Dynacord PowerMate 1600 Music Mixer User Manual

OWNER‘S MANUAL
PowerMate 1000/1600
Power Mixer
CONTENTS
IMPORTANT SAFETY INSTRUCTIONS
IMPORTANT SERVICE INSTRUCTIONS
DESCRIPTION
UNPACKING AND WARRANTY
INSTALLATION
INPUT MONO
INPUT STEREO
EFFECT 1/2
AUX 3/4
MASTER
REAR PANEL
SETTING UP A STANDARD PA-SYSTEM
MASTER PATCHBAY
SPECIFICATIONS / TECHNISCHE DATEN
BLOCK DIAGRAM
DIMENSIONS / ABMESSUNGEN
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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.
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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.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not cover any ventilation openings. Install in accordance with the manufacture’s instructions.
Do not install near heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or the grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an
electrican for replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
Only use attachments/accessories specified by the manufacturer.
Unplug this apparatus during lightning storms or when unused for a long period of time.
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.
Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids, such as vases,
are placed on the equipment.
To completely disconnect this equipment from the AC Mains, disconnect the power plug from the AC receptacle.
The mains plug of the power supply cord shall remain readily operable.
IMPORTANT SERVICE INSTRUCTIONS
CAUTION:
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4.
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7.
8.
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.
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.
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.
Switch off the power before retrofitting any extensions, changing the mains voltage or the output voltage.
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.
Replacing special components that are marked in the circuit diagram using the security symbol (Note) is only
permissible when using original parts.
Altering the circuitry without prior consent or advice is not legitimate.
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.
All instructions concerning the handling of MOS - circuits have to be observed.
NOTE:
SAFETY COMPONENT ( MUST BE REPLACED BY ORIGINAL PART )
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DESCRIPTION
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, development and
inter-communication with our customers in the professional audio market, for decades. With a PowerMate you own a
power mixer that offers a wide range of functionality in a very compact frame. Forget about the troubling experiences
with cabling and matching mixers, amplifiers, FX units, and equalizers. You now own a device with optimally matched
components. The mixer’s ergonomic console shape and clearly structured controls provide perfect overview for
instant access at all times. A gooseneck litlight can be easily plugged into the provided socket to compensate
for insufficient lighting conditions. Also during the transport you will quickly learn to appreciate the PowerMate’s
superiority: recessed handles on the sides, compact dimensions and low weight, plus the sturdy cover that protects
the controls from being damaged. However, if you would rather like to install your PowerMate 1000 in a 19” rack shelf,
no problem. The only thing you have to do is 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 24bit Dual-Stereo effect unit and the high-performance power amplifier, the PowerMate is best equipped for universal
use. No matter, whether on-stage, in a home recording environment or in a permanent installation, your PowerMate
is the ideal partner to meet your expectations of a professional audio device – effective and reliable. Of course, you
want to install and operate your new PowerMate as quickly as possible. Nevertheless, please take the time to do
this by means of this user’s manual. Starting with input channels, effects and master areas up to the power amp,
every section is explained systematically and in detail within this owner’s manual. Through the careful perception
of the manual you will learn 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. Remove 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.
DYNACORD grants 36 months of warranty, starting with the date when you received the appliance from your local
dealer. 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 generally recommendable, since they come in
handy re-selling an appliance.
Installation and Connections
Do not cover the ventilation louvers in the bottom plate of the appliance. Always place 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 louvers in the
rear panel. Do not cover the frontal or the rear ventilation louvers. Otherwise the PowerMate automatically enters
protect mode to prevent thermal overload. While the protect mode prevents that the device is being damaged,
regular operation is impossible during the period of time it is activated. In case the PowerMate is installed in a 19”
rack system (vertically), you have to allow at least 2 HU of free space above and 1 HU below the mixer. Of course
you can cover the empty space with special blind plates that also have ventilation louvers. 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 fans will run for about 2
seconds at full speed to give you an acoustical signal that the PowerMate is ready to be operated. In addition dust
particles that might have gotten into the device get blown out. For a secure connection the SPEAKER OUTPUTS
on the rear panel of the PowerMate are provided through professional standard high-performance 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 like
the ones 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 <0.002%)
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 below. When condenser
microphones are connected, you have to press the PHANTOM POWER (MIC 1-6) button,
which is located in the input section. The microphone gets its operating voltage (+48Vdc)
through the mixer and you can forget about battery replacement times.
CAUTION: Always connect the microphones before turning on the phantom power or switching
the PowerMate on with phantom power being activated. This is the only way to prevent
your microphones from being damaged. Also make sure to engage the STANDBY button
in the master section to prevent yourself and your environment from nasty power-on noise.
Simultaneous connection of condenser type microphones and dynamic microphone models
is generally possible with phantom power being activated. Before you do so, please consult
the manual of the concerned microphone. The MIC input accepts levels between –60dBu
… +21dBu – 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 suitable 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 players, etc. The LINE input accepts levels
between –40dBu … +41dBu. 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 identical signal sources to LINE and MIC inputs at the same time, since the
signals would interfere with each other, resulting in level reduction.
One more note: Please, do not connect E-guitars or E-basses with passive, high impedance
outputs directly to a LINE input. The LINE inputs of the PowerMate – like the Line level inputs of
mixers from other manufacturers – are designed for the connection of the relatively low source
impedance of electronic instruments. The reproduction of the instrument’s original sound
characteristics will be unsatisfactory. Connect those instruments using a special transformer
or pre-amplifier with very high input impedance. Musical instruments with an active electronic
output (battery-powered) can be connected without any problems.
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INPUT MONO
When connecting signal sources, please make sure to set the corresponding channel
faders or at least the master faders to their minimum positions or engage the STANDBY
button. This will save you, your audience, and the equipment from extensive wear from
unpleasant pops.
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. 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 channel faders. You have to use a stereo phone plug – according to the
diagram aside – in case you intend to use this jack as a true insert bus.
When using the insert 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.
4. GAIN
Rotary control for adjusting a MIC/LINE input’s 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-ratio and provides you with the full bandwidth of the PowerMate’s outstanding
sound capabilities. On the XLR-type connectors an amplification of 0dB 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 – 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 while maintaining the total adjustment range of 60dB. 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:
Setting Instructions:
1.
Set the gain control and the corresponding channel fader to their minimum values.
2.
Connect the desired sound source (microphone, musical instrument, etc.) to the desired
MIC or LINE input.
3.
Start the reproduction of the sound source at the highest volume level to be expected
– respectively sing or speak as loud as possible directly (short distance) into the
microphone.
4.
While 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 present LED lights constantly.
This is the basic channel setting, leaving you with at least 6 dB of headroom, i.e. you
have at least a range of 6dB before signal clipping occurs. In case you intend to make
further adjustments to the channel’s EQ setting, you should perform steps 3. and 4. again
afterwards, since changes in the sound shaping section also have an influence on the
channel’s overall level.
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INPUT MONO
5. LO CUT 80 Hz
When the LO CUT switch is engaged, frequencies
below 80 Hz are attenuated (18 dB octave slope). In
most cases using the LO CUT filter with microphone
channels is a good advice, since it efficiently
suppresses popping sounds, rumbling noise and
low-frequency feedback. The only exceptions are
kick drum and acoustic bass. Sometimes it can be
also very effective to combine the LO CUT filter with
the voicing filter. For instance to provide vocals with
more “body”, without getting additional low pitched
noise. Activating the LO CUT and raising the bass
level (LO EQ) provides you with a richer sound, without 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 interference. Your 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.
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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 and the treble of the human voice while
slightly attenuating the mid frequency range. This
voice shaping method provides powerful vocals that
are clearly emphasized from the rest of the mix. This
“pre-shaping” is not achievable using ordinary third
or octave band equalizers. The use of this filter is
not restricted to vocals only. Horns, woodwinds, and
other acoustic instruments can profit from the voicing
filter as well. We leave it entirely up to your creativity and imagination to try the VOICING filter
with as many different sound sources, as you want. Normally, you do not have to fear any
problems with the occurrence of feedback.
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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 it to the left lowers/attenuates the
signal of that specific frequency band. Before you begin to alter the sound, all EQ controls
should be set to their neutral position, i.e. their marker points straight up (locked in place). Try
not to 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. 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 parametric EQ-setting via separate rotary controls for the
adjustment of level (MID) and frequency band (kHz) in the range between 100 Hz and 8 kHz.
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INPUT MONO
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MID EQ
LOW-HI EQ
Adjustments in the MID frequency 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:
Setting Instructions:
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. While doing so 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 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.
8. AUX / FX 1/2
The AUX/FX controls allow adjusting individual amounts of the input signals to be routed to the
integrated FX1 or the FX2 effects units. The signal path is split post volume fader – POST FADER
– so that the fader setting also influences the amount of the signal that is fed to the FX units.
Using the AUX/FX controls lets you easily assign an effect for groups of musical instruments or
vocals. For example, you can assign a short reverb effect of the FX1 unit to the lead vocals and
a combined effects 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. 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.
(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.)
9. AUX 3/4
AUX 3 and AUX 4 controls are primarily meant for establishing two independent monitor mixes.
Using the master section’s AUX PRE/POST switches allows determining whether the signals
are split pre or post fader.
PRE-FADER: The audio signal that is present at the AUX control is tapped pre volume fader
and therefore not affected by the fader’s setting. This mode is mainly used for monitoring. PreFader Monitoring is especially preferable when monitoring and main mix need to be completely
different from each other, e.g. when the volume setting of particular musical instruments or
vocals needs to be higher or lower than in the main mix. In most cases the mixing console is
placed somewhere in the audience area (FOH) and is being operated by an experienced sound
technician.
POST-FADER: The audio signal that is present at the AUX control is tapped post volume fader
and therefore affected by the fader’s setting. This mode is mainly used for establishing FX- or
special monitoring mixes. Using the POST-Fader method is recommended when the mixer is
also located on the stage and you have to operate it yourself.
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INPUT MONO
Setting all AUX3 or AUX 4 controls to their center position, the main mix is also present on
the monitor bus, giving you the opportunity to control the volume settings of each channel
individually from the stage. The overall volume of the monitor mix is set using the AUX3/AUX4
faders in the master section. If you are using this option you should keep in mind that all volume
changes made with the channel faders also apply to the monitor mix, leaving you with a higher
risk of acoustic feedback.
The Post-Fader Monitoring method provides the possibility of canceling channels of some
instruments – like kick or snare drum, which are in fact already very loud on-stage – 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
L and R master busses. The PAN control section is designed to maintain the essential sound
pressure level, no matter at what position within the stereo image the PAN control is set to.
11. MUTE
The MUTE button mutes the input signal post fader, including all AUX sends. PFL and Signal/
Peak stay functional.
12. PFL
Engaging the PFL button routes the audio signal to the headphones bus, so that it is present
at the phones output connector. The meter instrument in the master section is simultaneously
switched, so that the left LED-chain indicates the level of the actually chosen channel (in dBu),
which allows optimally matching the level of the signal source. The phones output volume does
not dependent on the setting of the corresponding channel fader (PRE FADER LISTEN), which
provides the possibility to listen to or shape the sound of the selected audio signal, without
need to include it in the main mix.
13. SIGNAL / PEAK Indicator
The signal-peak indicator plays a key role when setting input levels. Unlike the mixers of many
other manufacturers that either only provide a peak indicator or no channel indicator at all, the
PK (peak) LED of the PowerMate provides optical indication of the risk of occurring overdrive
before you would actually hear the distortion over the connected speaker systems. As outlined
in the setting instructions, the Signal-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 continuously, the corresponding channel is likely to enter clipping
and you have to turn the gain control a bit to the left. The Signal-LED lights at levels –30dB
below clipping while the peak LED lights at a level of –6dB below the occurrence of overdrive.
Keeping an eye on the indicator during a performance is also a good idea, because some very
dynamically performing members of a band or changing keyboard setups can easily lead to
channel clipping, resulting in the degradation of the overall sound.
14. VOLUME
The channel faders set the volume of the corresponding channels, establishing 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 amplification of +10dB, we would like to
advise you to exceed the +5dB mark only in very few exceptional cases. If the PowerMate’s
summing bus gets “overloaded” with too many “high level” input channels, despite its special
gain structure, the summing amplifier could be driven into clipping. Once you register, that
some channel faders are set above the 0dB marking, lowering the setting of each channel
fader by about –5dB and increasing the overall output level by elevating the master faders is
the wiser solution. The proportion of the mix and the overall volume stay the same while the
risk of clipping is banished.
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INPUT STEREO
Since most features – AUX faders, controls and channel faders – of the STEREO INPUTS
are virtually identical to the ones of the MONO INPUTS we will not discuss their functioning in
detail again. Thus, in the following we only point out the differences and like to ask you to refer
to the analogous paragraphs within this owner’s manual describing the MONO INPUTS.
15.MIC
Different from the products of many other manufacturers, the stereo input channels of the
PowerMate, like their monaural counterparts, incorporate extensive circuitry and electronically
balanced XLR-type connectors for the connection of low impedance microphones. 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.
Dependable on its setting, the high-quality MIC input in the stereo channel is capable of handling
levels between -60dBu … +11dBu. Low-level circuitry architecture and phantom power (+48V)
ability of this XLR-type input are mainly aimed at the connection of microphones, making it not
necessarily suitable for connecting Line level appliances, like mixers, effects units, etc. Please
use the provided LINE inputs to connect those sound sources. General functions and usage of
MIC inputs were already discussed in detail for monaural channels.
16. 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 .... +41dBu. 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, using balanced cables and plugs
is preferable, since this type of connection provides improved 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.
17. GAIN MIC
Rotary controls for adjusting the MIC inputs’ sensitivity, providing the possibility to optimally
match the incoming signals with the mixer’s internal operation level. The GAIN MIC control in
the stereo channel is only active for the XLR-type input.
For further information about setting and functioning of these controls, please refer to the
chapter “GAIN” of the MONO INPUT description within this manual.
CAUTION: The GAIN MIC control of an inactive microphone input should always be set to its
minimum position. 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 intelligible in program breaks.
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INPUT STEREO
18. LINE TRIM
These rotary controls are for matching the incoming line level signals to the operating 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 level reduction of –10dB and an amplification of
+20dB. This range allows the connection of most professional, semi professional, and hi-fi sound
sources. For further details on how to set the LINE TRIM control, please refer to the description
of the GAIN control in monaural channels.
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. The stereo channel mapping will otherwise
appear like it is set on the keyboard – the lower layer in the left and the top layer in the right
channel – and you will not have the opportunity to re-position the sound in the overall stereo
image, unless you connect the keyboard output to 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.
19. EQ SECTION
The mixer’s EQ section allows very comprehensive and effective 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 that specific frequency band. Before you begin to alter the
sound, all EQ controls should be set to their neutral position, i.e. 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. 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.
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Hz
The EQ section of the STEREO channels is designed in a way that HI and LO controls 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.
39
INPUT STEREO
20. AUX /FX
These controls determine the amount of the summed L and R signal that is sent POST-FADE
to the AUX/FX summing bus. For more details on the functioning of these controls, please
refer to the INPUT/MONO section of this owner’s manual.
21. AUX3/4
These controls determine the amount of the summed L and R signal that is sent to the
AUX3 or AUX4 summing bus. Depending on the setting of the AUX PRE/POST switch in the
PowerMate’s master section you can choose if the signal gets split PRE or POST FADER. For
more details on the functioning of these controls, please refer to the INPUT/MONO section of
this owner’s manual.
22. 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 input,
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.
23. MUTE
The MUTE button mutes the input signal post fader, including all AUX sends. PFL and Signal/
Peak stay operational.
24. PFL
Engaging the PFL button sums the stereophonic audio signal of the corresponding input
channel and routes the resulting monaural signal to the headphones bus. You are able to
listen to the audio signal via the phones output. The meter instrument in the master section is
simultaneously switched, so that the left LED-chain indicates the level of the actually chosen
channel (in dBu), which allows optimally matching the level of the signal source.
You can assign as many channels as you want to the phones summing 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 LISTEN). 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, i.e. you can
leave the channel fader down or even engage the MUTE button.
25. SIGNAL/PEAK
The stereo SIGNAL/PEAK indicator function provides independent analysis of left and right
channel audio signals. The respective highest level reading is indicated, assuring that neither
one is already driven into clipping. For further information on how to use this indicator most
efficiently, please refer to the description of the monaural channel’s identical feature.
26. 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 under INPUT/MONO.
40
EFFEKT 1/2
FX1/FX2
The PowerMate offers two independently controllable, identically configured 24-bit
stereo effect units – FX1 and FX2. Each unit provides 99 program presets, which
are selected by the use of the UP/DOWN buttons. The 99 presets are divided into
groups according to their different effect structure, as shown on a printed listing.
The programs within each preset group are sorted in ascending order, where higher
numbers provide the same FX type with increased intensity. Presets 1 - 20 offer high
quality reverberation effect programs that are equally suitable for live performance,
recording studio or home recording applications. Program numbers 21 - 40 provide
mixed effect types of echo/reverb and chorus/reverb while the numbers 41 - 60 offer
different delay effects. The last group from 61 - 99 provides different flanger, chorus,
and doubling effects presets as well as special delay and reverb programs. During the
initialization of the FX units (when switching on the power of the PowerMate), 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. This is the factory-preset configuration that can be
changed any time. For further information, please refer to the paragraph Changing
FX Start Programs.
The two effect programs are equally suitable for live performance or recording
applications and can be used separately or together. For testing, evaluating and
selecting effect programs, please also refer to the supplementary information form
EFFECT PRESETS, which provides detailed description of all effect presets. This
listing contains all preset names together with the corresponding effect structure,
field of application, and frequency characteristics. Take your time to test all presets
and select the ones that are best suited for your specific application. Program number
“0” selects a Slap Back Echo, which is mainly for servicing and testing only, and
therefore is not included in the effects listing on the front panel. Also provided is
a FOOTSWITCH connector, which allows the connection of a footswitch pedal to
remotely control the FX units’ EFFECT ON/OFF function. If your footswitch features
a LED – like the optionally available DYNACORD FS 11 does – this indicator will light
when the effect is activated (EFFECT ON).
Changing FX Start Programs
In the factory shipping state, the FX units start with the programs 5/55. If you prefer
different programs, you can change and store the new settings in the programming
mode. To assign new start programs, please proceed as follows:
1. Hold down the two DOWN buttons of FX1 and FX2 simultaneously while
switching on the PowerMate.
2. “Prog” appears briefly on the display. Programming mode is now active. A
software-related side effect is that all buttons behave a bit slower than usual.
3. Release the two DOWN buttons and select the desired start programs.
4. Press the two UP buttons to store the displayed effect numbers as your new start
programs. The FX unit acknowledges the save procedure by briefly indicating
“Prog” on the display.
FX1/FX2
1.......10
11.......20
21......30
31......40
41......50
51......60
61......99
REVERB
HALLS
REVERB
PLATES
ECHO
REVERB
CHORUS
REVERB
DELAY
STEREO
DELAY
MONO
SPECIAL
PROGRAMS
27/28. AUX1/2 SEND
The audio signal of the mix that you have established for the corresponding AUX/
FX bus – the identical mix that is fed to the internal FX1/2 units – is present at
this socket, which makes it perfect for connecting external FX units, for example.
Setting the level is possible by means of the corresponding AUX/FX SEND control.
The external devices’ output signals can be sent back to the PowerMate via stereo
channel input. The AUX1/2 sends are designed in Ground Sensing technology to
prevent the induction of external noise, even with long cables.
41
EFFEKT 1/2
29. DISPLAY
The display always indicates the actually selected program number of the corresponding
FX unit. The display screen is covered with a protective foil to prevent it from being
damaged during shipment. Please remove the foil.
30. UP/DOWN
The UP/DOWN buttons are for selecting effect presets. Keeping a button pressed
continuously lets you step quickly through the program numbers.
31/32. FX1/2 to AUX3/4
These controls allow adding the output signal of FX1 or FX2 to the monitoring channel.
Experience has revealed that the effect level in the monitor mix has to be lower than the
level in the main mix, since the distance between monitor speakers and artists is much
shorter.
33. FX ON
This switch switches an internal FX unit on and the green LED lights. Please keep in
mind that you can also use an external footswitch for the switching of the FX unit. In this
case, the LED also shows the actual operational status of the FX unit. If you want to use
a footswitch, the FX ON switch has to be engaged first. The corresponding FX unit is
activated and you can use the footswitch to switch the selected effect program on or off.
34. PFL
Engaging the PFL button routes the audio signal to the headphones bus, so that it is
present at the phones output connector. The phones output volume is independent of
the corresponding channel fader’s setting (PRE FADER LISTEN), which provides the
possibility to listen to the sound of the selected audio signal, without including it in the
main mix.
35. PEAK LED
These indicators signal if the internal FX units or the AUX 1/2 SEND signals are on the
verge of clipping. To achieve an adequate S/N ratio, please adjust the FX units’ input level
as follows:
Setting Instructions:
1.
Establish a “dry” mix – without effect settings – according to the previous
descriptions.
2.
Position the effect return fader of the corresponding effect channel at the –5dB mark.
3.
Use the UP/DOWN buttons to select the desired FX program preset.
4.
Press the FX ON switch.
5.
Play (start the reproduction of) the sound source connected to 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.
Monitor the Peak LED so that it only lights frequently at highly dynamic signal peaks.
When clipping occurs, reduce the AUX/FX controls in the channels.
7.
Use the FX to AUX 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
steps 2 - 8, respectively. Pay some attention to the peak indicators when operating your
PowerMate to be able to quickly interact when the signal levels exceed the normal range
and enter clipping.
36. EFFEKT RETURN
These stereo faders are used to determine the effect amount added to the main mix. In
case you have to set these faders at a position above the +5dB mark, please check if the
FX unit’s input signals are adjusted properly. Otherwise use the AUX/FX SEND controls to
increase the input levels.
42
AUX3/4
Generally, the AUX3/4 channel is used for monitoring purposes. Depending on the setting of the
AUX3/4 POST button, it is also possible to configure the bus for the connection of an additional,
external FX unit.
37. AUX3/4 SEND
This output provides connection for an external FX unit or, when used for monitoring, a power
amplifier or active stage monitor speaker systems. Using the AUX3/4 fader allows setting the
output level in a wide range up to +20dBu. The AUX3/4 SEND is designed in Ground Sensing
technology to prevent the induction of external noise, even with long cables. Use balanced cables
for the connection of external components whenever it is possible.
38. AUX3/4 POST
As already previously described, this switch allows determining whether Pre- or Post-Fader
signals are present at the AUX3/4 channel. The corresponding yellow LED signals when the
switch is engaged and all input channel AUX3/4 controls are assigned post fader.
39. 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 FEEDBACK filter rotary control sets the
corresponding frequency range. Pressing the corresponding button activates the filter. Several
circumstances and conditions have an influence on how sensitive or insensitive your system is
for acoustical feedback. 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.
Switch off all microphones that are not in use.
3.
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 actually necessary.
5.
Try to avoid extensive equalization on channels that you want to include in your monitor
mix.
6.
Keep in mind, that a microphone “behaves” different when somebody stands right in front of
it.
7.
Position the microphones as direct as possible to the sound source.
If you still have the feeling that the monitor system’s acoustic output is not sufficient, 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 AUX3/4 (monitor) level until the limit is reached where feedback starts. The
slightly “hovering” sound that you hear is generated by the system itself. Switch on the feedback
filter, turn the rotary control and set it at the mark where the “sound” disappears. Switching the
filter on and off lets you easily check whether you tuned in the correct frequency. The feedback
filter attenuates the level of 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 in driving the system just below the feedback limit.
Careless operation, resulting in feedback noise at high SPL, can cause severe damage to your
speaker systems and – even more important – the human ear.
40. MUTE
The MUTE button mutes the Aux-Send output signal. PFL signals are not affected.
41. PFL
Through this button you can route the pre AUX3/4 fader signal to the headphones bus. The
signal is outputted for listening via the headphones output. The setting of the AUX3/4 fader is
not relevant for the signal’s volume (PRE FADER LISTEN). The meter instrument in the master
section is simultaneously switched, so that the left LED-chain indicates the level of the actually
chosen channel (in dBu), leaving you with the opportunity for adjusting the level without routing it
to the AUX3/4 SEND bus.
43
MASTER
42. AUX3/4 VOLUME
This fader controls the summed audio signal at the AUX3/4 SEND
output. When used for monitoring, this fader lets you control the
volume of the monitor system.
43. 7-BAND EQUALIZER
Left and right master channels employ a 7-band equalizer, which gets
activated through the use of the EQ ON button. 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. Seven
frequency bands offering 10 dB amplification/attenuation and a
quality of Q=2 allow shaping the overall sound to meet your personal
preferences or to optimally match it to the acoustic conditions of
different locations.
+20
+15
+10
+5
+0
-5
-10
-15
-20
20
50
100
200
500
1k
2k
5k
10k
20k
Hz
The frequency ranges as well as the characteristics of the EQ 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 12kHz or 6kHz 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 63Hz or the 125Hz controls.
In case the overall sound is undefined with too much bass, lowering
the levels of these two frequency bands will solve the problem.
However, especially with equalization 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 controls and see if you get a satisfactory result. If so, you can
use the graphic EQ for the AUX3/4 or the MONO bus, where in most
cases, especially when used for the monitoring, it is more needed.
You will find the description of how to include the graphic EQ in these
buses in the following explanation of the MASTER PATCHBAY.
44. STATUS INDICATORS
These indicators are to inform you about the actual operational
state of the PowerMate’s internal power amplifier.
The POWER ON indicator is always lit when the PowerMate is
operational. If the LED does not light after switching 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 dimmed, please
contact your dealer.
The LIMIT indicator signals that you are operating the PowerMate
at the internal power amp’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 degradation in the outputted sound. In that case, the master level
has to be reduced.
44
MASTER
The PROTECT indicator lights 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 inputs
are short circuited to prevent the power amp from being damaged.
In this case you should first check whether the ventilation louvers
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 power-on operation the PROTECT LED always lights for about
two seconds and the internal fans run at full speed, signalizing that the
PowerMate’s protection circuitry is operational.
45. MASTER LED-DISPLAY
The PowerMate offers two 12-segment LED-chains for optical monitoring
the output levels of the L/R master signals. The indication range of the
LED-meter is 40dB, indicating the levels that are present at the main
outputs in dBu. The meter’s 0dB mark is referenced to a 0dBu output
signal at the mixer output. Further increasing the level leads to the power
amplifier’s maximum input level of +6dB – equaling an output power of
700 watts into 4 ohms per channel. Although higher levels are being
displayed, the power amp’s processor already limits the signal, which is
indicated by the lit LIMIT LED in the status display.
46. STANDBY
Pressing the STANDBY button mutes the output signals at the main
outputs, EQ outputs and MONO output.
Caution: The monitor outputs AUX3/4 are still operational.
Because the signal flow between MAIN INSERTS and MAIN
OUTPUTS is interrupted, the signal feed to the internal power amplifier
is also interrupted. The STANDBY LED lights indicating that stand-by
mode is engaged and that input channel signals are not output via the
speaker systems. However, audio signals connected via 2Track Return
are still outputted, providing you with a very comfortable solution to play
intermission music during performance breaks.
47. PFL MASTER
Engaging the master PFL-button, the PRE FADER mono master
signal is routed to the headphones bus, so that it can be monitored
via headphones output. The volume of this signal is not affected by
the setting of the MASTER fader. The meter instrument in the master
section is simultaneously switched, so that the left LED-chain indicates
the level of the summed pre-fader L/R master signal channel (in dBu),
which basically is the master bus level, while the right LED indicates
the level of the summed post-fader master output.
48. MASTER L + R
Level controls to adjust the output signals of the left and right main
outputs (MASTER).
Please, make sure to set the input channel faders or at least
the master faders to their minimum position, or to engage the
STANDBY switch, before connecting an external sound source to
an input of the PowerMate. This will save you, your audience, and
the equipment from unnecessary stress.
45
MASTER
49. MONO OUTPUT
At the monaural output the summed L/R master audio signal is present that can
be used for additional monitoring, side fill and “next door” applications, or for the
connection of a delay-line or subwoofer.
50. MONO OUT
With subwoofer operation, “next-door”, monitoring or delay line applications a
pre/post-switch able mono output often comes in handy.
PRE-FADER:
The mono out’s signal is summed and outputted pre master
faders, i.e. the level at the mono out is independent from the
master faders’ settings.
POST-FADER: The mono out’s signal is summed and outputted post master
aders, i.e. the level at the mono out depends on the setting of
the master faders.
Of course, controlling the SUB’s level via master fader makes sense when using
an active monaural subwoofer. For monitoring applications, e.g. side fill on the
stage, using the pre-fader setting seems more reasonable.
51. PHONES
Stereo phone jack for the connection of headphones with an impedance of
32 – 600 ohms. The audio signals of the channels with PFL buttons engaged is
outputted via this connector.
The phones output presents the master L/R signal when there is no PFL button
engaged.
52. PHONES
This control sets the volume of the headphones connected.
CAUTION:
Make sure to set the control to its minimum position before
connecting headphones
53. 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 –10dBV of the outputs 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 input signal is directly carried through to the
outputs. In case you have connected both, 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 in the main mix again. The
difference in delay of the two signals is responsible for dropouts and 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 to set the 2TRACK to MASTER and the AUX3/4 controls to
their lowest settings.
54. 2TRACK RETURN L/R
Here you can connect a tape deck, a CD player, an open reel or an additional
SUB-mixer. The signal is post master fader and post STANDBY switch, which
allows playing intermission music during performance breaks or checking 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. The 2TRACK
RETURN signal however will pass unobstructed.
46
MASTER
55. 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 set at its minimum setting. Otherwise, depending on the
output quality of the connected sound source, the outputted level can instantly “hit
the top”.
56. 2TRACK to AUX 3/4
The signal coming from the 2TRACK RETURNS is internally summed and can be
added to the monitor bus using the 2TRACK to AUX3/4 control.
57. MAIN INSERTS
Stereo phone jacks for left and right channels 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 incorporating external third
octave band or octave band EQs, compressors, limiters, de-noisers, 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.
58. 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 two-way active system set-ups. In this case the active crossovers
– respectively the active subwoofers – have to be connected to the MAIN OUTPUTS.
If you want to use the internal power amplifier to drive the high frequency cabinets,
the treble signal coming from the crossover has to be fed back into the PowerMate
via the Power Amp In connectors.
59. EQ INPUTS / OUTPUTS
The EQ INPUTS are provided through electronically balanced phone jacks with
breaker function. Inserting a phone plug interrupts the signal path between master
and internal power amplifier. You can then operate the internal power amps via EQ
INPUTS. The signals at the EQ OUTPUTS are post master fader and post internal
7-band equalizer and can be used like the MAIN OUTPUTS for connecting external
power amps.
60. 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, which allows operating the
internal power amps via POWER AMP INPUTS. For detailed information on the
functioning and the operation of the “MASTER PATCHBAY”, consisting of MAIN
INSERTS, MAIN OUTPUTS, EQ IN- and OUTPUTS, and POWER AMP INPUTS,
please refer to the corresponding section; later in this owner’s manual.
47
MASTER
61. FOOTSWITCH
Phone jack for the connection of an optionally available DYNACORD FS11 (110
693) footswitch to switch the effect mode of the internal FX units on or off. To
accomplish this function, the FX1 and FX2 ON switches have to be engaged.
To remotely control the effects units using only a single footswitch, the FS11 has
to be connected to the FX1/GLOBAL connector. Both FX units are simultaneously
switched. This function is useful for example when switching from vocal performance
to announcer.
When remotely controlling the FX units using two footswitches, one FS11 needs to
be connected to the FX1/GLOBAL and the other to the FX2 connector. Now, the two
effects units can be switched independently, which is mostly used to switch between
different effects settings during a performance.
62. LAMP XLR
This XLR-type socket provides a DC voltage of 12V/
5 watts and is meant for the connection of a
gooseneck lamp (litlite). 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 local dealer.
STEREO POWER AMPLIFIER
The PROCESSED COMPACT PRECISION stereo power amplifier of the PowerMate has been designed in discreet
bipolar technology to provide a nominal output power of 700 watts into 4 ohms per channel. The minimal load
impedance of 2.7 ohms allows the operation with a maximum of three 8 ohms loudspeaker systems connected in
parallel to each output 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, standalone audio power amplifiers. The transmission qualities of CL power amps are simply extraordinary. Optimised
power supply units employing low-leakage toroidal transformers and the consistent use of Class-H technology
provide extensive headroom far above the stated nominal output. At the same time this contributes to a reduction in
weight and leakage power.
Characteristic for the Class-H power amplifier design of the PowerMate is its extremely fast, signal-dependent
operating voltage switching, which results in doubling the regular supply voltage when needed. In comparison to
Class-AB power amps, Class-H power amps generate by far less leakage power at identical output. Consequently,
reduced leakage power or dissipation is synonymous to less waste heat – energy is used more efficiently and the
power consumption stays clearly below that of conventional Class-AB operation. As a result, installing Class-H
power amps within rack shelf systems is possible with less space between appliances.
The power amplifier of the PowerMate is designed to live through the hardwearing use in the touring business. It
incorporates protection circuitry against thermal and capacitive overload and short circuit as well as against HFinterference and DC at the outputs. Further protection of the power output stage against back-feed of electrical
energy (BACK-EMF) is provided through special circuitry. When the PowerMate is switched on, a relay controls
the delayed switching of the power outputs. The internal fans run shortly at full speed, acoustically signaling that
the PowerMate is operational. Limiter circuitry (soft start) controls the initial current inrush, preventing the mains
fuse from being blown during power-on. Two 3-speed fans (off/slow/fast) guarantee absolute thermal stability at low
running noise. The ventilation is directed front-to-rear allowing trouble-free operation even in very compact ampracks.
The extensive comparator circuitry constantly monitors the input and output signals of the PowerMate’s power amp
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. Distortion is not intelligible even
when the maximum input level is overridden. The amplifier of the PowerMate additionally incorporates LPN-filters
(DYNACORD patent). Together with the 12dB Hi-Pass filters, these Low Pass Notch filters eliminate faults in the
transient response 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 highperformance connectors, offering electrical and mechanical
secure connection, which complies to all security regulations.
It also allows the use of high quality speaker cables with
diameters of 4 x 2.5mm2.
The DYNACORD accessory assortment includes all
recommended cables and connectors.
Warning: The symbol “ “ representing the speaker
connectors indicates the presence of touch-sensible voltages,
which can cause harm to body and health.
Please, be sure to adhere to corresponding notes and
instructions in this owner’s manual when establishing speaker
connections.
POWER
Mains switch to turn the PowerMate on or off.
The PowerMate is operational when the POWER ON – LED
lights and the power outputs are activated through automatic
switching of the power relays.
Please make sure to set the master faders to their minimum
position or engage the STANDBY switch before switching 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. power amps, FX units, EQs, etc. – please,
proceed in the following order when switching your equipment
on:
1. switch on the FX units
2. switch on the PowerMate
3. switch on external power amps
When switching the power off, please proceed in the opposite
order.
49
SETTING UP A STANDARD PA-SYSTEM
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 trouble free operation of your system.
Speaker Cables
From our experience as a manufacturer of loudspeaker systems we know that flexible cables with a rubber jacket
and a diameter of 2.5mm2 per conductor, used in combination with SPEAKON plugs and sockets, are the best
choice to guarantee the optimal connection of loudspeaker systems. Connect the SPEAKON plugs according to
the corresponding diagram on the PowerMate’s rear panel. We recommend using 4-wire cables where also the
pins 2+ and 2- are connected through. This provides the possibility to use these cables in an active 2-way system
configuration, as well. DYNACORD’s accessory assortment comprises different speaker cables with SPEAKON
connectors and all other cables, plugs, and sockets, available at your local 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 plugs. The cables should be step-on proof, shielded, and never
longer than really needed. Too many too long cables mostly lead to confusion and generate unnecessary problems.
Of course, connecting unbalanced cables with monaural phone plugs to the PowerMate’s in- and outputs is also
possible and in most cases no interference will occur because of its superb grounding managing system. 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 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.
balanced connection of microphones
MIC INPUT
unbalanced
external equipment
with XLR-type in/
output jacks
balanced
All phone jack
in/outputs of the
PowerMate
Channel Insert
Main Insert
Direct OUT via
INSERT, uninterrupted
signal path
All phone jack
in/outputs of the
PowerMate
unbalanced
external equipment
with phone jack
in/output jacks
balanced
Channel Insert
Main Insert
Y-type cable for the
connection of external FX units and
signal processors
with phone jacks
50
SETTING UP A STANDARD PA-SYSTEM
In the following we would like to explain how to install a typical sound reinforcement system in passive
configuration. The necessary equipment is:
1 PowerMate 1000
1 Power amplifier, e.g. 2x250 watts
2 HI cabinets, e.g. 3-way 12” speakers
2 LO cabinets, e.g. 15” woofer
2 Speaker pole-stands or 2 connection rods
2 Stage monitor speakers
4 SPEAKON cables 8m, 2 SPEAKON cables 2m
1 LF-cable with a stereo phone plug on one side and an XLR-type connector on the other end
Setting Up
•
•
•
•
•
•
Place the PowerMate and the external power amplifier in a way that allows their unobstructed operation
and connect the mains cord.
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 or slightly higher as the heads of the audience. Either you use the interconnection rods
to mount the Hi cabinets on top of the woofer cabinets or, in case this kind of installation is not possible
or you are not using woofer systems, use the separate speaker pole-stands instead.
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 artists found their place, the best spot to install
the monitor speakers is up front facing the musicians and vocalists. Nevertheless, please check if a
microphone 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 employed microphones.
Establish connections according to the diagram. Use the different SPEAKON cables to connect the
speaker systems to the PowerMate’s power outputs, respectively to the power outputs of an external
amplifier. Make sure not to confuse the channels by accident. Using the short SPEAKON cables to
connect Hi and Lo cabinets in parallel. The two monitor speakers are connected to the outputs of the
monitor power amp.
51
SETTING UP A STANDARD PA-SYSTEM
•
•
•
•
•
•
Connect the PowerMate‘s AUX3/4 SEND with the monitor amplifier‘s input, using an LF-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 keyboards
and other comparable sound sources to the rest of the available inputs.
Pull all faders down and engage the PowerMate’s STANDBY button to prevent unwanted
feedback noise.
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. Please
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 does not light but the green SIGNAL 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 coming from
the main speakers is heard.
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 feedback noise.
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 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 way:.
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.
Ser the EQ controls to their center position.
3.
Play the corresponding sound source.
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 ecessarily
result in the improvement of the overall sound. Especially when sound shaping is
concerned, less can be more.
5.
Repeat steps 1 - 4 for all stereo input channels in use.
•
If musical instruments are connected directly to the monaural inputs, follow the descriptions
above describing the adjustment of the microphones
•
Make sure, that all channel faders, gain and LINE TRIM controls of unused input channels are
at their minimum setting. In this way you avoid unnecessary noise.
52
SETTING UP A STANDARD PA-SYSTEM
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 as follows:
1.
Set the AUX1/FX1 send controls to their center position.
2.
Set the effects return fader of the FX1 unit to 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 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 AUX1/FX1 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, let’s presume, that you don’t use the Powermate as FOH-mixer in the audience area but on-stage. The
following procedure is explained for AUX3. For setting AUX4, please perform the same steps analogous.
•
Lower the setting of the AUX3 fader located in the master section.
•
Engage the AUX3 POST button located in the master section.
•
Set the AUX3 faders of all input channels in use to 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 noise disappears.
•
Use the AUX3 fader to reduce the AUX3 level by about –6dB. This will provide you with enough
“headroom” before feedback during the performance, even then, when some microphone positions are
changed disadvantageously.
•
Use the FX to AUX3 controls to add the effect mix to the monitor mix, without influencing the main mix.
Normally, the monitor mix needs less FX 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 DIFFERENT SETUP ALTERNATIVES
The patch field within the master section is referred to as MASTER PATCHBAY
The mixer’s Line output levels, return and insert connections are to be found here. To provide you with a wide
range 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 – signals are patched internally and fed to the internal power amplifier. Once you
connect a plug to the INSERTS, EQ INPUTS, or 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 typical
examples of how to use the MASTER PATCHBAY.
1. Connection of 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 LF-cables with phone plugs, 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. Using the internal power amplifier for monitoring purposes:
In case you want to use an external power amplifier to drive your main speaker systems, the internal power amps
can be used for monitoring and side-fill purposes. Use short patch-cables to connect the AUX3 or AUX4 OUTPUT
to the EQ inputs (see diagram). The monitoring signal is fed to the internal power amps, providing you with the
possibility to connect passive monitor speaker systems.
54
MASTER PATCHBAY AND DIFFERENT SETUP ALTERNATIVES
3. 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
power amp output channel. In other words: the internal power amplifier is capable of driving a maximum of six 8
ohms speaker systems. The following diagram shows an example of how to set up your PowerMate for operation
with the maximum amount of speakers connected.
Usual power mixer applications do not include a monitor amps rack. Thus, active monitor systems, like the
DYNACORD AM12 for example represent a convenient alternative.
4. Active 2-way stereo configuration:
This example uses the internal power amplifier of the PowerMate to drive the Hi/Mid cabinets. The full-range
signal is fed via MAIN OUTPUTS or EQ OUTPUTS to an active crossover. 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 POWER AMP INPUTS. Compared to the passive
configuration, the overall sound gains transparency and higher sound pressure levels are possible, since the Hi/
Mid cabinets do not have to deal with the low frequency signals.
55
SPECIFICATIONS
Technical Specifications PowerMate1000/PowerMate1600 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, dual channel, unless otherwise specified.
Maximum Midband Output Power, 1 kHz, THD=1%
into 2.66 Ohms
2 x 870 W
into 4 Ohms
2 x 700 W
into 8 Ohms
2 x 430 W
Rated Output Power, THD=0.1%, Single Channel
into 4 Ohms
2 x 700 W
into 8 Ohms
2 x 350 W
Maximum Output Voltage of power amplifier, no load
70 Vrms
THD at 1kHz, MBW=80kHz
MIC input to Main L/R output, +16 dBu, typical
< 0.005%
Power amplifier input to Speaker L/R output
< 0.01%
DIM 30, power amplifier
< 0.01%
IMD-SMPTE, power amplifier, 60Hz, 7 kHz
< 0.01%
Frequency Response, -3dB ref. 1kHz
Any input to any Mixer output
15Hz ... 80kHz
Any input to Speaker L/R output
20Hz ... 70kHz
Crosstalk, 1kHz
Fader and AUX-Send attenuation
> 85 dB
Channel to channel
> 80 dB
CMRR, MIC input, 1kHz
> 80 dB
Input Sensitivity, all level controls in max. position
MIC input
-74 dBu (155 µV)
LINE Input (Mono)
-54 dBu (1.55 mV)
LINE Input (Stereo)
-34 dBu (15.5 mV)
Power Amplifier Input
+6 dBu (1.55 V)
Maximum Level, mixing desk
MIC inputs
+ 21 dBu
Mono Line inputs
+ 41 dBu
Stereo Line inputs
+ 30 dBu
All other inputs
+ 22 dBu
Record Send output
+ 14 dBu
All other outputs
+ 22 dBu
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, 63, 125, 400, 1k, 2k5, 6k, 12k Hz
Power Consumption at 1/8 maximum output power, 4 ohms
Dimensions, (WxHxD), mm
PowerMate1000
PowerMate1600
Weight, without lid / including lid
PowerMate1000
PowerMate1600
Optional
RMK-1000 (Rack-Mount-Kit PowerMate1000-2)
Gooseneck Lamp, 12V/2.4W, 12“, XLR
FS11 (Footswitch)
56
2 k ohms
2.2 k ohms
8 k ohms
> 15 k ohms
1 k ohms
47 ohms
75 ohms
-130 dBu
PM1000
PM1600
-95 dBu
-95 dBu
-90 dBu
-88 dBu
-83 dBu
-82 dBu
105 dB
± 15 dB / 60 Hz
± 15 dB / 100 Hz ... 8 kHz
± 12 dB / 2.4 kHz
± 15 dB / 12 kHz
± 10 dB / Q=2.0
640 W
514.5 x 210.3 x 478.7
673.5 x 210.3 x 478.7
20 kg / 21 kg
23.5 kg / 25 kg
112 698
112 700
110 693
BLOCK DIAGRAM
57
ABMESSUNGEN/DIMENSIONS
58
NOTES
59
USA
Telex Communications Inc., 12000 Portland Ave. South, Burnsville, MN 55337, Phone: +1 952-884-4051, FAX: +1 952-884-0043
Germany
EVI AUDIO GmbH, Hirschberger Ring 45, D 94315, Straubing, Germany Phone: 49 9421-706 0, FAX: 49 9421-706 265
Subject to change without prior notice.
Printed in Germany
www.dynacord.de
60
10/04/2004 / 363 488