Dynacord 1000 Music Mixer User Manual

BEDIENUNGSANLEITUNG
OWNER’S MANUAL
MODE D’EMPLOI
P o w e r M a te 1000/1600/2200
POWER MIXER
CONTENTS
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Input/Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Input/Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
AUX3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Phones + Mono Out + Standby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Master + Power Amplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Standard installation + Master patchbay and installation alternatives . . . . . . . . . . . . . . . . . . . . . . 50
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Block diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
IMPORTANT SAFETY INSTRUCTIONS
The 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.
The exclamation point within an equilateral triangle is intended to
alert the user to the presence of important operating and maintance
(servicing) instructions in the literature accompanying the appliance.
1.
2.
3.
4.
5.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water. Do not expose this apparatus to dripping or splashing and ensure that no objects
filled with liquids, such as vases, ase placed on this apparatus.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufactures instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus that produce heat.
9. Only use attachments/accessories specified by the manufacturer.
10. Refer all servicing to 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.
For US and CANADA only:
Do not defeat the safety purpose of the grounding-type plug. A grounding type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an
electrican for replacement of the absolete outlet.
IMPORTANT SERVICE INSTRUCTIONS
CAUTION:
These servicing instructions are for use by qualified personnel only. To reduce the risk of
electric shock, do not perform any servicing other than that contained in the Operating
Instructions unless you are qualified to do so. Refer all servicing to qualified service personnel.
1. Security regulations as stated in the EN 60065 (VDE 0860 / IEC 65) and the CSA E65 - 94 have to be obeyed when
servicing the appliance.
2. Use of a mains separator transformer is mandatory during maintenance while the appliance is opened, needs to be
operated and is connected to the mains
3. Switch off the power before retrofitting any extensions, changing the mains voltage or the output voltage.
4. The minimum distance between parts carrying mains voltage and any accessible metal piece (metal enclosure),
respectively between the mains poles has to be 3 mm and needs to be minded at all times.
The minimum distance between parts carrying mains voltage and any switches or breakers that are not connected
to the mains (secondary parts) has to be 6 mm and needs to be minded at all times.
5. Replacing special components that are marked in the circuit diagram using the security symbol (Note) is only permissible
when using original parts.
6. Altering the circuitry without prior consent or advice is not legitimate.
7. Any work security regulations that are applicable at the location where the appliance is being serviced have to be strictly
obeyed. This applies also to any regulations about the work place itself.
8. All instructions concerning the handling of MOS - circuits have to be observed.
Note:
SAFETY COMPONENT (HAS TO BE REPLACED WITH ORIGINAL PART ONLY)
30
INTRODUCTION
First of all, we would like to thank you and congratulate you to your purchase of a DYNACORD
power mixer.
The PowerMate compact power mixers incorporate profound Know-How, based on our research and development
in the professional audio market as well as on the inter-communication with our clients, for decades. With a PowerMate
you own a power mixer that offers a wide range of functionality in a very compact frame. All the troubling experiences
with cabling and matching mixers, amplifiers, FX units, and equalizers is history. You now own a device with optimally
matched components.
The mixer’s ergonomic shape and clearly structured controls allow instant access at all times. In case the console is
operated in areas with insufficient lighting, a gooseneck lamp can be easily plugged into the provided socket. Also
during the transport you will quickly learn to appreciate the PowerMate’s superiority: recessed handles on both sides,
compact dimensions and low weight. In addition, a sturdy dust hood protects the controls against damaging. On the
other hand, the PowerMate can be easily mounted in a 19" rack shelf. You just have to replace the plastic side panels
by a pair of metal rack mount ears.
Through its multiple functions, its high dynamic capacity, and extremely low-noise design in combination with its
18bit-Dual-Stereo FX unit and the powerful amplifier, the PowerMate is best equipped for universal use. No matter,
whether on-stage, in a home recording environment or in a permanent installation, DYNACORD’s PowerMate is the
ideal partner to meet your expectations of a professional audio device – effective and reliable.
Of course, you want to operate your new PowerMate as quickly as possible. But please, take your time to read about
all connections, functions, and controls, first. Every section is explained systematically and in detail within this owner’s
manual: the input channels, the FX units and the master section as well as the built-in power amplifier. Through the
careful perception of the manual you will learn a great deal about all functions and find some useful and practical tips
for the daily operation of the PowerMate. Even more important, you will find some adjustment guidelines that should
be painstakingly carried out; plus the description of a typical sound reinforcement installation, a block diagram,
specifications, connection guidelines, etc.… So, take your time and keep on reading.
UNPACKING AND WARRANTY
Open the packaging and take out the PowerMate. Detach the FX unit displays’ protective foil. In addition to this
owner’s manual you will find the mains supply cord and the warranty card. Please check, if the warranty registration
form is filled out correctly. Only when this form is completed, you will be able to apply for warranty claims. We grant
36 months of warranty, starting with the date of purchase. Therefore, we would like to ask you to also keep the original
certificate of purchase together with the warranty certificate.
Keeping all papers and the original packaging of the device is always recommendable. Not only do they come in
handy in case of a warranty claim but also when re-selling an appliance.
INSTALLATION AND CONNECTIONS
Always install the PowerMate on an even surface to allow for sufficient airflow during the operation. The device is
equipped with electronically controlled ventilators to protect the power amplifier against thermal overload. The
direction of the airflow is front to rear. Fresh, cold air enters the mixer at its lower front side and warm air leaves the
device through the ventilation louvres in the rear panel. Do not cover the frontal or the rear ventilation louvres.
Otherwise the PowerMate automatically enters the protect mode to prevent a thermal overload situation. When the
protect mode is engaged, the device is not going to be damaged. But during this period of time regular operation is
impossible.
In case the PowerMate is installed in a 19" rack system, you have to allow at least 2 HU of free space above and 1
HU below the device. Of course you can cover the empty space with special plates that also have ventilation louvres.
Before establishing the mains supply connection, please make sure that the device matches the voltage and frequency
of your local mains supply. Check the label next to the mains switch. When switching the power on, the internal
ventilators will run for about 2 seconds at full speed to give you an acoustical signal that the PowerMate entered the
operation mode. In addition dust particles that might have gotten into the device get blown out.
For a secure connection the speaker outputs on the PowerMate’s rear panel are provided through professional
standard Speakon connectors. The pin assignment of these sockets is 1+ (hot) and 1- (cold).
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INPUT/MONO
1. MIC
Electronically balanced XLR-type inputs for the connection of low impedance microphones,
likewise the ones that are featured in major studio and live mixing consoles. This type of input
stage provides extraordinary low noise signal conversion at an extremely low distortion rate
(typical <002%) even in the high frequency range.
Generally, any type of microphone can be connected as long as its
pin assignment is in accordance to the diagram shown aside. When
condenser microphones are connected, you have to press the
PHANTOM button which is located in the master section. The
microphone gets its operational voltage (+24Vdc) through the mixer
and you can forget about battery replacement times.
CAUTION: Make sure to always connect the microphones before turning on the phantom power
or switching the PowerMate on with activated phantom power. This is the only way to certify that
your microphones are not damaged. Also make sure to engage the stand-by button in the master
section to safe yourself and your environment from nasty power-on noise.
The connection of condenser type microphones and dynamic microphone models at the same
time is possible and should generally not lead to any problems. Before you do so, please refer to
the microphone’s manual to make sure that this kind of operation is in accordance to the
manufacturer’s guidelines.
The MIC input is laid out for levels between –60dBu … +11dBu – depending on the setting of the
corresponding gain control. Because of their low impedance design and the phantom power these
XLR-type inputs are not meant for cascading other mixing consoles or the connection of FX units,
keyboards or other electronic equipment. When connecting this kind of equipment, please use the
LINE level inputs.
2. LINE
Electronically balanced inputs for the connection of electronic instruments, such as keyboards,
drum machines, E-guitars and E-basses with an active output, as well as all other high level signal
sources, like additional mixers, FX units, CD player, etc.
The LINE input is laid out for levels between –40dBu … +30dBu. The connection of balanced or
unbalanced signal sources is established through monaural or stereo phone plugs, assigned
according to the diagram below. If the device that you want to connect has a balanced output
stage, the use of balanced cables with stereo phone plugs is preferable. This type of connection
is greatly insensitive to the induction of external noise or HF interference.
Do not connect signal sources to the MIC and the LINE inputs at the same time, since the signals
would interfere with each other, resulting in a level reduction.
One more note: Please, do not connect E-guitars or E-basses with passive, high impedance
outputs directly to one of the LINE inputs. The LINE inputs of the PowerMate – like the Line level
inputs of mixers from all other manufacturers – are meant for the connection of the relatively low
source impedance of electronic instruments or eqiupment. The reproduction of the instrument’s
original sound characteristics will be unsatisfactory – unless this effect is intended. Those
instruments should be connected using a special transformer or pre-amplifier with very high input
impedance. Musical instruments that are equipped with an active electronic output stage (battery)
can be connected without second thoughts.
When connecting signal sources, please make sure that the corresponding channel faders
or at least the master faders are at their minimal settings or the STANDBY button is engaged.
This will save you, your audience, and the equipment from extensive wear from unpleasant
knacking noise.
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INPUT/MONO
3. INSERT
Stereo phone jack with breaker function. The low impedance output is assigned to the tip (send)
and the high impedance input (return) is assigned to the ring (body). This jack allows the connection
of external compressors, limiters, EQs, de-noisers, etc. into the corresponding channel’s signal
path. The insertion point is post gain controls, Lo-Cut filters, and voicing stage and pre sound
shaping section and faders. You have to use a stereo phone plug – according to the following
diagram – in case you intend to use this jack as a true insert bus.
INSERT
If you want to use this socket as a DIRECT OUT (Pre EQ), the stereo phone plug’s tip and ring
have to be short circuited, so that the audio signal is not interrupted. If you are using a monaural
phone plug instead, you will get a DIRECT OUT with breaker function – the signal flow within the
channel is interrupted.
DIRECT OUT
4. GAIN
Rotary control to adjust the MIC/LINE inputs’ sensitivity. These controls let you optimally adjust
the incoming signals to the mixer’s internal operation level. Cautious adjusting offers the benefits
of an improved S/N-ration and provides you with the full bandwidth of the PowerMate’s outstanding
sound capabilities. On the XLR-type connectors an amplification of +10dB is achieved when the
control is set all the way to the left and +60dB when the control is set all the way to the right.
Especially when dealing with very low input levels, like they occur during vocal recordings or when
the sound source is located in a distance, the high gain is extremely profitable. Using the
LINE-input, the signal is generally attenuated by –20 dB. The total adjustment range of 50dB stays
the same. The LINE-input’s unity gain – no amplification (0 dB) – is achieved at the 20dB mark.
The following is meant as a short note for your assistance on how to determine the right input
level:
Note on how to adjust the input level:
1. Set the gain control and the corresponding channel fader to their lowest setting.
2.Connect the desired sound source (microphone, musical instrument, etc.) to the MIC or
LINE input.
3.Play the sound source at its highest volume – respectively sing or speak as loud as possible
directly into the microphone.
4.While you are playing the sound source or singing into the microphone, adjust the input level
using the gain control, so that during the loudest passages the PEAK LED is just not lit, but
the SIGNAL - LED lights constantly.
This is the basic channel setting, leaving you with at least 6dB of headroom. Which means, you
have at least a range of 6dB before signal clipping. In case you intend to make further adjustments
to the channel’s EQ setting, you should perform the steps 3. and 4. again afterwards, since changes
in the sound shaping section also influence the channel’s overall level.
5. LO CUT 80 Hz
When the LO CUT switch is engaged, frequencies below 80 Hz are attenuated (18dB
octave). In most cases using the LO CUT
filter with microphone channels is a good
advice, since it efficiently surpresses popping sounds and rumbling noise. The only
exceptions are kick drum and acoustic bass.
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INPUT/MONO
Sometimes it can be also very effective to combine the LO CUT filter with the VOICING filter. For
instance to provide a “thin” voice with more “body”, without getting additional low pitched noise.
Whenever the LO CUT is engaged, raising the bass level (LO EQ) provides you with a richer
sound, but no additional rumbling or popping noise.
Another welcome side effect is, that the power amplifier and the connected loudspeakers do not
get “polluted” with unnecessary low pitched noise. And the audience will be thankful for the use
of the LO CUT filter, too. Since in this way they can enjoy a truly clear, natural, and powerful sound
performance.
6. VOICING FILTER
This button activates an asymmetric microphone filter, which can be used in addition
to the channel EQ. The VOICING filter enhances the first harmonic oscillation of the
human voice and slightly attenuates the mid
frequency range. This voice shaping method provides precisely audible, intelligible,
and powerful vocals that are clearly emphasized from the rest of the mix. An effect
which is not achievable using ordinary third
or octave equalizers.
The use of this filter is not restricted to vocals
only. Also horns, woodwinds, and other acoustic instruments can profit from the voicing filter.
We leave it entirely up to your creativity and imagination to try the filter with as many different
sound sources as you want. Normally, you do not have to fear any problems with the occurrence
of feedback.
7. EQ SECTION
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within
miscellaneous frequency bands. Turning one of the EQ level controls to the right enhances/amplifies the corresponding frequency range while turning them to the left lowers/attenuates the signal
of the specific frequency band. Before you begin to alter the sound, all EQ controls should be set
to their neutral position; that is: their marker points straight up (locked in place). Do not set the EQ
controls to extreme positions. Usually, minor changes are totally sufficient and produce the best
results in the overall sound. You should use the natural reproduction as an orientation mark and
rely on your musically trained ear, being the perfect instrument to judge the sound quality. The
moderate use of the MID control is the best remedy to avoid acoustical feedback. Especially in
this frequency range you should try to avoid excessive enhancement. Lowering the level more or
less in this band will provide you with high amplification rates without feedback.
Use the LO control according to your pleasing, to add more “punch” to the sound of a kick drum
or “body” to the vocals. Use the HI control in the same way to provide cymbals and the human
voice with more treble and a more transparent sound. The MID EQ section offers separate rotary
controls for the adjustment of the level (MID) and the frequency band (kHz) between 100 Hz and
8 kHz.
LOW-HI EQ
MID EQ
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INPUT/MONO
Adjustments in the MID range are certainly the most effective way to shape the sound. As a matter
of fact, determining the correct center frequency is not always as easy as it seems. Here is one
method – amongst others – how to quickly find the right setting of the parametric EQ for your
application.
Note on how to adjust the parametric EQ:
1.Slightly lower the channel fader to avoid feedback.
2.Turn the MID rotary control all the way to the right (+15dB).
3.Play the desired sound source or talk into the microphone.
4.Meanwhile turn the frequency rotary control (kHz) slowly from left to right.
5.Surely and within no time, you will detect the frequency range that is not to your liking or
causing feedback.
6.Leave the frequency control in this position and turn the MID control to the left until the
sound is natural or to your liking.
It is a different story when you want to enhance a specific frequency range. In this case perform
steps 1 to 4 as described above. Set the frequency rotary control to the range you want to enhance
or leave it at the position where the sound is most satisfactory. Now you can use the MID control
to determine the amount of the alteration.
8. AUX/FX
The AUX/FX controls are used to adjust individual amounts of the channel signals to be routed to
the FX1 or the FX2 units. The split point of the “dry” signal is POST FADE or in other words: the
signal path is split after the audio signal has passed all stages of the channel module, including
the volume fader. That is the reason why the fader setting also influences the amount of the signal
that is fed to the FX units. Using the AUX/FX controls it is easy to establish an effect mix. For
instance, you can assign the short reverb effect of the FX1 unit to the lead vocals and a combined
effect program – echo, hall, and chorus – via FX2 to the background vocals. To determine the
desired intensity of each effect, you should start with the controls set at their center and make
individual adjustments from there on. Also keep in mind that there are two AUX/FX1/2 send controls
located within the master section which control the total amount of the FX signals. When you begin
to establish the effect mix these controls should also be set at their center position.
In case you are not using the internal FX units and/or you want to connect external signal processing
units, the pre-mixed AUX/FX1/2 signals are outputted via the AUX1/2 send jacks. Please monitor
the PEAK LEDs in the FX1/2 channels. The indicator should only light briefly at the occurrence of
high program peaks. If the indicator is constantly lit, you should lower the send levels of those
channels where the program peaks occur. For further information, please read the paragraphs
about the FX1/2 units.
9. AUX 3
The AUX 3 control is primarily meant for the monitor mix. Nevertheless, when the master section’s
AUX3 POST button is pressed, it can also be used as a third FX send bus. In that case the signal
is split post fader and outputted via the AUX 3 send jack.
To establish a monitor mix you can choose between two alternatives. The main difference of the
two options is the point where the signal gets split up; according to the setting of the AUX3 POST
button.
The AUX3 POST button is not engaged: the signal split lies PRE FADER – the setting of the
channel faders does not affect the signal level that is present at the AUX3 rotary controls. Since
the monitor mix is not influenced by the setting of the channel faders, this alternative is primarily
used when the main mix and the monitor mix have to be completely different – the volume of
specific musical instruments or vocals needs to be higher or lower or should not appear at all in
the monitor mix. This mode is also preferable when the PowerMate is operated by a technician in
the audience area (front ofhouse).
The other alternative should be used when you have to operate the mixer on-stage and still want
to have control over the main mix.
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INPUT/MONO
The AUX3 POST button is engaged (LED is lit): the signal at the AUX3 rotary control is POST
FADER – the signal gets split after it passed the channel faders and therefore is affected by their
settings. Setting all AUX3 controls to their center position, the main mix is also present on the
monitor bus, giving you the opportunity to control the volume settings individually from the stage.
The overall volume of the monitor mix is set with the AUX3 fader in the master section. If you are
using this option you have to keep in mind that all volume changes made with the channel faders
also appear in the monitor mix, leaving you with a higher risk of acoustical feedback.
To reduce the risk of feedback you still have the option to adjust the individual send levels via the
channels’ AUX3 rotary controls. There is even the possibility to cancel some loud instruments –
like the kick drum or the snare drum, which are in fact already loud enough on-stage – totally from
the monitor mix by turning the corresponding controls all the way to the left.
10. PAN
This control determines the position of the connected sound source within the stereo image. When
this control is set at its center position, the audio signal is fed with equal levels to the left and the
right master busses. Through the extensive PAN section circuitry the essential sound pressure
level always stays the same, no matter to what position within the stereo image the PAN control
is set.
11. PFL
Engaging the PFL button (Pre Fader Listening) routes the audio signal of the corresponding
channel to the headphone bus. In this way you can route as many signals as you want to the bus
at the same time. The volume levels of the individual signals are not affected by the channel fader
settings – PRE FADER LISTENING. This gives you the opportunity to set the level or the EQ of
a channel without the need to include it in the main mix. The overall signal of the headphone bus
is present at the headphone output.
12. SIGNAL (present) / PEAK indicator
This indicator plays a key role during the level adjustment of the input channels, offering optical
information of the actual signal level. It provides the possibility to detect the risk of occurring
overdrive before you would actually hear the distortion. Unlike the mixers of many other
manufacturers that either only provide a PEAK indicator or no channel indicator at all.
As described before, the signal “present” LED should blink in the rhythm of the incoming signal.
If this is not the case, you have to increase the gain. If the PEAK LED, on the other hand, blinks
frequently or lights up constantly, the corresponding channel is likely to enter clipping and you
have to turn the gain control a bit to the left. The signal “present” LED lights at levels –30dB below
clipping while the peak LED lights at a level of –6dB below the occurrence of overdrive.
It is also a good idea to watch the indicator during a performance. There is rumor that during a
performance some musicians get carried away by the music and the atmosphere. They tend to
play their instruments more dynamic than during the rehearsal. This, of course, can easily lead to
channel clipping, resulting in the degradation of the overall sound.
13. VOLUME
The channel faders are used to set the volume of the corresponding channels and to establish an
accurately proportioned mix. The channel faders should be positioned within the range of –5dB
to 0dB, leaving you with a degree of control that allows the precise matching of relative big
differences in the channels’ level settings. The overall volume is set through the use of the master
faders.
Even though the channel faders offer an additional gain of +10dB, we would like to advise you not
to exceed the +5dB mark. If the PowerMate’s main bus gets “overloaded” with too many “high
level” input channels, despite its special negative gain structure, the summing amplifier could be
driven into clipping. Once you register, that some channel faders are set above the 0dB marking,
we would recommend you lower the setting of each channel fader by about –5dB and increase
the overall output level by elevating the master faders. The proportion of the mix and the overall
volume stay the same while the risk of clipping is prohibited.
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INPUT/STEREO
Since most features of the stereo inputs are virtually identical to the ones of the monaural inputs,
we will not discuss their functioning in detail again. Thus, we only point out the differences and
ask you to refer to the analogous paragraphs in the first chapter of this owner’s manual.
14. MIC
Like their monaural counterparts the stereo input channels of the PowerMate incorporate extensive
circuitry and electronically balanced XLR-type connectors for the
connection of low impedance microphones. A feature that often
enough is not supported on mixers from other manufacturers. No
matter if your setup is more microphone-oriented or you have more
line level sound sources to connect, you can always use the full
amount of input channels, provided by your PowerMate. The
functioning principles were already discussed in detail in the
previous chapter.
15. STEREO INPUT L/MONO R
Electronically balanced inputs for the connection of musical instruments with stereo output, like
keyboards, drum machines, E-guitars and E-basses with an active output as well as all other
equivalent sound sources with high level outputs, like additional mixing consoles, FX units, CD
players, etc.
The stereo LINE input is meant for balanced or unbalanced sound sources with levels between
–20dBu and +30dBu. For the connection of external devices you can use monaural or stereo
phone plugs which are in accordance to the diagram below. If the external appliance is equipped
with a balanced output stage, you should preferably use balanced cables and plugs, since this
type of connection provides better shielding against HF induction and external noise.
In case you want to connect a monaural sound source to a stereo input channel, you just have to
plug it into the L/MONO input. The signal gets internally routed to both channels. For further
information, please refer to the chapter “INPUT/MONO”.
16. GAIN MIC
Rotary control to adjust the MIC inputs’ sensitivity, providing the possibility to optimally match the
incoming signals with the mixer’s internal operation level. The GAIN MIC control is only active for
the XLR-type connections of the stereo input channels.
Adjustment and functioning of these controls are identical to those of the monaural inputs.
CAUTION: The GAIN MIC control of an inactive microphone input should always be set to its
minimal marking. Otherwise the noise of the inactive input is added to the audio signal of the
corresponding LINE input, which could lead to unnecessary extra noise at the main output,
becoming clearly audible in program breaks.
17. LINE TRIM
These rotary controls are used to match the incoming line level signals with the operational level
of the PowerMate. The total adjustment range is 30dB. Unity gain – no amplification (0 dB) – is
achieved at the 0dB mark. The control offers a level reduction of the incoming signal by –20dB
and an amplification of +20dB. This range is wide enough to allow the connection of most
professional, semi professional, and even hi-fi sound sources.
For further details on how to adjust the LINE TRIM control, please refer to paragraph 4. GAIN.
If you use a keyboard as sound source on one of the stereo inputs, make sure that no split zones
or layers with channel separation are activated. Otherwise the stereo channel mapping will appear
like it is set on the keyboard and you will not have the opportunity to re-position the sound in the
overall stereo image, using the controls of the mixer. The better alternative to connect a keyboard
37
INPUT/STEREO
with pre-programmed channel mapping is to use two adjacent monaural input channels, leaving
you the option to place the sound in the final mix via PAN controls.
One more tip, in case you desperately need another input and all channels of the PowerMate are
already in use:
The microphone input and the phone plug-type inputs are electrically totally separated from each
other. Each input is equipped with its own gain control – respectively trim control, providing you
with the possibility to connect a LINE level sound source in addition to a microphone. Of course,
the two sources share all other controls. Consequently, separate adjustments are not possible.
Hence to that fact, this option is only meant as a subsidiary function and should only be used when
there is absolutely no other alternative.
18. EQ SECTION
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within
miscellaneous frequency bands. Turning one of the EQ level controls to the right enhances/amplifies the corresponding frequency range while turning them to the left lowers/attenuates the signal
of the specific frequency band. Before you begin to alter the sound, all EQ controls should be set
to their neutral position; that is: their marker points straight up (locked in place). Do not set the EQ
controls to extreme positions. Usually, minor changes are totally sufficient and produce the best
results in the overall sound. You should use the natural reproduction as an orientation mark and
rely on your musically trained ear, being the perfect instrument to judge the sound quality. The
moderate use of the MID control is the best remedy to avoid acoustical feedback. Especially in
this frequency range you should try to avoid excessive enhancement. Lowering the level more or
less in this band will provide you with high amplification rates without feedback.
The HI and LO controls of the STEREO channels’ EQ section provide a degree of control that is
equally adequate for LINE level inputs and microphones. The MID control is active in a comparably
wide frequency band around 2.4 kHz. With most microphones this is the critical range, where a
slight attenuation offers excellent results.
19. AUX/FX
These controls determine the amount of the summed L/R signal that is send to the AUX/FX bus.
The signal split is POST FADER. For more details on the functioning of these controls, please
refer to the INPUT/MONO section of this owner’s manual.
20. AUX3
These controls determine the amount of the summed L/R signal that is send to the AUX3 bus.
Depending on the setting of the AUX3 POST switch within the PowerMate’s master section you
can choose if the signal gets split PRE or POST FADER.
38
INPUT/STEREO
21. BAL
The function of the BAL control of the stereo channels is equivalent to the PAN control’s function
of the monaural channels. If you turn the rotary control all the way to the right, the right signal is
outputted to the right output while the signal of the left channel is muted. When the control is set
to its center position, the L/R signals are present with their equal intensity on the corresponding
outputs. Whenever stereo sound sources are connected to a stereo channel, you should leave
the BAL control at the center position or make only minor adjustments in either direction. In case
a microphone or another monaural sound source is connected, the BAL controls function absolutely
identical to the PAN controls of the monaural input section.
22. PFL
Engaging the PFL button routes the stereophonic audio signal of the corresponding input channel
to the headphone bus. The stereo signal is outputted via the headphone output. You can route as
many channels as you want to the bus at the same time. The volume levels of the individual signals
are not affected by the setting of the corresponding channel faders – PRE FADER LISTENING.
This gives you the opportunity to set the level and the EQ of a channel without the need to include
it in the main mix.
23. SIGNAL/PEAK
For the stereo SIGNAL/PEAK indicator function, the left and the right channels are monitored
separately. The respective highest level reading is indicated, assuring that neither one is already
driven into clipping. For further descriptions on how to use this indicator most efficiently, please
refer to paragraph 12 of the previous chapter.
24. VOLUME
The channel fader is used to simultaneously adjust both levels (volumes) of the stereo signal.
Functioning and specifications are totally similar to the monaural channel fader, as previously
described.
39
EFFECT 1/2
FX1/FX2
The PowerMate offers two independent, identical configured 18bit stereo effect units
– FX1 and FX2. Each unit provides 99 program presets which are selected by the
use of the UP/DOWN buttons. The presets are divided according to the different effect
types into seven different groups which are shown on the printed labels. The programs
within each preset group are sorted in ascending order where higher numbers provide
the same FX type with increased intensity. The presets 1 - 20 offer high quality
reverberation effects that are equally suited for the use during a live performance, in
the recording studio or your home recording environment. The program numbers 21
- 40 provide mixed effect types of echo/reverb and chorus/reverb and also flanger
while the numbers 41 - 60 offer different delay effects. The last group from 61 - 99
provides different reverse, chorus, and doubling presets as well as special delay and
reverb programs. During the initialization of the FX units, when turning the PowerMate’s power on, the preset 05 (Large Hall 3 Bright) is selected for the FX1 while the
FX2 unit is set to preset 55 (Delay Mono 250ms). These two effects are similarly
suitable for live performances and recording applications. They can be used separately or together. Please, also refer to the supplementary information form “EFFECT
PRESETS” for a more detailed description of all effect presets. This listing contains
all preset groups together with the corresponding program profiles, their individual
characteristics, and a description on how and in what combination to use them. Take
your time to test all presets and select the ones that are best suited for your specific
application.
The preset 0 is a slap back echo which is mainly used for service and testing of the
effects section, it doesn’t appeare on the list at the panel.
The FOOT SWITCH connector is provided to allow the connection of a foot switch
pedal to remote control the FX units’ EFFECT ON/OFF function. If your foot switch
features a LED – like the DYNACORD FS 11 does – this indicator will light when the
effect is activated.
F X 1 /F X 2
1.......10
11.......20
21.......30
31.......40
41.......50
51.......60
REVERB
HALLS
REVERB
PLATES
ECHO
REVERB
CHORUS
REVERB
DELAY
STEREO
DELAY
MONO
61.......99
SPECIAL
PROGRAMS
25. AUX1/2 SEND
These sockets are meant for the connection of external FX units, providing the mixes
that you have established for the AUX/FX buses – the identical mixes which are fed
to the internal FX1/2 units. The level setting is accomplished using the corresponding
AUX/FX SEND controls. The external devices’ output signals can be send back to
the PowerMate via the stereo return bus or using stereo input channels.
The AUX1/2 sends are designed in Ground Sensing technology to prevent the
induction of external noise, even when longer cables are used.
26. DISPLAY
The actual selected preset number is displayed.
27. UP/DOWN buttons
The UP/DOWN buttons are used to select the effect presets. Keeping a button
pressed constantly lets you step quickly through the program numbers.
28. FX to AUX3
These controls allow to mix the FX1/2 output signals with the AUX3 signal. In case
you are using the AUX3 bus for monitoring purposes, you are able to add the FX
signals at the desired level to the monitor mix. The experience in mixing has shown
that the effect level in the monitor mix has to be lower than the level in the main mix,
since the distance between the monitor speakers and the artists is much shorter.
40
EFFECT 1/2
29. AUX/FX SEND
These rotary controls could also be defined as FX SEND master controls, since they
are used to adjust the overall level of the effect mix that you have established using
the channel FX send controls. The AUX/FX SEND controls are used to set the input
levels of the corresponding FX unit, respectively the levels of the AUX SEND outputs.
Whenever the Peak LED (PK) blinks, there is the potential risk that the FX input signal
is driven into clipping, making it necessary to reduce its level by turning the
corresponding AUX/FX SEND control to the left, until the LED is not lit anymore.
Since the AUX/FX SEND controls not only affect the signals of the FX buses but also
the monitor effect level, which is set by the FX to AUX3 control, careless changes
can result in acoustical feedback.
30. FX ON
These switches are used to turn the internal FX units on – the green LED is lit. Please
keep in mind that you also can use an external foot switch to turn the FX units on. In
this case the LED also shows the actual state of operation. If you want to use a foot
switch, the FX ON switch has to be engaged first. The corresponding FX unit is
activated and you can use the foot switch to turn the selected effect program on or
off.
31. PEAK LED
These indicators signal if the input stages of the internal FX units or the AUX 1/"
SEND signals are driven into clipping. To achieve an adequate S/N ratio, please
adjust the FX units’ input level as follows:
Note on how to adjust the FX input signal:
1.Establish a “dry” mix – without effect settings – according to the previous descriptions.
2.Set the AUX/FX send controls of the effect channels to their center position.
3. Position the effect return faders of the effect channels at the –5dB marks.
4.Use the UP/DOWN buttons to select the desired FX program preset.
5.Press the FX ON switch.
6.Play the sound source of the desired input channel and adjust the desired
amount of the FX signal, using the AUX/FX controls of this input channel.
Repeat this step for all input channels that you want to include in your effect mix.
7.Adjust the AUX/FX SEND controls, so that the Peak LED only lights frequently
at highly dynamic signal peaks.
8. Use the FX to AUX3 control to add the effect mix to the monitor mix. Use the
FX return faders to add the desired amount of the FX signal to the main mix.
In case you are using a different effect setting for the second FX unit, you have to
repeat the step 2 - 8, respectively. Pay some attention to the peak indicators when
operating your PowerMate to quickly interact when the signal levels exceed the
normal range and enter clipping.
32. EFFECT RETURN
These stereo faders are used to determine the effect amount of the main mix. In case
you have to set these faders at a position above the +5dB mark, please check if the
FX units input signals are adjusted properly. Otherwise use the AUX/FX SEND
controls to increase the input levels.
41
AUX 3
Generally, the AUX3 channel is used as monitor bus. Depending on the setting of the AUX3 POST
switch, it is also possible to configure the bus for the connection of an additional, external FX unit.
33. AUX3 SEND
This output is meant for the connection of an external FX unit, a power amplifier or active stage
monitor speaker systems, when the AUX3 bus is used for monitoring purposes. Using the AUX3
fader, the output level can be adjusted in a wide range up to +20dBu. The AUX3 send is designed
in Ground Sensing technology to prevent the induction of external noise, even when longer cables
are involved.
34. FEEDBACK FILTER
The feedback filter is a very narrow banded notch filter which is only active in a range that is
extremely susceptible for acoustical feedback. The frequency band is set, using the corresponding
rotary control. The filter is activated by pressing the corresponding ON switch. Acoustical feedback
is originated when the amplification rate in a signal loop, consisting of microphone, amplifier, and
loudspeaker systems, and regarding its phase coherence and the distance between speakers and
microphone, is not clearly negative. Or in other words: the speaker signal hits the microphone and
gets amplified again, resulting in an escalating oscillation, which is audible as high pitched whistle
or loud humming sound. However, explaining all factors that are relevant for the occurrence of
feedback would lead to far. The following notes are meant to assist you in avoiding feedback and
you should take them into consideration even before you activate the feedback filter.
1.Do not position the main speaker systems behind the microphones.
2.Turn off all unused microphones.
3.Also consider the microphones’ different polar patterns and characteristics, when placing
the monitor speakers.
4.Do not turn up the monitor system’s volume higher than really necessary.
5.Try to avoid extensive equalization on channels that you want to include in your monitor mix.
6.Keep in mind, that microphones “behave” different when somebody stands right in front of them.
In fact, the amount and intensity of first reflections changes drastically.
7.Position the microphones as direct as possible to the sound source.
If you still have the feeling that the monitor system’s volume is not high enough, after considering
the above mentioned precautions, you can use the feedback filter to mute the frequency that tends
to generate feedback the most. Therefore, you have to perform the following steps:
Increase the AUX3 (monitor) level until the limit where feedback starts. The “sound” you hear is
generated within the system. Turn on the feedback filter and adjust the rotary control at the mark
where the “sound” disappears. Switching the filter on and off lets you easily check if you tuned in
the correct frequency. The feedback filter attenuates the corresponding frequency band by about
9dB. Since the filtered band is extremely narrow, an alteration in the sound of your monitor system
is hardly audible.
CAUTION: Please be extremely careful when you increase the level up to the feedback limit.
Careless operation, resulting in feedback noise at high SPL, can severely damage your speaker
systems and – even more important – the human ear.
35. AUX3 POST
As mentioned before, this switch is used to determine if the AUX3-mix signal is PRE or POST
FADER. In case the switch is engaged and the yellow LED lights, the signals of all AUX3 controls
in the input channels are split post their corresponding channel faders.
36. PFL
Through this button you can route the pre AUX3 fader signal to the headphones bus. The signal
is outputted via the headphones output. The setting of the AUX3 fader is not relevant for the signal’s
volume (PRE FADER LISTEN), leaving you with the opportunity to adjust its level and equalization
without the need to route it to the AUX3 SEND bus.
37. AUX3 VOLUME
This fader controls the AUX3 SEND output level. So when the AUX3 bus is used for monitoring,
this fader lets you control the volume of the monitor system.
42
PHONES + MONO OUT + STAND BY
38. MONO OUTPUT
At the monaural output the summed L/R signal of the master is present. It can be used for additional
monitoring, side fill and “next door” applications, or to establish a delay-line.
CAUTION:The outputted signal is not only affected by the setting of the MONO OUT fader but
also by the MASTER faders’ setting.
39. PHONES OUTPUT
Stereo phone jack for the connection of headphones with an impedance of 32 – 600 ohms. The
audio signals of the channels where the PFL button is engaged is outputted via this connector.
40. PHONES LEVEL
This control is used to adjust the headphone’s volume.
CAUTION:
Adjust this control at its minimal setting before connecting the headphones.
41. STANDBY
Pressing the STANDBY button mutes all outputs to which amplifiers could be connected to the
PowerMate. Because the signal flow between the MAIN INSERTS and the MAIN OUTPUTS is
interrupted, the internal power amplifier’s signal is also muted. The STANDBY LED indicates that
the stand-by mode is engaged and the input channel signals are not heard over the speaker
systems. But, the 2Track Return signal is still fed to the power outputs, providing you with a very
comfortable solution to play intermission music during performance breaks.
42. MONO MASTER VOLUME
This fader controls the output level of the MONO OUTPUT. The output level is also influenced by
the setting of the MASTER faders (post fader).
In case a PRE FADER signal split would provide the better solution for your application, this can
be achieved by some minor internal changes.
Please consult your dealer for assistance.
43
MASTER
43. STEREO RETURNS
The stereo returns are used to route stereo signals (e. g. of an additional external
mixer, FX unit, etc.) to the master output.
In case you want to connect a monaural device, please use only the L/MONO
return connector. The monaural signal is internally routed to both channels.
44. STEREO RETURN
Rotary control for level adjustment of the signals coming from the STEREO
RETURNS. The actually outputted level is also influenced by the setting of the
master faders.
45. RECORD SEND L/R
These RCA-type connectors carry the PRE FADER master L/R signal. The signal
is not affected by the setting of the master faders and therefore mostly used for
the connection of cassette decks, open reel tape decks or DAT recorders for
recording purposes. The nominal level of the outputs is –10dBV and matches the
professional industry standard as well as most home recording applications.
Nevertheless, you should use the input gain control of your recording device - as
far as it is provided.
CAUTION: On most tape decks the incoming signal is directly carried through to
the outputs. In case you have connected the REC. SENDS and the 2TRACK
RETURNS and the PowerMate’s 2TRACK to MASTER control is set to anything
but its lowest setting, the recorded signal is included into the main mix again. The
difference in delay of the two signals is responsible for occurring drop-outs and
the general degradation of the sound. In the worst case, activating the RECORD
button on your tape deck could lead to very unpleasant feedback noise. To prevent
this from happening make sure that you always have the 2TRACK to MASTER
control and the AUX3 control adjusted to their lowest settings. The 2TRACK
RETURN signal will pass unobstructed.
46. 2TRACK RETURN L/R
Here you can connect a tape deck, a CD player, an open reel or an additional
mixer. The signal is post master fader and post STANDBY switch. providing you
with the possibility to play intermission music during performance breaks or check
the mix during the rehearsal, using the headphones. You just have to engage the
STANDBY switch to mute all channel signals at the main outputs and the monitor
bus.
47. 2TRACK to AUX3
The signal coming from the 2TRACK RETURNS is internally added to the AUX3
bus (monitor bus) and its level is set with 2TRACK to AUX3 rotary control. The
signal gets added to the bus pre 2TRACK to MASTER control.
48. 2TRACK to MASTER
This control is used to mix the 2TRACK signal to the main mix; post fader of the
master controls.
CAUTION: When adjusting the level of the device that is connected to the 2TRACK
RETURNS – CD player, tape deck, etc. – always begin with the 2TRACK to
MASTER control adjusted at its minimal setting. Otherwise, depending on the
quality of the connected sound source, the outputted volume can instantly “hit the
top”.
44
MASTER
49. MAIN INSERTS
Stereo phone jack for the left and the right channel with breaker function. The
low impedance output is assigned to the tip (send) and the high impedance input
(return) is assigned to the ring of the connector. This jack allows the connection
of external EQs, compressors, limiters, etc. into the master’s signal path. The
insertion point is pre master faders. As well as with the inserts of the monaural
input channels, different DIRECT OUT functions can be accomplished.
Please, also refer to the corresponding section in the description of the MONO
INPUTS.
50. MAIN OUTPUTS
The signals at the MAIN OUTPUTS are post master fader and mainly meant to
feed additional, external power amplifiers. Through these outputs it is also
possible to establish a two way active system set-up. In this case the active
cross-overs – or active active sub woofers – have to be connected to the MAIN
OUTPUTS. If you want to use the internal power amplifier to supply the high
frequency cabinets, the treble signal coming from the cross over has to be fed
back into the PowerMate via the POWER AMP INPUTS.
51. EQ INPUTS / OUTPUTS
The EQ INPUTS are provided through electronically balanced phone jacks with
breaker function. When inserting a phone plug, the signal path is interrupted
between the master and the internal power amplifier. The EQ INPUTS respectively the POWER AMP INPUTS are then the only active inputs for the internal
power amplifier.
The signals at the EQ OUTPUTS are post master fader and post the internal
7-band equalizers. Likewise, the MAIN OUTPUTS can be used for connecting
external devices.
52. POWER AMP INPUTS
The POWER AMP INPUTS are also provided via electronically balanced phone
jacks with breaker function. When inserting a phone plug, the signal path gets
split up between the master and the internal power amplifier. The POWER AMP
INPUTS are then the only active inputs for the internal power amplifier.
NOTE: For detailed information on the functioning and the operation of the
“MASTER PATCHBAY” – MAIN INSERTS, MAIN OUTPUTS, EQ IN/OUTPUTS,
and POWER AMP INPUTS – please refer to the corresponding section; later in
this owner’s manual.
53. FX1/2 FOOTSW.
Phone jack for the connection of a DYNACORD FS11 foot switch, to switch the
effect mode of the internal FX units on or off.
To accomplish this function, the switches FX1 and FX2 have to be engaged.
54. LAMP
This XLR-type socket provides a DC voltage of 12V /2.4 watts and is meant for
the connection of a gooseneck lamp. Please make sure that the used lamp
complies with the here mentioned specifications and pin assignment. Overload
or short circuit can result in damaging this output. To prevent this from
happening, we recommend the use of the
gooseneck lamp (112700), available from the
DYNACORD accessory assortment.
For further information, please consult your
dealer.
45
MASTER
55. POWER AMP STATUS indicators
These indicators are to inform you about the momentary operational status
of the PowerMate’s internal power amplifier.
The POWER ON indicator is always lit when the PowerMate is in operational
mode. If the LED is not lit after you have turned the power on, please make
sure that the PowerMate’s mains cable is correctly plugged in. If this is the
case and the LED is still not lit, please contact your dealer.
The LIMIT indicator signals that you are operating the PowerMate at the
internal amplifier’s limit. Frequent blinking of the LED is acceptable, since
the amplifier’s incorporated limiter prevents distortion. Continuous lighting
indicates that you have to be aware of a degradation in the outputted sound.
In that case, the master level has to be reduced.
The PROTECT indicator is lit when one of the PowerMate’s extensive
protection circuits – against thermal overload, HF-induction, DC at the
outputs, and SOAR-protection – is activated. When the PowerMate is in
protect mode, the speaker outputs are muted and the amplifier’s inputs are
short circuited to prevent the amplifier from being damaged. In this case
you should first check if the ventilation louvres are blocked. Another cause
could be, that you have connected more than three 8ohms speaker systems
per power output. Please also disconnect the SPEAKON connectors and
check the speaker cables for short circuits.
During the power-on operation the PROTECT LED always lights for about
two seconds, signalizing that the PowerMate’s protection circuitry is operational.
56. PHANTOM POWER
When this switch is pressed, all MIC inputs are supplied with +24V
phantom power. Please make sure to engage the phantom power only
when the PowerMate is switched off or in stand-by mode. With active
phantom power the connection of unbalanced signal sources (keyboards, mixer, etc.) is not admissible, because this could lead to
severe damaging of your equipment.
ATTENTION! IMPORTANT NOTICE!
In general, the operation of phantom powered condenser microphones and balanced dynamic microphones at the same time does not
lead to any problems.
Nevertheless, some balanced dynamic microphones are extremely
sensitive. These models could get damaged when used on mixers with
active phantom power. Please refer to the microphones’ owner’s
manuals to make sure that this operation is permissible.
To be on the safe side, you should switch the PHANTOM POWER off,
when using balanced dynamic microphones. This ensures that your
sensitive microphones do not suffer from any damage.
46
MASTER
57. 7-BAND EQUALIZER
The EQ ON switches activate the 7-band graphic EQs within the PowerMate’s master channels. The EQ’s insert point is post master fader and pre
power amplifier. The EQ is bypassed when the EQ ON switch is not locked
in its “ON” position. The two graphic EQs provide seven frequency bands,
each. Through these faders you are able to match the overall sound
optimally to the acoustic conditions of different locations or shape it
according to your personal taste. Each frequency band allows ±10dB
increase/attenuation in the corresponding range with a quality of Q=1.4.
The frequency ranges as well as the characteristics of the faders are very
praxis-oriented. In case you want to have a clear and highly intelligible
sound, which, as a side effect, provides the cymbals with more crisp, you
should raise the levels of the 8kHz or 16kHz band a bit. If the MIDs are
nasaling you should attenuate the mid range by some decibels. To provide
the kick drum with more punch you have to boost the low frequency range,
using the 80Hz or the 250Hz controls. In case the overall sound is undefined
with too much bass, lowering the levels of these two frequency bands will
solve the problem.
Especially when using the equalizer, you should be aware of the fact that
in most cases less adjustments provide better results. Thus, your first choice
should be to establish the mix using only the input channel EQs and see if
you get a satisfactory result. If so, you can use the graphic EQ for the AUX3
(monitor), where in most cases it is more needed. You will find the
description of how to include the graphic EQ in the monitor bus later in this
owner’s manual.
58. MASTER LED-DISPLAY
The PowerMate offers two 10-segment LED-chains to monitor the output
levels of the L/R master signals. The indication range of the LED-meter is
33dB, displaying the levels in dBu which are present at the EQ OUTPUT
respectively at the POWER AMP INPUT. The meter’s 0dB mark is referenced to a 0dBu output signal at the POWER AMP INPUT. Further
increasing this level leads to the power amplifier’s maximum input level of
+6dB – equaling an output power of 500 watts at 4 ohms per channel. Higher
levels are not displayed, since the amplifier’s processor limits the signal at
this point. The LIMIT LED of the status indicator section will light, showing
that the internal limiter is now activated.
47
MASTER
59. PFL MASTER
Engaging the master PFL-button, the PRE FADER stereo master signal is
routed to the headphones output. The volume of this signal is not affected
by the setting of the MASTER faders.
60. MASTER L + R
Level controls to adjust the output signals of the left and right main outputs
(MASTER).
Please, make sure that the corresponding input channel fader or at
least the master faders are set to their minimal position or the
STANDBY switch is engaged, before connecting an external sound
source to an input of the PowerMate. This will save you, your audience,
and the equipment from unnecessary stress.
POWER AMPLIFIER
The PowerMate’s PROCESSED PRECISION stereo power amplifier’s
design uses bipolar technology to provide a nominal output power of 500
watts resp. 700 watts at 4 ohms per channel. The minimal load impedance
of 2.7 ohms allows the operation with a maximum of three paralleled 8 ohm
loudspeakers connected to each channel. Their low distortion rate and
inter-modulation provide the amplifiers of the PowerMate with outstanding
transmission capabilities that do not have to fear the comparison with
professional high-end, stand-alone audio power amplifiers.
The amplifier is also designed to live through the hard wearing use of the
touring operation. It incorporates protection circuitry against thermal and
capacitive overload and short circuit as well as against HF-interferences or
the occurrence of DC at the outputs. Further protection against back-feed
of electrical energy is provided by a special circuit. When the PowerMate
is switched on, a relay controls the delayed switching of the power outputs.
The internal ventilators run shortly on full speed, signaling acoustically that
the PowerMate is operational. A limiter controls the initial current inrush,
preventing the mains fuse from being blown during power-on.
The extensive comparator circuitry constantly monitors the input and output
signals and activates the internal limiters whenever a non-linear operational
state is encountered. This provides reliable protection of the connected
loudspeaker systems against overload and clipping. Even when the maximum input level is overridden, no distortion is heard on the output. The
amplifier also incorporates LPN-filters (DYNACORD patent). Together with
the 12dB/70Hz LO-CUT filters, the Low Pass Notch filters eliminate transient response faults of typical sound reinforcement speaker systems and
provide your setup with an extraordinarily precise and powerful reproduction
of low frequencies.
48
REAR PANEL
SPEAKER OUTPUTS RIGHT / LEFT
The PowerMate is equipped with professional SPEAKON
connectors, offering an electrical and mechanical secure connection which complies to all security regulations. It also allows
the use of high quality speaker cables with a diameter of 4 x
2
2.5mm . The DYNACORD accessory assortment includes all
recommended cables and connectors.
WARNING:
The speaker output terminals are marked with a
symbol “
”, which signifies that these terminals
present a shock hazard to the user.
Make connections to these terminals as described in the
owner’s manual.
POWER
mains switch to turn the PowerMate on or off.
The PowerMate is operational when the POWER ON indicator
is lit and the power outputs are activated.
Please make sure to set the master faders to their minimal
position or engage the STANDBY switch before turning
the power on. This will save you, your audience, and the
equipment from unnecessary stress.
In case additional external equipment is connected to the
PowerMate – e. g. FX units, power amplifiers, EQs, etc. –
please, proceed in the following order when switching
your equipment on:
1.FX units
2.PowerMate
3.external power amplifiers
When switching the power off, please proceed in the
opposite order.
49
STANDARD INSTALLATION
CABLING
The mains supply cord comes with the PowerMate. The quality of all other cables lies in your responsibility. Carefully
chosen high quality cables are the best precaution to prevent later problems during live operation. The following
wiring alternatives are recommended to provide a trouble free operation of your setup.
SPEAKER CABLES
From our experience as a manufacturer of loudspeaker systems we learned that flexible cables with a rubber jacket
2
and a diameter of 2.5mm per conductor, used in combination with SPEAKON plugs and sockets, are the best choice
to guarantee the optimal connection of loudspeaker systems. In accordance to the corresponding diagram, the
SPEAKON plugs are connected on the PowerMate’s rear panel. We recommend the use 4-wire cables where also
the pins 2+ and 2- are connected through. This provides you with the possibility to use these cables in an active
2-way system configuration, as well. DYNACORD speaker cables with SPEAKON connectors and all other cables,
plugs, and sockets are available at your professional audio dealer.
LF-CABLES – BALANCED OR UNBALANCED?
For LF-cabling – all the low current wiring – your best choice are balanced cables (2 signal conductors + ground
shielding) with XLR-type connectors or stereo phone jacks and plugs. The cables should be step proof, shielded,
and never longer than really needed. Too many too long cables mostly lead to confusion and generate unnecessary
problems.
Of course, you can also connect unbalanced cables with monaural phone plugs to the PowerMate’s in- and outputs
and because of its superb grounding managing system in most cases no interference will occur. Still, there is a
minimal risk that problems could arise and we believe that this is reason enough to keep on reading. Generally spoken,
if you have the choice, a balanced LF-cable is always the better solution. Today’s modern audio equipment – like
amplifiers, equalizers, FX units, mixing consoles, and even some keyboards – offers balanced in- and outputs. In a
balanced signal path the cable screen provides the gapless connection of all metal parts, offering efficient shielding
against the induction of external noise. The balanced cabling in conjunction with the common-mode rejection of the
PowerMate’s input stage effectively eliminates even existing artifacts of interference. All inputs of the PowerMate
provide balanced audio connections and high common-mode rejection. The mixing stage outputs – AUX, MAIN, EQ,
etc. – are laid out in GND-SENSING technology – a special pin assignment of the output jacks, offering all advantages
of the balanced signal transmission, but lets you also connect monaural phone plugs without a problem. Nevertheless
– as mentioned above – when longer cables are involved, using stereo phone plugs and balanced cables are the
better alternative. The diagrams below show the pin assignments of plugs and cables that are used with the
PowerMate.
MIC INPUT
balanced connection of microphones
All phone jack in/outputs of the PowerMate
unbalanced
external equipment
with XLR-type in/output jacks balanced
Channel Insert
Main Insert
Direct OUT via INSERT,
uninterrupted signal
path
unbalanced
external equipment
with XLR-type in/output jacks
balanced
All phone jack
in/outputs of the
PowerMate
Y-type cable for the
connection of external
FX units and signal
processors with phone
jacks
Channel Insert
Main Insert
50
STANDARD INSTALLATION
In this chapter we would like to explain to you how to install a typical sound reinforcement system in passive
configuration and incorporating stage monitor speakers. The necessary equipment is:
1
1
2
2
2
2
4
1
PowerMate 1000
Power amplifier for the monitor signal – for i. e. 2x250 watts
HI cabinets – i. e. 3-way 12" speakers
LO cabinets – i. e. 15" woofer
Speaker pole-stands or 2 connection rods
Stage monitor speakers
SPEAKON cables (8m), and 2 SPEAKON cables (2m)
Balanced LF-cable with a stereo phone plug on one side and an XLR-type connector on the other side
Setting up
•
Place the PowerMate and the external power amplifier in a way that allows their unobstructed operation during
the sound check and the later performance.
•
Try to locate the best position where you want to place the loudspeaker systems. If possible, the woofers should
be placed on the floor while the Hi cabinets’ most favorable position is above the Lo cabinets, on the same vertical
axis. It is important that the lower edge of the Hi cabinets is approximately at the same height level as the heads
of the audience. Either you use the interconnection rods to mount the Hi cabinets on top of the woofers or, in
case this kind of installation is not possible in your application, you have to use the separate speaker pole-stands.
•
Do not place the left and the right speakers further apart than necessary. The less distance there is between the
two speaker “clusters” – the more compact the sound.
•
•
•
Try to avoid the positioning of the main loudspeakers behind the imaginary line of microphones. Otherwise, if
you have to drive the system at higher sound levels, the risk of feedback is very likely.
After you have installed all microphone stands and all artist found a seat on the stage, the best place to install
the monitor speakers is up front facing the musicians. Nevertheless, please check if a mic rophone is directly
pointing in the direction of a monitor. In this case, change its position. You should also be aware of the individual
characteristics of the used microphones.
Make all connections according to the diagram above. Use the different SPEAKON cables to connect the speaker
systems to the PowerMate’s power outputs, respectively to the power outputs of the exte rnal amplifier. Make
sure not to confuse the channels by accident. using the short SPEAKON cables, you can conne ct the Hi cabinets
at the woofers’ outputs. The two monitor speakers are connected to either one output of th e additional external
amplifier. The amplifier should be set to coupled operation, so that the inputs are configured to accept a monaural
audio signal. The amplifier’s volume controls provide the possibility to adjust the output levels separately.
51
STANDARD INSTALLATION
•
•
Connect the PowerMate’s AUX3 SEND with the external amplifier’s input, using the Balanced NF-cable with the
stereo phone plug on one end and the XLR-type connector on the other.
Connect all microphones preferably to the monaural inputs of the PowerMate and the keyboards and other
comparable sound sources to the rest of the available inputs
•
Pull all faders down and engage the PowerMate’s STANDBY button. This measure prevents unw anted feedback.
•
First, switch the PowerMate on and then the external amplifier.
•
•
In case you have condenser microphones connected to the PowerMate, you can now turn on the phantom power
by pressing the PHANTOM switch.
Activate the PowerMate’s operational mode through pressing the STANDBY button again.
SOUND CHECK
•
First, adjust the input levels of the microphones that are connected to the PowerMate. Ple ase proceed as follows:
1. Set the corresponding gain controls and the channel faders to their lowest position.
2. Speak or sing as loud as possible into the microphone.
3. Use the gain control to adjust the level, so that even at loud passages the red PEAK LED is not lit but the
green SIGNAL present LED lights constantly.
•
Adjust the EQ of the monaural input channels:
1. Slide the channel fader and the master faders up a bit, so that the sound is heard coming from the main
speakers.
2. Turn the MID control carefully all the way to the right (+15dB). You should not hear any feedback.
3. Play the sound source or speak into the connected microphone.
4. Turn the frequency control (kHz) slowly from left to right.
5. Surely and within no time, you will detect the frequency range that is not to your liking or causing the feedback.
6. Leave the frequency control in this position and turn the MID control to the left until the sound is natural or to
your liking.
7. If necessary, adjust the Hi and LOW controls, starting from their centered position, until the sound matches
your personal taste.
8. Repeat the steps 1 - 7 for all monaural input channels in use.
•
In case you are also using the stereo input channels, you can adjust the levels in a similar w ay:
1. Set the LINE TRIM controls, the MIC gain controls, and the channel fader to their lowest setting.
2. Play the corresponding sound source at the highest volume that is to be expected during the performance.
3. Use the LINE TRIM control to adjust the level, so that even at loud passages the red PEAK LED is not lit
but the green SIGNAL present LED lights constantly.
•
Adjust the EQ of the stereophonic input channels:
1. Slide the channel fader and the master faders a bit up, so that you can hear the sound through the main
speakers.
2. Adjust the EQ controls at their center position.
3. Play the corresponding sound source.
52
STANDARD INSTALLATION
4. Starting from the center position, you can adjust the controls until the sound is to your liking. Please, keep
in mind that major alteration of the EQ-setting does not necessarily result in the improvement of the overall
sound. Especially when sound shaping is concerned, less can be more.
5. Repeat the steps 1 - 4 for all stereo input channels in use.
•
•
If musical instruments are connected directly to the monaural inputs, follow the descriptions above for adjustment
of the microphones.
Make sure, that all channel faders, gain controls, and LINE TRIM controls of unused input channels are at their
minimal setting. In this way you avoid unnecessary noise.
MAIN MIX
Position the master faders in the range between –30dB and –20dB.
•
•
Establish a basic mix, using the channel faders, so that the individual sound levels relate to each other according
to your personal taste.
The best range for the channel faders to be set to is in the area of –5dB to 0dB. In this way you are provided
with enough tolerance for later adjustments.
•
Use the master faders to adjust the overall volume.
•
In case you are using the FX units, please proceed like this:
1. Adjust the AUX1/FX1 send controls at their center position.
2. Adjust the FX1 return fader at the –5dB mark.
3. Use the UP/DOWN buttons to select the desired effect preset.
4. Press the FX ON button.
5. Play the sound source of the desired input channel and adjust the desired amount of the FX signal, using
the AUX/FX controls of this input channel. Repeat this step for all input channels that you want to include
in your effect mix.
6. Adjust the AUX/FX SEND controls, so that the Peak LED only lights frequently at highly dynamic signal peaks.
If necessary, repeat steps 1 - 6 for the second internal FX unit (FX2).
MONITOR MIX
For now, we presume, that you are not using the PowerMate within the audience area but on-stage.
•
Lower the setting of the AUX3 fader within the master section.
•
Engage the AUX3 POST button within the master section.
•
Adjust the AUX3 faders of all input channels that are momentarily in use at their center position. In this way the
main mix and the monitor mix are completely identical.
•
Push the AUX3 fader up until a slight feedback noise is heard.
•
Activate the FEEDBACK FILTER and adjust its control, so that the feedback disappears.
•
•
Use the AUX3 fader to reduce the AUX3 level by about –6dB. This will provide you with enough “headroom” to
avoid feedback even during the performance, when some microphone positions are changed disadvantageously.
Use the FX to AUX3 control to add the effect mix to the monitor mix, without influencing the main mix.
Normally, the monitor mix needs a smaller amount of effect than the main mix.
Let the artists perform some and check the sound of the system from different angles and distances. If you come to
the conclusion that some corrections in the overall sound image are necessary, activate the 7-band equalizer and
match the sound to your liking. By doing so, you should keep in mind, that during the performance the sound is going
to be altered because the audience is present, which has a major effect on the acoustical condition of the location,
the degree of first reflections, and the absorption of low frequencies. If possible, you should check the “sound in the
house” during the performance and – if necessary – adjust it to the changed conditions.
And for the rest, we like to wish you lots of fun and success with your new PowerMate mixer.
53
MASTER PATCHBAY AND INSTALLATION ALTERNATIVES
The patch field within the master section is referred to as MASTER PATCHBAY.
The mixer’s LINE OUTPUTS, RETURNS, and INSERTS are to be found here. To provide you with a wide variety of
connection possibilities, the MASTER INSERTS, MAIN OUTPUTS, EQ INPUTS and EQ OUTPUTS, POWER AMP
INPUTS, and the AUX SENDS and AUX RETURNS can be independently connected with each other or routed to
external devices. In the basic configuration – when no plugs are inserted into any of the MASTER INPUT connectors
– the signals are patched internally and fed to the internal power amplifier. Once you connect a plug to the INSERTS,
EQ INPUTS, or the POWER AMP INPUTS, the internal signal path is interrupted, providing you with the opportunity
to include external signals. Following, we would like to show you some examples of how to use the MASTER
PATCHBAY.
1. Connecting an external power amplifier:
If you need to connect more loudspeaker systems than the PowerMate is capable of handling directly, you have to
use an external power amplifier. Using NF-cables with phone plug-type connectors, you can patch the signal either
at the MAIN OUTPUTS – pre EQ – or at the EQ OUTPUTS – post EQ. In this configuration the signal path to the
internal power amplifier is not interrupted and the audio signal is outputted via the speaker systems connected to
both amplifiers.
2. Connecting an additional mixing console:
If you need additional input channels, you have to connect an external mixing console. In doing so you can either
use up another LINE INPUT of the PowerMate or – as shown in the diagram below – connect the external device to
the STEREO RETURNS. In combination with the PowerMate’s stereo return control, the latter solution offers the
additional benefit of matching the level of the additional console to the PowerMate’s operating level.
54
MASTER PATCHBAY AND INSTALLATION ALTERNATIVES
3. Using the internal power amplifier for monitoring or side-fill purposes:
In case you want to use an external power amplifier to drive your main speaker systems, the internal power amplifier
can be used for monitoring and side-fill purposes. Use short patch-cables to connect the AUX3 OUTPUT with the
EQ INPUT L and the MONO OUTPUT with the EQ INPUT R. This enables you to use the internal graphic equalizer
to separately adjust the signals of the monitor and the side-fill output channels. The volume of the main channels can
still be controlled via the master faders. The monitor speakers’ volume is determined by the setting of the AUX3 fader
while the MONO-fader controls the volume of the side-fill channel.
4. Monaural sound reinforcement with monitoring:
Your application does not demand for stereophonic audio reproduction. In that case you can use short patch-cables
to connect the MONO OUTPUT with the EQ INPUT R and the AUX3 OUTPUT with the EQ INPUT L. The right main
output is used for the sound reinforcement while the left main output carries the monitor signal.
55
MASTER PATCHBAY AND INSTALLATION ALTERNATIVES
5. Maximum amount of speakers in a passive configuration:
The PowerMate allows the maximal connection of three loudspeaker cabinets with an impedance of 8 ohms per
channel. In other words: the internal power amplifier is capable of driving a maximum of six 8 ohm speaker models.
The following diagram shows how the speakers have to be connected.
6. Active stereo 2-way configuration:
In this example the internal power amplifier of the PowerMate is used to drive the Hi/Mid cabinets. An active cross-over
is connected to the MAIN OUTPUTS or the EQ OUTPUTS which carry the full-range signals. The Lo-signal outputs
of the x-over are connected to an external power amplifier, driving the woofer cabinets. The signal of the x-over’s
Hi-signal outputs is fed back to the PowerMate’s internal power amplifier via the POWER AMP INPUTS. Compared
to the passive configuration, the overall sound gains transparency and higher volume levels are possible, since the
Hi/Mid cabinets do not have to deal with the low frequency signals.
56
SPECIFICATIONS
Technical Specifications: Mixing desk in rated condition: Unity Gain ( MIC Gain 20 dB ), all faders position 0 dB,
all pots in mid position, master fader + 6dB, amplifier rated output power into 8 ohms, one channel driven, unless otherwise specified.
Maximum Midband Output Power, 1 kHz, THD ≤ 1%
into 4 ohms
into 8 ohms
Rated Output Power, 20 Hz ... 20 kHz, THD ≤ 0.2%
into 4 ohms
into 8 ohms
Maximum Output Voltage of power amplifier, no load
THD at 1kHz, MBW=80kHz
MIC input to Main L/R output, +16 dBu
Power amplifier input to Speaker L/R output
DIM 30, power amplifier
IMD-SMPTE, power amplifier, 60Hz, 7 kHz
Frequency Response, -3dB ref. 1kHz
Any input to any Mixer output
Any input to Speaker L/R output
Crosstalk, 1kHz
Fader and AUX-Send attenuation
Channel to channel
CMRR, MIC input, 1kHz
Input Sensitivity, all level controls in max. position
MIC Input
Line Input (Mono)
Line Input (Stereo)
Power Amplifier Input
Maximum Level, mixing desk
MIC inputs
Line inputs
All other inputs
Record Send output
All other outputs
Input Impedances
MIC
Insert Return
EQ Input and 2 Track Return
All other inputs
Output Impedances
Record Send
Phones
All other outputs
Equivalent Input Noise, MIC Input, A-weighted 150 ohms
Noise, Channel inputs to Main L/R outputs, A-weighted
Master fader down
Master fader 0 dB, Channel fader down
Master fader 0 dB, Channel fader 0 dB, Channel gain unity
Signal/Noise-Ratio, power amplifier, A-weighted
Equalization
LO Shelving
MID Peaking, mono inputs
MID Peaking, stereo inputs
HI Shelving
Master EQ, 2x7-band
Phantom Power
Mains voltage (factory configured)
Power Consumption at 1/8 maximum output power, 4 ohms
Dimensions, (WxHxD), mm
Weight, including lid
Optional
Goosneck Lamp, 12V/2.4W, 12”, XLR
Footswitch FS11
Rack-Mount-Kit(PowerMate 1000) NRS 90220
PowerMate 1000
2 x 570 W
2 x 340 W
PowerMate 1600
2 x 570 W
2 x 340 W
PowerMate 2200
2 x 760 W
2 x 430 W
2 x 500 W
2 x 250 W
58 Vrms
2 x 500 W
2 x 250 W
58 Vrms
2 x 700 W
2 x 350 W
63 Vrms
< 0.006%
< 0.05%
< 0.015%
< 0.15%
< 0.006%
< 0.05%
< 0.015%
< 0.15%
< 0.006%
< 0.05%
< 0.015%
< 0.15%
15Hz ... 60kHz
30Hz ... 40kHz
15Hz ... 60kHz
30Hz ... 40kHz
15Hz ... 60kHz
30Hz ... 40kHz
> 80 dB
> 70 dB
> 80 dB
> 80 dB
> 70 dB
> 80 dB
> 80 dB
> 70 dB
> 80 dB
-74 dBu (155 µV)
-54 dBu (1.55 mV
-34 dBu (15.5 mV)
+ 6 dBu (1.55 V)
+ 11 dBu
+ 30 dBu
+ 20 dBu
+ 16 dBu
+ 20 dBu
+ 11 dBu
+ 30 dBu
+ 20 dBu
+ 16 dBu
+ 20 dBu
+ 11 dBu
+ 30 dBu
+ 20 dBu
+ 16 dBu
+ 20 dBu
1.8 kohms
2.2 kohms
8 kohms
> 15 kohms
1.8 kohms
2.2 kohms
8 kohms
> 15 kohms
1.8 kohms
2.2 kohms
8 kohms
> 15 kohms
1 kohms
47 ohms
75 ohms
-130 dBu
1 kohms
47 ohms
75 ohms
-130 dBu
1 kohms
47 ohms
75 ohms
-130 dBu
-92 dBu
-89 dBu
-83 dBu
104 dB
-92dBu
-87dBu
-81dBu
104 dB
-92dBu
-85dBu
-79dBu
106 dB
± 15 dB / 60 Hz
± 15 dB / 100 Hz ... 8 kHz
± 12 dB / 2.4 kHz
± 15 dB / 12 kHz
± 10 dB
24V DC
24V DC
24V DC
100V/120V/230V/240V AC/50-60Hz
600 W
670W
1100W
508.5x210.3x478.7 667.5x210.3x478.7 826.5x210.3x478.7
20 kg
24kg
29kg
112 700
112 700
112 700
110 693
110 693
110 693
112 698
57
BLOCK DIAGRAM
58
ABMESSUNGEN/DIMENSIONS
Abmessungen/Dimensions (in mm)
59
GARANTIE
WARRANTY
GARANTIE
Das Werk leistet Garantie für alle
nachweisbaren Material- und Fertigungsfehler für die Dauer von 36
Monaten ab Verkauf.
Garantieleistungen werden nur
dann anerkannt, wenn gültige, d.h.
vollständig ausgefüllte Garantieunterlagen vorliegen.
Von der Garantie ausgenommen
sind alle Schäden, die durch falsche
oder unsachgemäße Bedienung
verursacht werden. Bei Fremdeingriffen oder eigenmächtigen Änderungen erlischt jeder Garantieanspruch.
The manufacturer’s warranty covers all substantial defects in materials and workmanship for a period
of 36 months from the date of
purchase.
Liability claims are accepted solely,
when a valid – correctly and completely filled out – Warranty Registration form is presented by the original
owner of the product. The warranty
does not cover damage that results
from improper or inadequate treatment or maintenance. In case of
alteration or unauthorized repairs,
the warranty is automatically terminated.
La garantie constructeur couvre
tous les défauts matériels et de
main d’œuvre pour une période de
36 mois à compter de la date
d’achat. La garantie ne sera reconnue que si la Carte de Garantie,
correctement et complètement remplie, est présentée par l’acheteur
d’origine du produit. Les dommages
dus à un mauvais maniement de
l’appareil, à un traitement ou une
maintenance incorrects ou inadéquats ne sont pas garantis. Toute
modification ou intervention effectuée par une personne non qualifiée
entraîne la résiliation automatique
de la garantie.
G m b H • Hirschberger Ring 45 • 94315 Straubing •Telefon (09421) 706-0 •Telefax (09421) 706-265
Änderungen vorbehalten. Subject to change without prior notice.
REV.2
Printed in Germany 05. 06. 2000 /355 029
Internet: http:// www.dynacord.de