1-2, 3-4, 5-6, 7-8 & MAIN L-R signal assignment switch
8 AUX sends with pre-post-fader assign switches
Channel inserts and direct outputs on each mono channel for connection of outboard equipment
Groups, Aux sends and Main Mix inserts for flexible connection of outboard equipment
Control room/phones discrete level
Fully assignable Oscillator and Talkback sections
Three-frequency, three-level oscillator
XLR socket for lighting lamps
2-TRACK IN path
Highly accurate 16 segment output level meters
5
INSTALLATION AND CONNECTIONS
[ INSTALLATION ]
The following counsels must be observed to maintain safety and electromagnetic compatibility performance in order
to obtain the best possible performances by your Typhoon.
Earthing & Power Connections
Since all the signals are referenced to earthing system, it's very important that it's clean and noise free. The best way
to do an earthing system is to use a "star fed" instead of "daisy chain". A "star fed" earth connection means that independent wires runs for each outlet, in this way you'll provide a safety reference screen for each single equipment.
Never mix the mains audio earthing outlets with light earthing outlets, it could very easily generate interferences and
audio degradation.
Please try to avoid placing the console close/on any power distribution units or power amplifiers.
When using an external power supply, it should be located as far as possible from the console.
The power supply should be set for the voltage supply available in your area and plugged into the mains socket using
the cable provided with the ground/screen connector properly connected. The Typhoon should only be operated with
the power supply connected to ground via the ground in the mains connector. The use of alternative power supplies
may cause damage and void the warranty.
The power supply should never be operated with the mains earth disconnected
Please note that the power supply contains DANGEROUS VOLTAGES, much stronger than the mains voltage.
The power supply rails can produce extremely large currents which could burn out equipment and wiring if shorted.
Electric & Magnetic Fields
When the console is operated close to an electromagnetic field (generated by video monitors, high-power electric
cabling, etc.), you should detect an audio degradation induced by voltage picked up by leads and chassis. In this case
the signal to noise ratio may be degraded, under extreme conditions (3V/m, 90% modulation) degradation of up to
40dB may be experienced.
Wiring
To ensure the correct and reliable operation of your Typhoon mixing console, only high quality screened twisted pair
audio cable and metal bodied connectors should be used.
Position
Place the mixing console on a flat and even surface, avoiding extremely hot, cold, dust or humid places.
Your Typhoon should be situated so that its location or position does not interfere with its proper ventilation (e.g. on
a carpet, on felt, etc.).
When positioning the console for front of house usage it is worth placing the console in the "sweet spot" position
(where the sound system used can be properly heard from the mix position). Try to avoid placing the console behind
pillars or large objects , or mixing from a level above the speaker position (e.g. from a balcony).
WARNING: Always switch off the power supply off before connecting or disconnecting the mixer power cable,
removing or installing modules, and servicing. In the event of an electric storm or large mains voltage fluctuations, immediately switch off your Typhoon and disconnect the mains plug from its socket.
WARNING: Do not replace the fuse with any other type, or short-circuit the broken fuse, this could become
a safety hazard and will void the warranty.
WARNING: All servicing should ONLY be carried out by skilled personnel of an authorized maintenance centre.
6
[ CONNECTIONS ]
All connector shells should be of metal construction in order to provide a screen when connected to the console.
The Typhoon deserves to be operated with high quality twisted-pair audio cables to develop its full audio performances.
XLR plug & socket
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
6,3mm. (1/4") Jack - BALANCED connections
TRS signal
Sleeve Screen/Ground
Ring Cold signal
Tip Hot signal
6,3mm. (1/4") Jack - unbalanced connections
TS signal
Sleeve Screen/Ground
Tip Signal
6,3mm. (1/4") TRS insert
Sleeve Screen/Ground
Ring Insert return
Tip Insert send
6,3mm. (1/4") TRS headphone
Sleeve Screen/Ground
Ring Right signal
Tip Left signal
Owner's manual conventions
Writing this owner's manual we used the following conventions:
1. The names of the keys switches and connectors used in this owner's manual match the labels on the unit
Examples: MIC IN
-> Microphone input
MID-H
-> Mid-High frequency boost/cut control
GR1-GR2 -> Group 1 & Group 2
2. The condition of the indicators on your mixer is surrounded by " ", e.g. "light" or "flash".
7
TYPHOON PICTURES
TYPHOON 1600
TYPHOON 2400
8
TYPHOON PICTURES
TYPHOON 3200
TYPHOON 4800
9
FUNCTIONAL DESCRIPTION
[ Typhoon Mono Input Channels ]
The Typhoon is supplied with all the connections pro users deserve to connect every kind of signal sources to Typhoon
inputs.
Direct Out
This unbalanced connector can be used to directly output the signal of the
channel for recording & other purposes. This output can be set pre- or postfader by an internal jumper. Please note that the Mute switch of the channel
affects this connector when set to post fader. The wiring is Tip = Hot Ring &
Sleeve = Screen.
DIRECT
OUT
MIC IN
Insert
INSERT
LINE IN
LINE IN
INSERT
This unbalanced 1/4" jack connector has been designed to be used as insert
point, breaking the signal path immediately after the preamp section and
before the EQ section to allow the pro user to insert a dynamic compressor,
a parametric EQ, as well as other ancillary equipment. Please note that the
Mute switch of the channel does not affect this connector. The wiring is
Tip = Insert Send, Ring = Insert Return, Sleeve = Screen.
DIRECT
OUT
Line in
MIC IN
CH 2
CH 1
This balanced input connector has been designed to accept line inputs up
to +22dBu. You can connect here keyboards outputs, mixer outputs, tape
outputs, etc. The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen.
MICROPHONE in
This XLR socket has been designed to accept microphone signals up to
+22dBu, providing phantom power for condenser microphone when the
switch in the front panel is engaged. Pin1 = Screen/Ground, Pin2 = Hot
Signal, Pin3 = Cold Signal.
10
[ Typhoon Mono Input Channels ]
We perfectly know the importance of the preamp section, a good preamp section will allow the sound engineer to work
with maximum dynamics, an exceptional signal-to-noise ratio... then to be able to use EQ, external dynamic controls
and other ancillary equipment to shape its own sound!
The Typhoon preamp section features all the useful controls to accurately manage the sound source in the most versatile way.
PHANTOM POWER switch & LED
PHASE switch & LED
The switch must be engaged when
you're using a condenser microphone
or a direct box that can be powered
by phantom power, instead of batteries.
The LED gives the user a visual control over channels with phantom power
on.
This switch allows the user to invert by 180
the signal. This switch is very useful in a lot
of circumstances, in particular when several
microphones are very close (e.g. drum kit,
brasses, chorus, etc.) and the sound engineers notices interferences between microphones that can not be solved moving the
microphones. The LED gives an immediate
control over channels with inverted phase
electronic circuits.
PHANTOM 48V
ON
OFF
PHASE
OUT
IN
CLIP
GAIN
GAIN
The GAIN control gives you the chance
to continuously adjust the pre-amplifier
gain for input signal. This control can be
adjusted in 0/+60dB range for microphone
input and -25/+35dB for line input.
+60
+35
0
-25
125
HIGH
PASS
freq
Hz
40
400
ON
OFF
CLIP LED
At LTO we're very careful about the feedback we continuously receive by our customers and the demands of pro users. For
this reason we included a preamp CLIP LED,
allowing the sound engineer to detect the
clip incurring at the beginning of the audio
path. The preamp CLIP LED turns on when
the input level reaches 6dB before clipping.
If the clipping has been generated by other
channel controls (e.g. an excessive boost
by EQ.) the sound engineer will see the preamp CLIP LED not lighted, while the fader
clip LED will be lighted. In this case the research of the fault will become much faster!
HIGH PASS LED
A very useful LED shows if the HIGH
PASS section is active or not.
HIGH PASS switch
This section allow the sound engineer to reduce the lower frequencies by engaging the
switch and selecting the turnover frequency
in 40Hz/400Hz range. This control is very
useful when you detect hum or rumble or
you want to cut unwanted low frequency
sounds picked-up by microphones.
11
[ Typhoon Mono Input Channels ]
We provided a very versatile EQ circuit with four sweep filters to satisfy professional users demand. Thanks to the
wide overlap section of the 4 filters, this EQ allows to shape in a very efficient way the sound of all the sound sources
the sound engineers has to manage.
HIGH gain
HIGH freq
0dB
It's a shelving filter giving the user
a continuous adjustment of boost
and cut from +15dB to -15dB.
HIGH
-15
4
+15
HIGH
freq
KHz
It's a peak/dip filter giving the user
a continuous adjustment of boost
and cut from +15dB to -15dB.
1.6
0dB
16
MID-H
-15
3.2
EQ
MID-H gain
+15
MID-H
freq
KHz
MID-L gain
.8
0dB
8
MID-L
It's a peak/dip filter giving the user
a continuous adjustment of boost
and cut from +15dB to -15dB.
-15
640
+15
MID-L
freq
Hz
LOW gain
It's a shelving filter giving the user
a continuous adjustment of boost
and cut from +15dB to -15dB.
EQ LED
This useful LED will allow the sound
engineer to immediately understand
if the channel has been equalised
or not.
160
0dB
It's the control to set the centre frequency of the
HIGH control. It can be adjusted in 1,6-16kHz
range. It affects the frequency area from the upper
fundamental frequencies up to the higher harmonic frequencies, allowing the skilled user to add
brightness to sound sources as well as reduce
unwanted hiss and high frequency noises.
MID-H freq
It's the control to set the centre frequency of the
MID-H control. It can be adjusted in 0.8-8kHz
range. It affects the frequency area from the upper
fundamental frequencies up to the higher harmonic
frequencies, allowing the skilled user to add or
to subtract brightness to sound sources to avoid
masking frequencies effects.
1.6K
LOW
MID-L freq
-15
160
+15
LOW
freq
Hz
40
ON
OFF
400
EQ
It's the control to set the centre frequency of the
MID-L control. It can be adjusted in 0.16-1.6kHz
range. It affects the frequency area of most of
fundamental tone frequencies up to lower harmonic frequencies, allowing the skilled user to add/
subtract impact and/or presence to sound sources
giving them a particular sound character.
LOW freq
It's the control to set the centre frequency of the
LOW control. It can be adjusted in 40-400Hz
range. It affects the frequency area from the lower
fundamental frequencies, allowing the skilled user
to add "boominess" to sound sources as well as
to reduce unwanted hum and rumble noises.
EQ switch
This switch allows the user to use the EQ. Section
in signal path. Of course it can be used too to
make A/B comparisons between equalized signal
and not equalized signal to control the . It can be
used too to apply equalization at a certain point
of the show, excluding it when it's not necessary.
12
[ Typhoon Mono Input Channels ]
At LTO we thought that you deserve a very versatile auxiliary section. So we provided you eight discrete auxiliary
sends with independent level controls and several pre-/post-fader switches. Generally pre-fader is used for monitor
purposes, allowing the sound engineer to set a level that's independent by channel fader setting. In this way the control will be much more accurate and the sound engineer doesn't risk unwanted feedback when, for example, he raises
the level of the lead singer. Post-fader sends are better suited for FX sends control. By doing so, for example, the
sound engineer will raise the fader level of the lead singer the effect send as well, maintaining the same sound balance
between "dry" & "wet" signals. Please note that the channel Mute switch affects these controls.
0dB
AUX 1
-
+10
8
The AUX 1 send level can be adjusted
from up to +10dB.
AUX1 PRE
0dB
+10
8
The AUX 2 send level can be adjusted
from up to +10dB.
0dB
This switch sets pre-/post-fader the Aux 1
signal.
AUX2 PRE
AUX 2
-
POST
PRE/POST switch
POST
PRE/POST switch
This switch sets pre-/post-fader the Aux 2
signal.
AUX3
PRE
0dB
AUX 3 & 4
AUX4
POST
-
0dB
PRE/POST switch
Auxiliary sends 3 & 4 share the same pre-/
post-fader switch.
+10
8
The AUX 3 & 4 send level can be
individually adjusted from - up to
+10dB.
+10
8
-
AUX5
PRE/POST switch
-
+10
8
AUX 5-8
0dB
Auxiliary sends 5 to 8 share the same pre-/
post-fader switch.
AUX6
PRE
+10
8
-
0dB
AUX7
POST
+10
8
-
0dB
-
8
The AUX sends 5 to 8 level can be
individually adjusted from - up to
+10dB.
AUX8
+10
13
[ Typhoon Mono Input Channels ]
The assign section is useful to manage the output assignment to several outputs, as well as direct out, to listen "in
solo" a channel and to mute or not a channel signal.
OUTPUT Assign 1/2 3/4 5/6 7/8 L/R
These switches allow the sound engineer
to address the signal to selected audio path.
The odd/even numbered switches are used
to send the signal to sub-groups while L/R
switch sends the signal directly to Main Mix
output.
Please check the "technique & troubleshooting" section of this owner's manual
for further details about the way to use
those switches.
M1, M2, M3 & M4
GR1-GR2
M1
GR3-GR4
M2
GR5-GR6
M3
GR7-GR8
M4
MUTE
L/R
centre
Left
PAN
Right
These switches are very useful to manage the
sound in a fast and reliable way. You can use M1,
M2, M3 and M4 to program four MUTE memories.
This feature is important to give an immediate
control over some channels that are not used all
show long (e.g. some instruments played just in
some songs, the voice of the presenter, etc.) and
to immediately recall al the mixers status.
See section 7 of this owner's manual for the procedure to store and recall the four Mute Groups
memories.
CLIP
PAN
This pot allows the sound engineer to place
the channel signal in a stereo front from
hard left to hard right. Of course you can
use it also to "move" the channel signal in
stereo front to create spatial effects.
MUTE
-20
-20 & CLIP LEDs
These LEDs are very useful to control the behaviour of the channel signal path after the insert
point, the EQ section and the fader. So you could
notice the fader CLIP LED turned on while the preamp CLIP is not lit, or vice-versa. In both cases
the presence of two CLIP LEDs will help the sound
engineer to immediately detect where is the problem.
10
5
0
MUTE
You can use the MUTE switch to mute the
channel signal when you don't need its
sound. When this large switch is engaged,
it's lit. The signal is still sent only to insert
point, while the direct out is muted too.
5
10
PFL/Solo switch
20
30
Fader
This long coarse fader will give to the sound
engineer the ability to accurately manage
the channel output level from - up to
+10dB.
8
40
50
60
-
PFL/SOLO
ON
OFF
CH 1
14
This switch allows the sound engineer to control
the channel signal. The PFL (pre-fade listen) signal is pre-fader and mono while Solo stands for
SIP (Solo In Place), the signal is post-fader, placed in stereo front and it "opens" all the circuits
of related effect. When this large switch is engaged,
it's illuminated to give you an immediate visual
control of which, and how many channels are in
solo.
When the MASTER SOLO switch is engaged this
switch acts in SOLO mode and mutes all other
channels
[ Typhoon Stereo Input Channels ]
Each Typhoon is supplied with four stereo input channels. These channels are ideal for stereo signals but we included
the same circuit of mono inputs, with discrete preamp level section and low-cut filter. So the sound engineer has the
choice to use a mono signal and a stereo signal outputs in the same channel in different times without being obliged
to change the GAIN control!
RIGHT
This balanced input connector has been designed to accept line
inputs up to +22dB. This connector should be only used for the
right output of an instrument. The wiring is Tip = Hot, Ring = Cold,
Sleeve = Screen.
RIGHT
LEFT
(MONO)
MIC IN
LINE IN
LEFT (MONO)
LINE IN
LEFT
(MONO)
This balanced input connector has been designed to accept line
inputs up to +22dB. This connector should be used for the left or
mono output of an instrument. This input follows the stereo path.
The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen.
Line in
RIGHT
MIC IN
CH 43/44
CH 41/42
This balanced input connector has been designed to accept line
inputs up to +22dB. You can connect here keyboards outputs,
mixer outputs, tape outputs, etc. The wiring is Tip = Hot, Ring =
Cold, Sleeve = Screen
MICROPHONE in
This XLR socket has been designed to accept microphone signals
up to +22dB, providing phantom power for condenser microphone
when the switch in the front panel is engaged. Pin1 = Screen/
Ground, Pin2 = Hot Signal, Pin3 = Cold Signal.
15
[ Typhoon Stereo Input Channels ]
The Typhoon preamp section is fully featured with all the useful controls to manage the sound source. There are two
different preamp input path for mono or stereo signals, the latter features just GAIN while the mono preamp input is
regularly featured like any other mono input. In this way the sound engineer can use, for example, the stereo keyboard
outputs in the same channel of the entertainer voice, if both signals are not required at the same time and each source
will has its own level control.
PHANTOM POWER switch & LED
The switch must be engaged when you're
using a condenser microphone or a direct
box that can be powered by phantom power,
instead of batteries. The LED gives the user
a visual control over channels with phantom
power on.
PHASE switch & LED
PHANTOM 48V
ON
OFF
PHASE
OUT
IN
CLIP
MONO IN
GAIN
0
+60
125
HIGH
PASS
GAIN
The GAIN control gives you the chance to
continuously adjust the pre-amplifier gain
for input signal. This control can be adjusted in 0/+60dB range for microphone input/
line input.
freq
Hz
40
This switch allows the user to invert by 180 the
signal. This switch is very useful in a lot of circumstances, in particular when several microphones
are very close (e.g. drum kit, brass, choirs etc.)
and the sound engineer notices interferences between microphones that can't be by solved moving
the microphones. The LED gives an immediate
control over channels with inverted phase electronic
circuits.
400
ON
OFF
CLIP LED
At LTO we're very careful about the feedback
we continuously receive by our customers and
the demands of pro users. For this reason we included a preamp CLIP LED, allowing the sound
engineer to detect the clip incurring at the beginning of the audio path. The preamp CLIP LED turns
on when the input level reaches 6dB before clipping. If the clipping has been generated by other
channel controls (e.g. an excessive boost by EQ.)
the sound engineer will see the preamp CLIP LED
not lighted, while the fader clip LED will be lighted.
In this case the research of a wrong level setting
will become much easier.
HIGH PASS LED
A very useful LED shows if the HIGH PASS
section for the MONO input is active or
not.
HIGH PASS switch
This section will allow the sound engineer to reduce the lower frequencies of MONO INPUT by
engaging the switch and selecting the turnover
frequency in 40Hz/400Hz range. This control is
very useful when you detect hum or rumble or
you want to cut unwanted low frequency sounds
picked-up by microphones.
STEREO IN GAIN
INPUT SELECT LED
This LED is lit when you use a mono signal,
the INPUT SELECT switch is pressed.
STEREO IN
GAIN
-20
+20
INPUT SELECT
The GAIN control gives you the chance to continuously adjust the amplifier gain for LEFT (MONO)
& RIGHT inputs. This control can be adjusted in
-20/+20dB range input.
STEREO
MONO
INPUT SELECT switch
Pressing this switch you'll select the mono input
source for this channel, while releasing this switch
you'll use the stereo signal.
16
[ Typhoon Stereo Input Channels ]
Stereo sources are generally keyboards outputs, pre-mixers, etc. so the signal deserves few EQ adjustments. For
this reason we choose for the Typhoon stereo channels a four band fixed EQ.
HIGH gain
HIGH
12KHz
-15
+15
0dB
It's a peak/dip filter giving the user a
continuous adjustment of boost and
cut from +15dB to -15dB @ 400Hz.
MID-H
It's a peak/dip filter giving the user a continuous adjustment of boost and cut from +15dB
to -15dB @ 3kHz.
MID-H
3KHz
MID-L
LOW
-15
+15
0dB
EQ
It's a shelving filter giving the user a
continuous adjustment of boost and
cut from +15dB to -15dB @ 12kHz.
0dB
MID-L
It's a shelving filter giving the user a continuous adjustment of boost and cut from +15dB
to -15dB @ 80Hz.
400Hz
EQ LED
This useful LED will allow the sound
engineer to immediately understand
if the channel has been equalised
or not.
-15
EQ switch
+15
0dB
LOW
80Hz
-15
ON
OFF
+15
EQ
17
This switch allows the user to use the EQ.
Section in signal path. Of course it can be
used too to make A/B comparisons between
equalized signal and not equalized signal to
control the . It can be used too to apply equalization at a certain point of the show, excluding it when it's not necessary.
[ Typhoon Stereo Input Channels ]
At LTO we thought that you deserve a very versatile auxiliary section. So we provided you the same eight discrete
auxiliary sends of mono channels, with independent level controls and several pre-/post-fader switches. Generally
pre-fader is used for monitor purposes, allowing the sound engineer to set a level that's independent by channel fader
setting. In this way the control will be much more accurate and the sound engineer won't risk unwanted feedback
when, for instance, when raising the level of the lead singer. Post-fader sends are better suited for FX sends control.
By doing so, for example, the sound engineers will raises the fader level of the lead singer the effect send as well,
maintaining the same sound. Please note that the channel Mute switch affects these controls.
AUX 1
PRE/POST switch
0dB
The AUX 1 send level can be
adjusted from up to +10dB.
+10
8
-
AUX1 PRE
0dB
This switch sets pre-/post-fader the Aux 1 signal.
POST
PRE/POST switch
AUX2 PRE
AUX 2
The AUX 3 & 4 send level can
be individually adjusted from up to +10dB.
+10
8
-
0dB
POST
AUX3
PRE/POST switch
Auxiliary sends 3 & 4 share the same pre-/postfader switch.
PRE
-
+10
8
AUX 3 & 4
This switch sets pre-/post-fader the Aux 2 signal.
0dB
AUX4
POST
-
PRE/POST switch
+10
8
The AUX 2 send level can be
adjusted from up to +10dB.
0dB
AUX5
0dB
AUX6
Auxiliary sends 5 to 8 share the same pre-/postfader switch.
AUX 5-8
+10
8
-
PRE
+10
8
-
0dB
AUX7
POST
+10
8
-
0dB
-
8
The AUX sends 5 to 8 level can
be individually adjusted from up to +10dB.
AUX8
+10
18
[ Typhoon Stereo Input Channels ]
The assign section is useful to manage the output assignment to several outputs, and also to PFL, SOLO or MUTE
a channel signal.
OUTPUT Assign 1/2 3/4 5/6 7/8 L/R
These switches allow the sound engineer
to address the signal to the selected audio
path. The odd/even numbered switches
are used to send the signal to sub-groups
while L/R switch sends the signal directly
to Main Mix output. Please check the
"technique & troubleshooting" section of
this owner's manual for further details
about the way to use those switches.
BAL
This pot allows the sound engineer to
manage the balance of a stereo source
or to place the channel mono signal in a
stereo front from hard left to hard right.
Of course you can also use it to "move"
the channel signal in stereo front to create
spatial effects.
M1, M2, M3 & M4
GR1-GR2
M1
GR3-GR4
M2
GR5-GR6
M3
GR7-GR8
M4
MUTE
L/R
centre
Left
PAN
Right
CLIP
MUTE
-20
10
5
0
MUTE
You can use the MUTE switch to mute
the channel signal when you don't need
its sound. When this large switch is engaged, it's lit.
-20 & CLIP LEDs
These LEDs are very useful to control the
behaviour of the channel signal path after
the insert point, the EQ section and the
fader. So you could notice the fader CLIP
LED turned on while the preamp CLIP is
not lit, or vice-versa. In both cases the
presence of two CLIP LEDs will help the
sound engineer to immediately detect
where the problem is.
5
PFL/Solo switch
10
20
Fader
30
40
50
60
-
8
This long coarse fader will give to the
sound engineer the ability to accurately
manage the channel output level from
- up to +10dB.
These switches are very useful to manage
the sound in a fast and reliable way. You
can use M1, M2, M3 and M4 to program
four MUTE memories. This feature is important to give an immediate control over
some channels that are not used all show
long (e.g. some instruments played just in
some songs, the voice of the presenter,
etc.) and to immediately recall al the mixers
status.
PFL/SOLO
ON
OFF
CH 41/42
19
This switch allows the sound engineer to
control the channel signal. The PFL (prefade listen) signal is pre-fader and stereo
for stereo inputs and mono for mono inputs.
Solo stands for SIP (Solo In Place), the
signal is post-fader, placed in stereo front
and it "opens" all the circuits of related
effect. When this large switch is engaged,
it's illuminated to give you an immediate
visual control of which, and how many
channels are in solo.
When the MASTER SOLO switch is engaged this switch acts in SOLO mode and
mutes all other channels.
[ Typhoon Master Section ]
The master section is the richest section of the mixer with plenty of inputs, outputs and control switches.
Here's a detailed description of each connector.
RTN1 LEFT (MONO) & RTN1 RIGHT
RTN4 LEFT (MONO) & RTN4 RIGHT
These balanced connectors are for
stereo auxiliary return 4. Connecting
a plug just to LEFT input it will act as
a mono effects return.
RTN4 IN
LEFT(MONO)
RTN3 IN
LEFT(MONO)
RTN2 IN
LEFT(MONO)
RTN1 IN
LEFT(MONO)
RTN4 IN
RIGHT
RTN3 IN
RIGHT
RTN2 IN
RIGHT
RTN1 IN
RIGHT
TAPE OUT
LEFT
TAPE OUT
RIGHT
TAPE IN
LEFT
TAPE IN
RIGHT
RTN2 LEFT (MONO) & RTN2 RIGHT
RTN3 LEFT (MONO) & RTN3 RIGHT
These balanced connectors are for
stereo auxiliary return 3. Connecting
a plug just to LEFT input it will act as
a mono effects return.
These balanced connectors are for
stereo auxiliary return 1. Connecting
a plug just to LEFT input it will act
as a mono effects return.
These balanced connectors are for
stereo auxiliary return 2. Connecting
a plug just to LEFT input it will act
as a mono effects return.
TAPE OUT LEFT & RIGHT
TAPE IN LEFT & RIGHT
These unbalanced output connectors
have been designed to output the main
mix signal into a tape recorder or audio
board stereo input.
These unbalanced input connectors
have been designed to accept tape
returns inputs, their signals are routed
to AUX Return 1.
GR 1 OUT and INSERT
GR 3 OUT and INSERT
GR3 OUT
GR1 OUT
This balanced XLR connector is for
group 1 output, with an unbalanced
pre-fader insert connector for each
group output.
This balanced XLR connector is for
group 3 output, with an unbalanced
pre-fader insert connector for each
group output.
INSERT
INSERT
INSERT
INSERT
GR 2 OUT and INSERT
GR 4 OUT and INSERT
This balanced XLR connector is for
group 4 output, with an unbalanced
pre-fader insert connector for each
group output.
AUX 3 OUT and INSERT
GR4 OUT
GR2 OUT
AUX3 OUT
AUX1 OUT
This balanced XLR connector is for
group 2 output, with an unbalanced
pre-fader insert connector for each
group output.
AUX 1 OUT and INSERT
This balanced XLR connector is for
auxiliary 3 send, with an unbalanced
pre-fader insert connector for each
auxiliary send.
INSERT
INSERT
This balanced XLR connector is for
auxiliary 1 send, with an unbalanced
pre-fader insert connector for each
auxiliary send.
AUX 4 OUT and INSERT
INSERT
INSERT
AUX 2 OUT and INSERT
This balanced XLR connector is for
auxiliary 4 send, with an unbalanced
pre-fader insert connector for each
auxiliary send.
AUX4 OUT
20
AUX2 OUT
This balanced XLR connector is for
auxiliary 2 send, with an unbalanced
pre-fader insert connector for each
auxiliary send.
[ Typhoon Master Section ]
GR 7 OUT and INSERT
This balanced XLR connector is for
group 5 output, with an unbalanced
pre-fader insert connector for each
group output.
GR 8 OUT and INSERT
This balanced XLR connector is for
group 6 output, with an unbalanced
pre-fader insert connector for each
group output.
AUX 7 OUT and INSERT
GR5 OUT
GR7 OUT
INSERT
INSERT
INSERT
INSERT
GR8 OUT
GR6 OUT
AUX7 OUT
AUX5 OUT
This balanced XLR connector is for
auxiliary 7 send, with an unbalanced
pre-fader insert connector for each
auxiliary send.
INSERT
INSERT
INSERT
INSERT
AUX 8 OUT and INSERT
This balanced XLR connector is for
auxiliary 8 send, with an unbalanced
pre-fader insert connector for each
auxiliary send.
AUX8 OUT
AUX6 OUT
21
GR 5 OUT and INSERT
This balanced XLR connector is for
group 5 output, with an unbalanced
pre-fader insert connector for each
group output.
GR 6 OUT and INSERT
This balanced XLR connector is for
group 6 output, with an unbalanced
pre-fader insert connector for each
group output.
AUX 5 OUT and INSERT
This balanced XLR connector is for
auxiliary 5 send, with an unbalanced
pre-fader insert connector for each
auxiliary send.
AUX 6 OUT and INSERT
This balanced XLR connector is for
auxiliary 6 send, with an unbalanced
pre-fader insert connector for each
auxiliary send.
[ Typhoon Master Section ]
MONITOR LEFT OUT & RIGHT OUT
LEFT OUT
These impedance balanced connectors are useful to connect a pair of active
monitors or an amplifier and passive studio monitors.
INSERT
LEFT OUT & RIGHT OUT and INSERTs
These balanced XLR connectors output the LEFT/RIGHT MASTER signals,
and include a pre-fader insert unbalanced connector for each output.
INSERT
RIGHT OUT
LEFT
OUT
MONITOR
RIGHT
OUT
LIGHT
This 4-pin XLR connector must be used to connect 12V DC 8W lamps.
TALKBACK INPUT
This input is for a talkback microphone, that will be managed by SOURCES
section.
HEADPHONES A & B
The Typhoon provides two stereo outputs for two headphones, with the same
signal and the same level control.
22
[ Typhoon Master Section ]
The stereo returns sections is used to manage signals coming from the outputs of effect units, and includes a wide
range of versatile controls.
BAL
This pot controls the balance between
left and right signal coming from the
effects outputs. Its behaviour is similar
to pan-pot, but the result is different
since it doesn't place the signal in
stereo front, but it just manages the
balance between the outputs of the
stereo effects unit. Of course if you
connect a plug only to LEFT (MONO)
input it acts as a regular pan-pot.
MUTE
centre
Left
BAL
This switch is useful to mute that aux return
signal when you don't need its sound. This
feature is important to reduce noise floor of
effects units. This switch will be lit when it is
depressed (engaged).
Right
MUTE
GR
1
2
10
3
4
5
0
5
6
5
7
8
10
L
R
Fader
20
This slider will give to the sound engineer the ability to manage the unit
effect return level from - up to +10dB.
40
50
60
-
30
AUX
8
1
2
3
4
PFL switch
This switch allows the sound engineer
to control the aux return signal. The
PFL (pre-fade listen) signal is pre-fader
and stereo. This large switch is illuminated to give you an immediate visual
control of which, and how many channels
are in solo.
5
7
6
8
PFL
ST RTN1
OUTPUT Assign 1/2 3/4 5/6 7/8 L/R
These switches allow the sound engineer to
address the signal to the audio path he wants
to. The odd/even numbered switches are used
to send the signal to sub-groups (then you
can send their signal to L/R outs) while L/R
switch sends the signal directly to Main Mix
output. Those switches can be used in several
ways.
Recording the concert those switches can be
used to make some groups (toms & drum kit
over-head, keyboards, etc.), while in other
cases the sound engineer should prefer to
use the sub groups to control some music
sections by subgroups (e.g. drums, percussion
and rhythmic instruments in stereo in subs 1-2,
keyboards & guitars in stereo in subs 3-4,
wind and brasses in stereo in subs 5-6, lead
singer, choirs and voices in stereo in subs
7-8).
AUX 1, AUX 2, AUX 3/4, AUX 5-8 switches
These switches will allow the sound engineer
to send the FX return signal to Auxiliaries. In
this way you can send, e.g., to the lead singer
monitor the reverb that affects the entire mix.
23
[ Typhoon Master Section ]
The aux send section is useful to control the overall level of the send to a monitor speaker or to an effects unit.
MUTE
This switch mutes the aux send signal when you don't need its sound. This feature
is important to reduce noise floor of effects units. This switch will be lit when it is
depressed (engaged).
MUTE MUTE
Fader
This slider will give to the sound engineer the ability to manage the auxiliary send
level from up to +10dB.
10
5
0
AFL
5
This switch allows the sound engineer to control the aux send signal. AFL is the
acronym of after-fade listen, the signal is post-fader. This large switch is illuminated
to give you an immediate visual control of which, and how many channels are in
solo.
10
20
30
8
40
50
60
-
AFL
AFL
AUX1 AUX2
24
[ Typhoon Master Section ]
The group section contains all the controls for level, routing, muting and soloing the group signal. The most important
feature is the To LR switch that allows the sound engineer to use in a different way the group signal. Generally this
switch is released when the sound engineer wants to record some grouped signals, while the switch is pressed when
the sound engineer wants to use the groups signal as a part of the signal to be addressed to stereo mix. The main
difference between the above mentioned ways of working concerns the way to group signals.
For recording generally most of the signals to be recorded are collected by direct outs, with just few grouped signals
like choir, keyboards, brass sections, etc. While for live application generally sounds are grouped in a different way,
for example group 1&2 rhythmic section (drum kit, bass, maybe percussion...) in stereo, group 3&4 keyboards, guitars
etc. in stereo and so on. Sometimes sound engineers prefer to have some mono groups for lead solo and lead singer.
Some sound engineers, particularly when they work in small venue with irregular audience position, prefer to have all
groups in mono.
To LR switch
This switch addresses the group signal to L/R path.
to LR
to LR
BAL
PAN
L
This pot allows the sound engineer to place the sub-group signal in stereo
front from hard left to hard right. Of course you can also use it to "move"
the channel signal in stereo front to create spatial effects.
R
L
R
MUTE MUTE
10
MUTE
5
This switch is useful to mute that group signal when you don't need its
sound. This feature is important to reduce noise floor of effects units.
This switch will be lit when it is depressed (engaged).
0
5
Fader
10
This long throw fader will give the sound engineer the ability to carefully
manage the group level from - up to +10dB.
20
30
PFL
40
50
60
-
25
8
This switch allows the sound engineer to control the group signal. PFL is
the acronym of pre-fade listen, the signal is pre-fader. This large switch
is illuminated to give you an immediate visual control of which, and how
many channels are in solo.
PFL
PFL
GR1
GR2
[ Typhoon Master Section ]
In the SOURCES section of the mixer you'll find many operating features.
LEVEL
ON
0dB
-
This switch activates and sends the talkback/osc signal to its selected outputs.
+10
8
This is the main level control for the talkback
and oscillator section.
LEVEL
OUTPUT Assign 1/2 3/4 5/6 7/8 L/R
These switches allow the sound engineer
to assign the talkback / osc signal to the
audio path he wants to.
The odd/even numbered switches are used
to send the signal to sub-groups (then you
can send their signal to L/R outs) while L/R
switch sends the signal directly to Main Mix
SOURCES
SELECTION
GR
1
2
SEL
3 TALK BACK
4
5
6
+4
0
-10
7
8
PFL/AFL LED
This LED shows the status of the level indicator when any PFL /AFL switch is pressed.
HEADPHONE MONITORS level
This stereo pot sets the listening headphone
and MONITOR section level.
Hz
AUX
1
dB
This switch sets the oscillator output level
among +4/0/-10dBu
SEL
2 OSCILLATOR
3
4
56
78
SOURCES
21
21
18
18
15
15
12
12
9
9
6
6
3
3
0
0
-3
-3
-6
-6
-9
-9
-12
-12
-15
-15
-18
-18
-21
-21
-24
-24
LEFT
RIGHT
PFL/AFL
0dB
-
8
This 16-LED very accurate level indicator is
another useful tool Typhoon provides for sound
engineers to perfectly control mixer behaviour.
OSCILLATOR section
10K
1K
100
AUX 1, AUX 2, AUX 3/4, AUX 5-8
LED level ladder
SEL TALKBACK switch
This switch will select the Talkback source
(generally it's a microphone) to communicate to musicians and other people on
stage.
dB
L
R
Those switches will allow the sound engineer
to address the SOURCES signal to Auxiliaries.
In this way you can send, e.g., the Talkback
signal to all stage monitors to communicate
directly with performers while audience will
hear nothing.
TALKBACK SECTION
ON
+10
HEADPHONES
MONITORS
26
Hz
This switch selects the oscillator frequency
among 10kHz/1kHz/100Hz.
SEL OSCILLATOR switch
This switch will select the Oscillator as
source signal for this mixer section.
Generally the oscillator is used for level
settings of recorders.
[ Typhoon Master Section ]
Master section controls are the most important in every mixer, these controls affect the overall level, the headphone
listening, the monitor listening and the memory Mute behaviour.
MUTE
This switch mutes the stereo master level when you don't need its sound.
This feature is important to reduce noise floor before the show. This switch
is lit when it's depressed (engaged).
MUTE
FADER
This long coarse stereo fader will give to the sound engineer the ability to
carefully manage the master output level from - up to +10dB.
10
5
MASTER MUTE M1 M2 M3 & M4 switches & LEDs
0
This section manages the store & recall feature of the four Mute memories
of your Typhoon. For details about the use of those switches please refer at
page 31 in Technique and Troubleshooting owner's manual section.
5
10
MASTER SOLO switch
20
27
MUTE
GROUPS
30
M1
40
50
60
-
8
This switch allows the sound engineer to charge the console mode between
PFL and SOLO. When the switch is in the default (unselected) position the
console is in PFL mode. In this mode, when the user presses a PFL switch,
the selected channel sends a pre-fade signal (or post-fade AFL from AUX
Masters) to the headphone and monitor outputs. This can be useful for troubleshooting for cueing various signals on the console. When MASTER
SOLO is selected, the console is in SOLO mode. SOLO made means that
when the user presses a PFL switch on a channel, all other channels are
muted. Multiple channels may be SOLO'd so that combinations of signal
may be heard. In SOLO mode, only the channel PFL switches function this
way, the AUX RETURN, GROUP and AUX MASTER PFL/AFL switches do
not function.
This SOLO function is very useful during sound check to do individual settings and comparisons between channels (Bass Drum & Bass Guitar, Snare
Drum & keyboards/voice, etc.) to avoid the so called "masking" effect that
could affect the sounds of your mix. For details about this section, please
refer at page 31 in Technique and Troubleshooting owner's manual section.
M2
M3
M4
MASTER
SOLO
LEFT/RIGHT
MASTER
TYPHOON CONNECTOR WIRING
The Typhoon uses standard pro audio connectors and wiring configurations
1/4" jack
XLR
Pin1 = Screen/Ground
Pin2 = Hot Signal
Pin3 = Cold Signal
MIC IN
1/4" jack TRS
Tip = Hot
Ring = Cold
Sleeve = Screen
LINE IN
1/4" jack TRS
Tip = Insert Send
Ring = Insert Return
Sleeve = Screen
INSERT
1/4" jack TRS
Tip = Hot
Ring = Cold
Sleeve = Screen
XLR
Pin1 = Screen/Ground
Pin2 = Hot Signal,
Pin3 = Cold Signal
AUX OUT
1/4" jack TRS
Tip = Hot
Ring = Cold
Sleeve = Screen
RTN IN
XLR
Pin1 = Screen/Ground
Pin2 = Hot Signal
Pin3 = Cold Signal
MIX out
XLR
Pin1 = Screen/Ground
Pin2 = Hot Signal
Pin3 = Cold Signal
GR OUT
Tip = Hot
Ring = Cold
Sleeve = Screen
TAPE IN
1/4" jack TRS
Tip = Hot
Ring = Cold
Sleeve = Screen
TAPE OUT
1/4" jack TRS
Tip = Hot
Ring = Cold
Sleeve = Screen
MONITOR
1/4" jack TRS
XLR
Pin1 = Screen/Ground
Pin2 = Hot Signal,
Pin3 = Cold Signal
TALKBACK
1/4" jack TRS
Tip = Send
Ring = Return
Sleeve = Screen
INSERT
1/4" jack TRS
Tip = Left
Ring = Right
Sleeve = Screen
HEADHPONE
XLR 4-pin
Pin 1: Chassis
Pin 2: n.c.
Pin 3: Ground
Pin 4: VCC
LAMP
+
-
Tip
Ring
Sleeve
TRS Type Balanced
+
Tip
Ring
Sleeve
TRS Type Unbalanced
+
Tip
Sleeve
TS Type Unbalanced
XLR connector
Pin2 (+)
Pin3 (-)
Pin1 ( )
XLR Type Balanced
DIRECT OUT
Pin2 (+)
Pin3 (-)
(Linked to Pin1 manually,
)
Pin1 ( )
XLR Type Unbalanced
28
1/4" TRS insert
Lamp Connector
Pin 1: Chassis
Pin 2: n.c.
Pin 3: Ground
Pin 4: VCC
Send
Return
1
4
3
Ring
Tip
2
12VDC 8W max
Sleeve
[ Connectors needed: ]
1600
2400
3200
4800
MIC IN (total)
12
20
28
44
XLR socket (female)
LINE IN (mono CH)
12
20
28
44
1/4" (6.3mm) TRS jack plug (male)
LINE IN (stereo CH)
8
8
8
8
1/4" (6.3mm) TRS jack plug (male)
INSERT (mono CH)
8
16
24
40
1/4" (6.3mm) TRS jack plug (male)
DIRECT OUT (mono CH)
8
16
24
40
1/4" (6.3mm) TRS jack plug (male)
TAPE IN
2
2
2
2
1/4" (6.3mm) TRS jack plug (male)
TALKBACK
1
1
1
1
XLR socket (female)
AUX OUT
8
8
8
8
XLR plug (male)
RTN IN
8
8
8
8
1/4" (6.3mm) TRS jack plug (male)
MIX out
2
2
2
2
XLR plug (male)
GR OUT
8
8
8
8
XLR plug (male)
TAPE OUT
2
2
2
2
1/4" (6.3mm) TRS jack plug (male)
MONITOR
2
2
2
2
1/4" (6.3mm) TRS jack plug (male)
INSERT
18
18
18
18
1/4" (6.3mm) TRS jack plug (male)
HEADHPONE
1
1
1
1
1/4" (6.3mm) TRS jack plug (male)
LAMP
1
2
2
3
XLR 4-pin
Kind of connectors needed
Inputs
outputs
29
For the right wiring please check also the following table
Sleeve
Ring=Right Signal
Tip
Ring
Strain Clamp
Tip=Left Signal
Sleeve=Ground/Screen
Use for Headphone
1/4" Stereo (TRS) Jack Plug
Sleeve
Tip
Tip=Signal
Strain Clamp
Sleeve=Ground/Screen
Use for Mono Line In, Mono 1/4"Jack Plugs
1/4" Mono (TS) Jack Plug
Sleeve
Ring=Return Signal
Tip
Ring
Strain Clamp
Tip=Send Signal
Sleeve=Ground/Screen
Use for Insert Points
1/4" Stereo (TRS) Jack Plug
2=Hot(+)
2
1
3
2=Hot(+)
1=Ground/Screen
3=Cold(-)
2
1
3
1=Ground/Screen
3=Cold(-)
Use for Balanced Mic Inputs
(For unbalanced use, connect pin 1 to 3)
Use for Main output
(For unbalanced use, leave pin 3 unconnected)
3-pin XLR Male Plug
3-pin XLR Line Socket
(seen from soldering side)
(seen from soldering side)
30
Ring=Return Signal (Connected together)
To Channel Insert
Sleeve=Ground/Screen
Tip=Signal
To Tape or FX Input
Sleeve=Ground/Screen
'Tapped' Connection Direct Output Lead
(Enables the Insert to be used as a Direct Output
while maintaining the channel signal flow)
To Processor Input
Sleeve=Ground/Screen
Tip=Send Signal
Tip
To Channel Insert
Sleeve
Ring=Return Signal
Ring
To Processor Output
-Stereo lead for insert Connection
(To be used when the external processor does not employ
a single jack connection for the In/Out Connections)
31
TYPHOON TECHNIQUE & TROUBLESHOOTING
This section of the owner's manual gives you some basic information about the technique how to get the best performances from your Typhoon. Of course there are several tricks and tips. The last part of this chapter is about troubleshooting.
GAIN settings
You should use the channel input gain to obtain the best operating level for the console. If the gain level is too low
the best signal to noise ratio won't be achieved. If the gain level is high you may risk to overload the channel causing
distortion. Clearly, the GAIN should be positioned between these two points, to gain an optimal signal to noise ratio
without overloading the channel. The ideal level for input channels is when the CLIP preamp LED just flashes on
musical peaks.
TIP
The presence in stereo channels of discrete input GAIN for mono input and stereo input allows the sound engineer
to use two different signals on the same input, for example the entertainer MIC and a stereo keyboard. So when
he has to use the MIC level he can choose MIC GAIN, but he can promptly change to stereo input line with right
GAIN setting, just pressing the INPUT SELECT key.
Headroom
Headroom is the amount of spare 'swing' available to the system. If 6dB headroom was desired at all times, a
maximum level of+15dBis required to retain the headroom. The consoles Busses (Sub-groups, Aux sends and
Left/Right Master) are the points where all channel signals are summed together. In normal operation, it's unlikely
that all channels will receive the peak signal at the same time, so typically when 48 channels are summed together
a gain of around 6 to 9dB will be seen. It is important to leave some headroom in the summing amplifiers so that
they do not overload, should the sum exceed the maximum level.
TIP
To prevent overload, during sound check the GAIN should be set to a point that even the highest output from the
microphone will turn on the CLIP preamp LED just during peak signals. In this way you should prevent any unpleasant surprise during the show!
INSERT
As explained before the insert point is a break in signal path that can be used for dynamic processing and/or fx
processing of a single input channel, sub-group, Aux send or Main Mix channel. Now we'll deeply investigate how
to obtain the best results from this section.
Generally during a show the sound engineer has to work with high dynamic signals (i.e. a vocalist performance)
so it's better to reduce the dynamic range of the signal. In this way there won't be louder peaks (avoiding channel
input overloading) or too low musical nuances (avoiding the channel noise floor to overcome these signals).
Limiters and Compressors are widely used for this application. The means by which they achieve this won't be
discussed here but these devices are used to automatically reduce the level of loud signals and also raise the gain
to 'make up' the level as desired. The channel gain can now be set with adequate headroom to accommodate both
loud and quiet signals and the compressor can reduce the dynamic range and 'make up' any reduction in level.
By inserting such a device into the channel's insert point you have the ability to remove the guess work from setting
your system gain.
32
However (and this is a big however), there are still sources of potential problems. The Typhoon is able to operate
at levels up to +21dBu on both the insert send and return. If the maximum input level of the compressor is less
than +21dBu then it is possible to overload the input of the compressor. The only way to solve this situation is to
drop the channel input gain so that the input level of the compressor will not overload. However, bear in mind that
the level returned from the compressor would also be lower than +21dBu and excessive use of the compressor
'makeup' gain would overload the output of the compressor!
Very often other dynamic processors are used like expanders or noise-gates, to reduce the inherent noise of some
sound sources, e.g. electric guitars, but in this case the signal overall level will not change. And the level could
slightly change with processors like Aural Exciters, Enhancer and De-Essers, but it those cases too the difference
is not dramatic!
Sometimes it happens that a special effect is used just for one channel, generally it's the lead singer voice, so the
sound engineer uses a "Channel strip" or some effects unit that have been programmed for the lead singer voice.
In both cases the sound engineer has to be very careful setting of these ancillary equipments since the first one
could drive the channel to overload, while the second one could reduce the level of the signal returning to the insert
point.
Equalization
Channel equalization should be used with care. Boosting or cutting equalizer bands can make monitoring your
actual input level very difficult.
Excessive boosting of EQ (+15dB is available on each band) will have the same effect as applying more gain to
the input, taking up valuable headroom. Consider backing off the channel GAIN when using large amounts of boost
(if you have to use large amounts of boost) to retain a sensible level at the output. In this case the preamp CLIP
LED will be turned off while the fader CLIP LED will be turned on!
Excessive EQ cut can have a similarly undesirable effect. If a large amount of signal is cut in the equaliser section,
GAIN may be used to 'make up' the level lost in the equaliser. However, the input pre-amplifier still has the same
amount of available headroom. If gain, added to 'make up' the loss in the equaliser, exceeds the maximum level
into the microphone pre-amp then the channel won't appear to be overloaded but the microphone pre-amp will.
Turning off the equaliser will reveal the true story, showing if the microphone pre-amp is overloaded. It is worth
considering whether such a large amounts of EQ boost or cut is really required.
TIP
To help sound engineers to detect a wrong EQ operation, we provided our Alto Typhoon with two level indicator
sections. In the preamp GAIN section there's a CLIP LEDs, and we provided a fader indicator section with two
LEDs: -20 and CLIP. In this way the sound engineer will immediately detect if the problem incurs in pre-amp section
or in signal path, generated by a wrong setting of EQ, insert ancillary equipment or fader.
33
EQ DIAGRAM
In recording studios as well as on stage, the versatile Typhoon EQ section is a valuable sound tool. Its controls will
allow the sound engineer to modify the frequency contour of sound to shape the character of instruments to obtain
the sound he wants to. The following frequency table gives you some basic information about the fundamental
frequencies of some musical instruments and of the human voice. Please use this table as a starting point for a
deeper understanding of the acoustic environment.
Typical Frequency of Human Voice and some Musical Acoustic Instruments
Mid C
CDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABC
25
31
40
50
62
80 100 125 160 200 250 320 400 500 640 800 1K 1.3K 1.6K 2K 2.5K 3.1K 4K
5K 6.2K 8K 10K 13K 16K 20K
Human hearing
range
VOCAL
Soprano
Contralto
Baritone
Bass
WOODWIND
Piccolo
Flute
Oboe
Clarinet in B flat or A
Clarinet in E flat
Bass Clarinet
Basset Hom
Cor Anglais
Bassoon
Double Bassoon
BRASS
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Bass Saxophone
Trumpet in C
Trumpet in F
Alto Trombone
Tenor Trombone
Bass Trombone
Tuba
Valve Hom
STRINGS
Violin
Viola
Cello
Double Bass
Guitar
KEYBOARDS
Pianoforte
Organ
PERCUSSION
Celesta
Timpani
Xylophone
25
31
40
50
62
80 100 125 160 200 250 320 400 500 640 800 1K 1.3K1.6K 2K 2.5K 3.1K 4K
34
5K 6.2K 8K 10K 13K 16K 20K
FREQUENCY
AUXiliaries Sends Settings
The Auxiliaries sends can be set pre-/post-fader depending on what you're going to do, typical settings of auxiliaries
sends are:
Application
Pre-/Post-Fader
Reason
Stage Monitors
Pre-fader Post-EQ
The level of monitors is not affected by channel fader level setting.
In this way the sound engineer can change the FOH level without
affecting the performer listening level. Post-EQ means that musicians
listen to the FOH sound.
Effects Sends
The level sent to to the effects is proportional to the fader level. In this
way the balance between 'wet' (processed) and 'dry' (un-processed)
Post-fader Post-EQ
sounds stays the same even when the sound engineer changes the
channel fader level.
Multi Track Recording Pre-fader Post-EQ
The recording is made at constant level with the same equalisation
used for FOH signal. Of course changes in the mix level and EQ can
be set in post-production.
Assign keys
These switches allow the sound engineer to address the signal to the selected audio path. The odd/even numbered
switches are used to send the signal to sub-groups (then you can send their signal to L/R outs) while L/R switch
sends the signal directly to Main Mix output. These switches can be used in several ways to better suite your application:
Application
Live 1
Signals are grouped in a way that the sound engineer can easily control the band sections.
A typical setting is: drums, percussion and rhythmic instruments in stereo by subs 1-2, keyboards & guitars in stereo by subs 3-4, wind and brass in stereo by subs 5-6, lead singer,
choirs and voices in stereo, or in mono, by subs 7-8. Some sound engineers prefer to assign
the lead voice and lead guitar to mono groups (e.g. 7 and 8), while other engineers prefer to
directly assign those signals to LEFT/RIGHT MASTER. In this case the sub-group fader is
used to set the sub-group level, and "to LR" switch is engaged, of course no input channel
already assigned to sub-groups has to be assigned to LEFT/RIGHT MASTER.
Live 2
Signals are grouped in a way that the sound engineer uses for particular stage monitor purposes. For example sub-groups 1 & 2 are used for "side fills" for the lead singer, while subgroups 3 & 4 are used as "drum fills" for the drummer, etc. In this case the sub-group fader
is used to set the listening level, and "to LR" switch is not engaged and each input channel
has to be assigned both to sub-groups both to LEFT/RIGHT MASTER.
Signals are grouped to reach the desired channel of the multi-track recorder. Generally the
sound engineers groups together in stereo some parts of the drum kit (toms & over-head)
while other parts like bass drum, snare drum and hi-hat are recorded by the DIRECT OUT
of their own input channels. Another stereo group could be the keyboards. Generally lead
Multi-track recording
voice and lead guitar are picked-up directly by their channel DIRECT OUT. In this case the
sub-group fader is used to set the recording level and generally the "to LR" switch is not
engaged and each input channel has to be assigned both to sub-groups both to LEFT/
RIGHT MASTER.
Live = Multi-track
recording
In this case each sound engineer has his own way of working. The signal of sub-groups is
carefully set to record at the right level while the "to LR" switch is engaged to send all the
signals to LEFT/RIGHT MASTER. In this case no input channel already assigned to subgroups has to be assigned to LEFT/RIGHT MASTER.
35
Mute Memories
The Typhoon has four mute switches located at the right of the master fader. The Mute memories buttons M1, M2,
M3 and M4 will allow the sound engineers to program four MUTE memories. This feature is important to give an
immediate control over some channels that are not used all show long (e.g. some instruments played just in some
songs or in some patterns, the voice of the entertainer, etc.) and to immediately recall the mixers status. Commonly,
these are used to mute/open similar channels, for example:
Channels
Reason
Entertainers/Lead Singers Mics
It allows the sound engineer to effectively reduce the risk of feedback when
Entertainers/Lead Singers are not talking/singing.
Drum/Percussion Mics
It allows the sound engineer to mute the whole drum kit (& Percussion)
at once.
Choir Overheads
It allows the sound engineer to remove all choir microphones at once.
Orchestra Parts
It allows the sound engineer to zone microphones together (e.g. Strings,
Brass, etc.) and mute sections togther if they were not playing.
Two bands on stage
It allows the sound engineer to immediately open all input channels for
band B, while he simultaneously closes all the input channels of band A.
avoiding noise by other input channels.
To activate this function the sound engineer has just to press the mute key (M1, M2, M3 or M4) of the desired
channel. When the key M1, M2, M3 or M4 of the GROUP MUTE section will be pressed, all the assigned channels
will be in "Mute". Pressing, for example, M1 of the master section, its key will be lit and simultaneously the keys
of all channels programmed for Mute 1 will be lit and those channels will be turned off. Note that if any assigned
auto-mute or the channel mute is activated then the channel will be muted until all assigned auto-mutes and the
channel mute are removed (i.e. the mutes work like a logical OR where any single or combination of mutes will
mute every channel output, except the insert path).
If the Channel MUTE key is depressed and mute groups selection is not active, the channel will be muted.
Final links
The final links in audio systems are graphical equalisers, loudspeaker processors and finally amplifiers and speakers.
Graphical equalisers have the same problems as the Typhoon's EQ. If excessive boost is applied to the signal, the
graphic equaliser's output (and subsequent electronics too!) may be overloaded. If, Typhoon output is higher than
the maximum input level of the graphic, the input of the graphic equalizer may be overloaded.
Loudspeaker processors have similar problems. If the input level to the processor is too high, the input may be
overloaded and introduce distortion into the outputs (and to the speakers). In addition to this, any boost on the
processors outputs (e.g. 3dB more bass) will cause that output to overload earlier (in this case 3dB before the other
outputs). Finally, amplifiers can introduce the most interesting results. An amplifier has a sensitivity. That is, an
input signal level that causes the amplifier to produce it's maximum
output level. For most of the amplifiers it's 0dBu (0.775 volts RMS), others use 0dBV (1 volt RMS) others use different levels. Beyond this sensitivity, the amplifiers output will not be able to produce any more power and 'CLIP'
(usually indicated by some serious looking red lights). Sending +22dBu level from the Typhoon will clip the output
of most amplifiers causing damage to your loudspeaker system.
There are a number of solutions to this problem:
Reduce the amplifiers input attenuators to a level where the amplifier and console clip at the same point.
e.g. The input sensitivity is 0dBu, setting the input attenuator on the amplifier to +22dBu would mean that the
console would clip at the same time as the amplifier. So operating the console sensibly the amplifier should
never be clipped. The console LED Meters will also accurately show the available headroom left in the entire
system.
+22dBu may not be a sensible level to set as many operators choose not to run the output of the console so
high. That is personal choice.
36
Run the output of the console at a level below 0dBu
This solution means that you won't get full benefit of the console, and may suffer a reduced signal to noise ratio
especially when running over long signal cables. But the amplifiers should be saved from clipping.
As with many things in the audio world, use your ears. If something sounds distorted check:
Input Gain too high?
(lower input gain and check)
EQ Too Much Boost?
(disable EQ and check)
EQ Too Much Cut coupled with a High Input Gain?
(disable EQ and check)
Too High a level into Inserted Processor?
(disable insert and check)
Clipping Loudspeaker controller or Amplifiers?
(Check both CLIP LEDs)
37
GLOSSARY
In this owner's manuals we used terms of pro audio slang, here's the explanation of some of those words
SWEET SPOT
rd
It's the best place to listen to your mix, with all the details of stereo front, it's the 3 corner of a triangle, where the two
other corners are the speakers.
MAKE UP
It's totally different from your girlfriend beauty content...it's just the way compressors and limiters work in order not to
loose level.
DRY
No Martini, No Party! ???? No It's just the original sound of every instrument and/or voice which are not affected by
Fxs
WET
It's the processed signal by an effect unit (reverb, delay etc.)
38
39
A
B
C
D
1
CH9
CH1
|
+48V
MIC IN
2
3
1
PHANTOM
RIGHT
LEFT(MONO)
GAIN
2
TALK BACK IN
CONNECTOR
JUMPER
CLIP
STERO
+48V
STEREO AUX RTN2-RTN4
TAPE IN R
TAPE IN L
RIGHT
LEFT(MONO)
ONLY STEREO AUX RTN1
RIGHT
2
3
1
GAIN
(TRIM)
2
3
1
MID-L MID-H
(FREQ) (FREQ)
3
HI
3
1K 100
KHz
SELECT
10K
OSC
PHANTOM
SWEEP
40~400Hz
-20dB
EQ
MUTE
SEL
+4
0
-10
SELECT
MUTE
15K
dB OUT
LEVEL
CLIP
4-BAND EQ
+/-15db
80
MID-L MID-H
LO (FREQ) HI
INPUT SELECT
(STEREO // MONO)
CLIP
SEL
HI PASS
-20dB=SG(FLICKER)
+15dB=OL(GLOW)
4-BAND EQ
+/-15db
80Hz 160Hz-1.6KHz 800Hz-8KHz 15K
LO
PHASE
CLIP
PHASE
GAIN
(TRIM)
HI PASS
SWEEP
40~400Hz
SEND
RTN
PHANTOM
LEFT(MONO)
LINE IN
MIC IN
+48V
CH12
DIRECT
INSERT
MIC GAIN:0~60dB
LINE IN TRIM:+15dB~-45dB
LINE IN
CH8
|
2
4
PRE
PFL
OSCILLATOR
ASSIGN
PAN
PAN
ON
LEVEL
PFL/SOLO
PRE/POST
LEVEL
MUTE BUS4
MUTE BUS3
MUTE BUS2
MUTE BUS1
POST
POST
PRE
TALKBACK
BAL
-20dB
EQ
PFL/SOLO
MUTE
MUTE BUS4
MUTE BUS3
MUTE BUS2
MUTE BUS1
LEVEL
4
5
5
6
L BUS/R BUS
GP7-SUB/GP8-SUB
GP5-SUB/GP6-SUB
GP3-BUS/GP4-SUB
GP1-SUB/GP2-SUB
AUX8_BUS
AUX7_BUS
AUX6_BUS
AUX5_BUS
AUX4_BUS
AUX3_BUS
AUX2_BUS
AUX1_BUS
AUX8_BUS
AUX7_BUS
AUX8
AUX6_BUS
AUX5_BUS
AUX4_BUS
AUX3_BUS
AUX2_BUS
AUX1_BUS
R BUS
L BUS
GP8-SUB
GP7-SUB
GP6-SUB
GP5-SUB
GP4-SUB
GP3-BUS
GP2-SUB
GP1-SUB
AUX8_BUS
PFL L/R BUS
AUX7_BUS
AUX8
AUX6_BUS
AUX5_BUS
AUX4_BUS
AUX3_BUS
AUX2_BUS
AUX1_BUS
R BUS
L BUS
GP8-SUB
GP7-SUB
GP6-SUB
GP5-SUB
GP4-SUB
GP3-BUS
GP2-SUB
GP1-SUB
MUTE BUS1~4
AUX7
AUX6
AUX5
AUX4
AUX3
AUX2
AUX1
AUX8_BUS
AUX7_BUS
AUX6_BUS
AUX5_BUS
AUX4_BUS
AUX3_BUS
AUX2_BUS
AUX1_BUS
R BUS
PFL L/R BUS
AUX7
AUX6
AUX5
AUX4
AUX3
AUX2
AUX1
AUX8
AUX7
AUX6
AUX5
AUX4
AUX3
AUX2
AUX1
L BUS
GP8-SUB
GP7-SUB
GP6-SUB
GP5-SUB
GP4-SUB
GP3-BUS
GP2-SUB
GP1-SUB
MUTE BUS1~4
AUX1_BUS
AUX2_BUS
AUX3_BUS
AUX4_BUS
AUX5_BUS
AUX6_BUS
AUX7_BUS
AUX8_BUS
AUX1_BUS
AUX2_BUS
AUX3_BUS
AUX4_BUS
AUX5_BUS
AUX6_BUS
AUX7_BUS
AUX8_BUS
PFL L BUS
PFL R BUS
GR1-SUB
GR2-SUB
GR3-BUS
GR4-SUB
GR5-SUB
GR6-SUB
GR7-SUB
GR8-SUB
GR1-SUB
GR2-SUB
GR3-BUS
GR4-SUB
GR5-SUB
GR6-SUB
GR7-SUB
GR8-SUB
7
PFL L BUS
PFL R BUS
7
MUTE BUS1
MUTE BUS2
MUTE BUS3
MUTE BUS4
MUTE BUS1
MUTE BUS2
MUTE BUS3
MUTE BUS4
6
L BUS
R BUS
L BUS
R BUS
PFL DC BUS1
PFL DC BUS2
SOLO DC BUS
PFL DC BUS1
PFL DC BUS2
SOLO DC BUS
1
MUTE
MUTE
MUTE
MUTE 2
MUTE 3
MUTE 4
MUTE BUS2
MUTE BUS3
MUTE BUS4
8
MASTER SOLO
MUTE 1
9
MUTE GROUPS
PFL / AFL
R MAIN OUT INSERT
L MAIN OUT INSERT
AFL
GR1 INSERT
AUX1 INSERT
9
MUTE BUS1
PFL R BUS
PFL L BUS
R BUS
L BUS
R BUS
L BUS
PFL R BUS
PFL L BUS
PFL R BUS
PFL L BUS
8
BAL
LEVEL
LEVEL
LEVEL
PFL
10
LEVEL
LEVEL
10
2
3
1
2
3
1
2
3
1
2
3
1
TYPHOON
11
Date:
File:
Size
A1
Titel
R
L
12
12
1o f 1
Sheet
TSB
Drawn By:
Revision
REV02
TYPHOON 1600 BLOCK DIAGRAM
13-Dec-2004
TYPHOON.Sch
Model No:
TYPHOON 1600
METER
HEADPHONE R
HEADPHONE L
MONITOR R OUT
MONITOR L OUT
TAPE OUT R
TAPE OUT L
MAIN OUT R
MAIN OUT L
(GR OUT 1_8 SAME)
GR1 OUT
(AUX OUT 1_8 SA ME)
AUX1 OUT
BLOCK DIAGRAM
11
A
B
C
D
TYPHOON BLOCK DIAGRAM
TYPHOON - TECHNICAL SPECIFICATIONS
Electronics
Input Impedance
Input Gain Mic
Input Gain Line - Mono Channel
Input Gain Line - Stereo Channel
Maximum Input Level
Insert send impedance
Insert send level / Max.
Insert return impedance
Insert return level / Max.
CMR at 1kHz Line (20Hz - 20kHz)
Frequency response
Signal/Noise Ratio (20Hz - 20kHz)
System Noise (20Hz - 20kHz)
Summing Noise
Line to Mix Noise
Distortion at 1kHz
Crosstalk at 1kHz channel to channel
Mix to Mix
Channel to Mix
Fader Attenuation
Input
Mic 2kohm Balanced
Line 10kohm Balanced
Continuously variable from 0dB to +60dB
Continuously variable from -25dB to +35dB
Continuously variable from -20dB to +20dB
Mic +22dBu
Line (Mono Channel) +22dBu
Line (Stereo Channel) +22dBu
100ohm Unbalanced
-10dBu / +22dBu
10kohm Unbalanced
-10dBu / +22dBu
> 60dB
Mic to Mix 20Hz - 20kHz +0/-1dB
Mic EIN ref. 150ohms - 127dBu (gain +60dB)
-90dBu (16 channels routed with faders down)
-86dBu (16 channels routed at 0dB, pan centre)
Mic to Insert (+30dB unity gain, +20dBu output) <0.009%
Mic to Mix (+30dB unity gain, +20dBu output) Typ 0.03%
> -80dB
> -80dB
> -80dB
> 100dB
Output (Nominal Signal Level Mic -60dBu to 0dBu - Line 0dBu)
Output Impedance
All Line Outputs 100ohm Balanced
Insert send impedance
100ohm Unbalanced
+22dBu
Insert send level / Max.
Insert return impedance
10kohm Unbalanced
Insert return level / Max.
+22dBu
Maximum Output Level Master Outputs on XLR +22dBu
All other Outputs on XLR
+22dBu
All Outputs on 1/4 inch jacks
+22dBu
Headphones
+22dBu/600ohm
Equaliser - Mono Channel
Treble - shelving
Hi Mid - peak/dip
Lo Mid - peak/dip
Bass - shelving
Hi Pass Filter
+15/-15dB - frequency range 1.6 - 16kHz - bandwidth 1 octave
+15/-15dB - frequency range 0.8 - 8kHz - bandwidth 1 octave
+15/-15dB - frequency range 0.16 - 1.6kHz - bandwidth 1 octave
+15/-15dB - frequency range 40 - 400Hz - bandwidth 1 octave
slope 12dB/Oct. - frequency range 40 - 400Hz
40
Equaliser - Stereo Channel
+15/-15dB @ 12kHz
+15/-15dB @ 3kHz
+15/-15dB @ 400Hz
+15/-15dB @ 80Hz
slope 12dB/Oct. - frequency range 40 - 400Hz
Treble - shelving
Hi Mid - peak/dip
Lo Mid - peak/dip
Bass - shelving
Hi Pass Filter (for mono input only)
Due to LTO policy of continual research and product improvement, specification, features and mixer layout may
be subject to change without notice.
Features and Connectors
Inputs
Mono ch.
1600
2400
3200
4800
Stereo ch.
8
8
8
8
2
2
2
2
8
8
8
8
1/4" TRS jack & mono in XLR & 1/4" TRS jack)
1/4" TRS jack & mono in XLR & 1/4" TRS jack)
1/4" TRS jack & mono in XLR & 1/4" TRS jack)
1/4" TRS jack & mono in XLR & 1/4" TRS jack)
St. Fx. Ret.
Tape
8
8
8
8
2
2
2
2
Output
Busses
Grps Master Auxes
1600
2400
3200
4800
8 (stereo in 2
8 (stereo in 2
8 (stereo in 2
8 (stereo in 2
8 (w. XLR & 1/4" TRS jack)
16 (w. XLR & 1/4" TRS jack)
24 (w. XLR & 1/4" TRS jack)
40 (w. XLR & 1/4" TRS jack)
Grps
Master
8 (1/4"TRS jack)
8 (1/4"TRS jack)
8 (1/4"TRS jack)
8 (1/4"TRS jack)
Auxes
Tape
Dir. Out.
Mon
2 (XLR) 8 (1/4"TRS jack) 8 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack)
2 (XLR) 8 (1/4"TRS jack) 16 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack)
2 (XLR) 8 (1/4"TRS jack) 24 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack)
2 (XLR) 8 (1/4"TRS jack) 40 (1/4"TRS jack) 2 (1/4"TRS jack) 2 (1/4"TRS jack)
General
Dimensions (W
H
In inches
Typhoon 1600
Typhoon 2400
Typhoon 3200
Typhoon 4800
19.7"
27.2"
30.7"
45.7"
7.7"
7.7"
7.7"
7.7"
Weight
D)
in mm.
37.6"
37.6"
37.6"
37.6"
500
195
956
690
780
195
195
956
956
1160
195
956
Power
Lbs.
Kg.
28.66
39.68
50.71
70.55
13
18
23
32
Consumption
49W
64W
77W
109W
Power supply (AC/DC)
Dimensions (W
H
In inches
Typhoon PS
12.2"
Options
Flight case
Plastic Dust Cover
12 V Desk Lamp
External Power Supply
2.7"
8.3"
Weight
D)
in mm.
311
68
210
Kg.
7.2
1600FC 2400FC 3200FC 4800FC
1600DC 2400DC 3200DC 4800DC
2 x 12V/5W (4-Pin XLR)
1600EPS 2400EPS 3200EPS 4800EPS
41
Main voltage
USA/Canada 100 - 120V ~, 60Hz
Europe 210 - 230V ~, 50Hz
U.K./Australia 240V ~, 50Hz
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