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LTO Typhoon large scale mixing console

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2. GAIN The GAIN control gives you the chance to continuously adjust the pre amplifier gain for input signal This control can be adjusted in 0 60dB range for microphone input and 25 35dB for line input HIGH PASS LED A very useful LED shows if the HIGH PASS section is active or not PHASE switch amp LED This switch allows the user to invert by 180 the signal This switch is very useful in a lot of circumstances in particular when several microphones are very close e g drum kit brasses chorus etc and the sound engi neers notices interferences between micro phones that can not be solved moving the microphones The LED gives an immediate control over channels with inverted phase electronic circuits CLIP LED At ALTO we re very careful about the feed back we continuously receive by our cus tomers and the demands of pro users For this reason we included a preamp CLIP LED allowing the sound engineer to detect the clip incurring at the beginning of the audio path The preamp CLIP LED turns on when the input level reaches 6dB before clipping If the clipping has been generated by other channel controls e g an excessive boost by EQ the sound engineer will see the pre amp CLIP LED not lighted while the fader clip LED will be lighted In this case the re search of the fault will become much faster HIGH PASS switch This section allow the sound engineer to re duce the lower frequencies by engag
3. before the EQ section to allow the pro user to insert a dynamic compressor a parametric EQ as well as other ancillary equipment Please note that the Mute switch of the channel does not affect this connector The wiring is Tip Insert Send Ring Insert Return Sleeve Screen Line in This balanced input connector has been designed to accept line inputs up to 22dBu You can connect here keyboards outputs mixer outputs tape outputs etc The wiring is Tip Hot Ring Cold Sleeve Screen MICROPHONE in This XLR socket has been designed to accept microphone signals up to 22dBu providing phantom power for condenser microphone when the switch the front panel is engaged 1 Screen Ground Pin2 Hot Signal Pin3 Cold Signal Typhoon Mono Input Channels We perfectly know the importance of the preamp section a good preamp section will allow the sound engineer to work with maximum dynamics an exceptional signal to noise ratio then to be able to use EQ external dynamic controls and other ancillary equipment to shape its own sound The Typhoon preamp section features all the useful controls to accurately manage the sound source in the most ver satile way PHANTOM POWER switch amp LED The switch must be engaged when you re using a condenser microphone or a direct box that can be powered by phantom power instead of batteries The LED gives the user a visual con trol over channels with phantom power on
4. while the second one could reduce the level of the signal returning to the insert point Equalization Channel equalization should be used with care Boosting or cutting equalizer bands can make monitoring your actual input level very difficult Excessive boosting of EQ 15dB is available on each band will have the same effect as applying more gain to the input taking up valuable headroom Consider backing off the channel GAIN when using large amounts of boost if you have to use large amounts of boost to retain a sensible level at the output In this case the preamp CLIP LED will be turned off while the fader CLIP LED will be turned on Excessive EQ cut can have a similarly undesirable effect If a large amount of signal is cut in the equaliser section GAIN may be used to make up the level lost in the equaliser However the input pre amplifier still has the same amount of available headroom If gain added to make the loss the equaliser exceeds the maximum level into the microphone pre amp then the channel won t appear to be overloaded but the microphone pre amp will Turning off the equaliser will reveal the true story showing if the microphone pre amp is overloaded It is worth considering whether such a large amounts of EQ boost or cut is really required TIP To help sound engineers to detect a wrong EQ operation we provided our Alto Typhoon with two level indicator sections In the preamp GAIN section there s a CLIP LEDs
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6. Final links The final links in audio systems are graphical equalisers loudspeaker processors and finally amplifiers and speakers Graphical equalisers have the same problems as the Typhoon s EQ If excessive boost is applied to the signal the graphic equaliser s output and subsequent electronics too may be overloaded If Typhoon output is higher than the maximum input level of the graphic the input of the graphic equalizer may be overloaded Loudspeaker processors have similar problems If the input level to the processor is too high the input may be overloaded and introduce distortion into the outputs and to the speakers In addition to this any boost on the processors outputs e g 3dB more bass will cause that output to overload earlier in this case 3dB before the other outputs Finally amplifiers can introduce the most interesting results An amplifier has a sensitivity That is an input signal level that causes the amplifier to produce it s maximum output level For most of the amplifiers it s OdBu 0 775 volts RMS others use OdBV 1 volt RMS others use dif ferent levels Beyond this sensitivity the amplifiers output will not be able to produce any more power and CLIP usually indicated by some serious looking red lights Sending 22dBu level from the Typhoon will clip the output of most amplifiers causing damage to your loudspeaker system There are a number of solutions to this problem Reduce the amplifiers input attenua
7. L R switch sends the signal directly to Main Mix AUX 1 AUX 2 AUX 3 4 AUX 5 8 Those switches will allow the sound engineer to address the SOURCES signal to Auxiliaries In this way you can send e g the Talkback signal to all stage monitors to communicate directly with performers while audience will hear nothing LED level ladder This 16 LED very accurate level indicator is another useful tool Typhoon provides for sound engineers to perfectly control mixer behaviour PFL AFL LED This LED shows the status of the level in dicator when any PFL AFL switch is pressed HEADPHONE MONITORS level This stereo pot sets the listening headphone and MONITOR section level TILLE Ar Pw 24 24 LEFT RIGHT PFL AFL HEADPHONES MONITORS ON This switch activates and sends the talk back osc signal to its selected outputs TALKBACK SECTION SEL TALKBACK switch This switch will select the Talkback source generally it s a microphone to commu nicate to musicians and other people on stage OSCILLATOR section dB This switch sets the oscillator output level among 4 0 10dBu Hz This switch selects the oscillator frequency among 10kHz 1kHz 100Hz SEL OSCILLATOR switch This switch will select the Oscillator as source signal for this mixer section Generally the oscillator is used for level settings of recorders Typhoon Master Section Master section controls are the most impor
8. This input is for a talkback microphone that will be managed by SOURCES section HEADPHONES amp B The Typhoon provides two stereo outputs for two headphones with the same signal and the same level control 22 Typhoon Master Section The stereo returns sections is used to manage signals coming from the outputs of effect units and includes a wide range of versatile controls BAL This pot controls the balance between left and right signal coming from the effects outputs Its behaviour is similar to pan pot but the result is different since it doesn t place the signal in stereo front but it just manages the balance between the outputs of the stereo effects unit Of course if you connect a plug only to LEFT MONO input it acts as a regular pan pot Fader This slider will give to the sound en gineer the ability to manage the unit effect return level from co up to 10dB PFL switch This switch allows the sound engineer to control the aux return signal The PFL pre fade listen signal is pre fader and stereo This large switch is illumi nated to give you an immediate visual control of which and how many channels are in solo GR E LE Ar on oc MUTE This switch is useful to mute that aux return signal when you don t need its sound This feature is important to reduce noise floor of effects units This switch will be lit when it is depr
9. and we provided a fader indicator section with two LEDs 20 and CLIP In this way the sound engineer will immediately detect if the problem incurs in pre amp section or in signal path generated by a wrong setting of EQ insert ancillary equipment or fader EQ DIAGRAM In recording studios as well as on stage the versatile Typhoon EQ section is a valuable sound tool Its controls will allow the sound engineer to modify the frequency contour of sound to shape the character of instruments to obtain the sound he wants to The following frequency table gives you some basic information about the fundamental frequencies of some musical instruments and of the human voice Please use this table as a starting point for a deeper understanding of the acoustic environment Typical Frequency of Human Voice and some Musical Acoustic Instruments Mid C CDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABCDEFGABC 11411111 411 tT tT P 1111 1111 25 31 40 50 62 80 100 125 160 200 250 320 400 500 640 800 1K 1 3K1 6K 2K 2 5 4K 5K 6 2K 8K 10K 13K 16K 20K 25 31 40 50 62 80 100 125 160 200 250 320 400 500 640 800 1K 1 3 1 6 2K 2 5K3 1K 4K 5K 6 2K 8K 10K 13K 16K 20K Human hearing range VOCAL Soprano Contralto Baritone Bass WOODWIND Piccolo Flute Oboe Clarinet in B flat or A Clarinet in E flat Bass Clarinet Basset Hom Cor Anglais Bassoon Double Bassoon BRASS Soprano Saxophone Alto Saxophone Tenor Saxophone Barit
10. cause damage and void the warranty The power supply should never be operated with the mains earth disconnected Please note that the power supply contains DANGEROUS VOLTAGES much stronger than the mains voltage The power supply rails can produce extremely large currents which could burn out equipment and wiring if shorted Electric amp Magnetic Fields When the console is operated close to an electromagnetic field generated by video monitors high power electric cabling etc you should detect an audio degradation induced by voltage picked up by leads and chassis In this case the signal to noise ratio may be degraded under extreme conditions 3V m 90 modulation degradation of up to 40dB may be experienced Wiring To ensure the correct and reliable operation of your Typhoon mixing console only high quality screened twisted pair audio cable and metal bodied connectors should be used Position Place the mixing console on a flat and even surface avoiding extremely hot cold dust or humid places Your Typhoon should be situated so that its location or position does not interfere with its proper ventilation e g on a carpet on felt etc When positioning the console for front of house usage it is worth placing the console in the sweet spot position where the sound system used can be properly heard from the mix position Try to avoid placing the console behind pillars or large objects or mixing from a level above the speaker
11. engineer the ability to manage the auxiliary send level from up to 10dB AFL This switch allows the sound engineer to control the aux send signal AFL is the acronym of after fade listen the signal is post fader This large switch is illuminated to give you an immediate visual control of which and how many channels are in solo Typhoon Master Section The group section contains all the controls for level routing muting and soloing the group signal The most important feature is the To LR switch that allows the sound engineer to use in a different way the group signal Generally this switch is released when the sound engineer wants to record some grouped signals while the switch is pressed when the sound engineer wants to use the groups signal as a part of the signal to be addressed to stereo mix The main difference between the above mentioned ways of working concerns the way to group signals For recording generally most of the signals to be recorded are collected by direct outs with just few grouped signals like choir keyboards brass sections etc While for live application generally sounds are grouped in a different way for example group 1 amp 2 rhythmic section drum kit bass maybe percussion in stereo group 3 amp 4 keyboards guitars etc in stereo and so on Sometimes sound engineers prefer to have some mono groups for lead solo and lead singer Some sound engineers particularly when they wo
12. position e g from a balcony WARNING Always switch off the power supply off before connecting or disconnecting the mixer power cable removing or installing modules and servicing In the event of an electric storm or large mains voltage fluc tuations immediately switch off your Typhoon and disconnect the mains plug from its socket WARNING Do not replace the fuse with any other type or short circuit the broken fuse this could become a safety hazard and will void the warranty WARNING All servicing should ONLY be carried out by skilled personnel of an authorized maintenance centre CONNECTIONS All connector shells should be of metal construction in order to provide a screen when connected to the console The Typhoon deserves to be operated with high quality twisted pair audio cables to develop its full audio performances XLR plug amp socket Pin 1 Screen Ground Pin 2 Hot Signal Pin 3 Cold Signal 6 3mm 1 4 Jack BALANCED connections TRS signal Sleeve Screen Ground Ring Cold signal Tip Hot signal 6 3mm 1 4 Jack unbalanced connections TS signal Sleeve Screen Ground Tip Signal 6 3mm 1 4 TRS insert Sleeve Screen Ground Ring Insert return Tip Insert send 6 3mm 1 4 TRS headphone Sleeve Screen Ground Ring Right signal Tip Left signal Owner s manual conventions Writing this owner s manual we used the following conventions 1 The names of the keys switches and connectors used in t
13. toms amp over head while other parts like bass drum snare drum and hi hat are recorded by the DIRECT OUT of their own input channels Another stereo group could be the keyboards Generally lead voice and lead guitar are picked up directly by their channel DIRECT OUT In this case the sub group fader is used to set the recording level and generally the to LR switch is not engaged and each input channel has to be assigned both to sub groups both to LEFT RIGHT MASTER Multi track recording In this case each sound engineer has his own way of working The signal of sub groups is Live Multi track carefully set to record at the right level while the to LR switch is engaged to send all the recording signals to LEFT RIGHT MASTER In this case no input channel already assigned to sub groups has to be assigned to LEFT RIGHT MASTER Mute Memories The Typhoon has four mute switches located at the right of the master fader The Mute memories buttons M1 M2 M3 and M4 will allow the sound engineers to program four MUTE memories This feature is important to give an immediate control over some channels that are not used all show long e g some instruments played just in some songs or in some patterns the voice of the entertainer etc and to immediately recall the mixers status Commonly these are used to mute open similar channels for example Channels Reason Entertainers Lead Singers Mics It allows the sound engineer to effe
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16. FL switches function this way the AUX RETURN GROUP AUX MASTER PFL AFL switches do MASTER not function This SOLO function is very useful during sound check to do individual set tings and comparisons between channels Bass Drum amp Bass Guitar Snare Drum amp keyboards voice etc to avoid the so called masking effect that could affect the sounds of your mix For details about this section please refer at page 31 in Technique and Troubleshooting owner s manual section TYPHOON CONNECTOR WIRING The Typhoon uses standard pro audio connectors and wiring configurations 1 4 jack zz Tip Ring Sleeve TRS Type Balanced F gt Ring Tip Sleeve TRS Type Unbalanced TS Type Unbalanced e XLR connector Pin2 1 2 2 Pin3 Linked to Pin1 manually XLR Type Unbalanced 1 4 jack TRS 1 4 jack TRS 1 4 jack TRS 1 4 jack TRS 1 4 jack TRS 1 4 jack TRS 1 4 jack TRS 1 4 jack TRS 1 4 jack TRS XLR 4 pin Pin1 Screen Ground Pin2 Hot Signal Pin3 Cold Signal Tip Hot Ring Cold Sleeve Screen Tip Insert Send Ring Insert Return Sleeve Screen Tip Hot Ring Cold Sleeve Screen Pin1 Screen Ground Pin2 Hot Signal Pin3 Cold Signal Tip Hot Ring Cold Sleeve Screen Pin1 Screen Ground Pin2 Hot Signal Pin3 Cold Signal Pin1 Screen Ground Pin2 Hot Signal Pin3 Col
17. H freq It s the control to set the centre frequency of the MID H control It can be adjusted in 0 8 8kHz range It affects the frequency area from the upper fundamental frequencies up to the higher harmonic frequencies allowing the skilled user to add or to subtract brightness to sound sources to avoid masking frequencies effects MID L freq It s the control to set the centre frequency of the MID L control It can be adjusted in 0 16 1 6kHz range It affects the frequency area of most of fundamental tone frequencies up to lower harmo nic frequencies allowing the skilled user to add subtract impact and or presence to sound sources giving them a particular sound character LOW freq It s the control to set the centre frequency of the LOW control It can be adjusted in 40 400 2 range It affects the frequency area from the lower fundamental frequencies allowing the skilled user to add boominess to sound sources as well as to reduce unwanted hum and rumble noises EQ switch This switch allows the user to use the EQ Section in signal path Of course it can be used too to make A B comparisons between equalized signal and not equalized signal to control the It can be used too to apply equalization at a certain point of the show excluding it when it s not necessary Typhoon Mono Input Channels At ALTO we thought that you deserve a very versatile auxiliary section So we provided you eight discrete auxiliary sends with
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19. LEFT input it will act as a mono effects return TAPE OUT LEFT amp RIGHT These unbalanced output connectors have been designed to output the main mix signal into a tape recorder or audio board stereo input GR 3 OUT and INSERT This balanced XLR connector is for group 3 output with an unbalanced pre fader insert connector for each group output GR 4 OUT and INSERT This balanced XLR connector is for group 4 output with an unbalanced pre fader insert connector for each group output AUX 3 OUT and INSERT This balanced XLR connector is for auxiliary 3 send with an unbalanced pre fader insert connector for each auxiliary send AUX 4 OUT and INSERT This balanced XLR connector is for auxiliary 4 send with an unbalanced pre fader insert connector for each auxiliary send N41 TN3 IN N2 IN N1 IN LEFT MONO LEFT MONO LEFT MONO LEFT MONO RTN4 IN RTN3 IN RTN2 IN RTN1 IN RIGHT RIGHT RIGHT RIGHT TAPE OUT TAPE OUT TAPE IN TAPE IN EFT RIGHT LEFT RIGHT GR3 OUT GR1 OUT 9 GR4 OUT GR2 OUT AUX3 OUT AUX1 OUT INSERT INSERT gt INSERT INSERT Y AUX4 OUT AUX2 OUT 1 LEFT MONO RTN1 RIGHT These balanced connectors are for stereo auxiliary return 1 Connecting a plug just to LEFT input it will act as a mono effects return RTN2 LEFT MONO 2 RIGHT These balanced connec
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21. S jack 8 2 Busses Output Grps Auxes Grps Master Auxes Dir Out Tape Mon 1600 8 2 8 8 1 4 TRS jack 2 XLR 8 1 4 TRS jack 8 1 4 TRS jack 2 1 4 TRS jack 2 1 4 TRS jack 2400 8 2 8 8 1 4 TRS jack 2 XLR 8 1 4 TRS jack 16 1 4 TRS jack 2 1 4 TRS jack 2 1 4 TRS jack 3200 8 2 8 8 1 4 TRS jack 2 XLR 8 1 4 TRS jack 24 1 4 TRS jack 2 1 4 TRS jack 2 1 4 TRS jack 4800 8 2 8 S8 1 4 TRS jack 2 XLR 8 1 4 TRS jack 40 1 4 TRS jack 2 1 4 TRS jack 2 1 4 TRS jack General Dimensions W x H x D Weight Power In inches in mm Lbs Kg Consumption Typhoon 1600 19 7 7 7 37 6 500 X195 x956 28 66 13 49W Typhoon 2400 27 2 X7 7 X37 6 690 195 x 956 39 68 18 64W Typhoon 3200 30 7 7 7 X37 6 780 195 x 956 50 71 23 77W Typhoon 4800 45 7 7 X37 6 1160 195 956 10 55 32 109W Power supply AC DC Dimensions W x x D Weight Main voltage In inches in mm Kg USA Canada 100 120V 60Hz Typhoon PS 12 2 x2 7 x8 3 311 X68 210 7 2 Europe 210 230V 50Hz U K Australia 240V 50Hz Options Flight case 1600FC 2400FC 3200FC 4800FC Plastic Dust Cover 1600DC 2400DC 3200DC 4800DC 12 V Desk Lamp 2 x 12V 5W 4 XLR External Power Supply 1600EPS 2400EPS 3200EPS 4800EPS HUN 40 pesn 99 O p XNV 5901
22. a Esna zsna 1504 010S 14d 9155 31nW SLAW zsng 31niN IH 0343 O1 1 dIW ONON 03 315 123145 LNdNI o 124135 ZH 007 124145 250 5 2 HOVE WIVL 135 8 WOLNVHd wade ONOW 1331 NI 71 99915 ONOW 1331 2 00 411 5 NI INIT NI 5 SSVd IH 3SVHd WOLNVHd 3a ZIHO 6 ZHO0b Ot 123NIG L1H3SNI 9 NI INIT drid SP09 0 NIV9 M019 10 8PST 95 lt NI ANT1 2 NI DIN nies A8b 1 ASL 8 2 0 1 2 09 ZH08 IH 0383 0383 1 dIW WOLNWHd X A 8 THD 41 6 13 TYPHOON TECHNICAL SPECIFICATIONS Electronics Input Input Impedance Mic 2kohm Balanced Line 10kohm Balanced Input Gain Mic Continuously variable from OdB to 60dB Input Gain Line Mono Channel Con
23. a LTO For music with passion User s Manual Syphon lange Acale mixing a E lt gt www altoproaudio com Version 1 3 November 2005 English SAFETY RELATED SYMBOLS CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN This symbol wherever used alerts you to the pre sence of un insulated and dangerous voltages with in the product enclosure These are voltages that may be sufficient to constitute the risk of electric shock or death This symbol wherever used alerts you to impo rtant operating and maintenance instructions Please read AC mains Alternating Current Protective Ground Terminal 4 Hazardous Live Terminal ON Denotes the product is turned on OFF Denotes the product is turned off WARNING Describes precautions that should be observed to prevent the possibility of death or injury to the user CAUTION Describes precautions that should be observed to prevent damage to the product Disposing of this product should not be placed in municipal waste and should be oeparate collection WARNING Power Supply Ensure that the mains source voltage AC outlet matches the voltage rating of the product Failure to do so could result in damage to the product and possibly the user Unplug the product before electrical storms occur and when unused for long periods of time to reduce the risk of electric shock or fire External Connection Alw
24. able Oscillator and Talkback sections Three frequency three level oscillator XLR socket for lighting lamps 2 TRACK IN path Highly accurate 16 segment output level meters INSTALLATION AND CONNECTIONS INSTALLATION The following counsels must be observed to maintain safety and electromagnetic compatibility performance in order to obtain the best possible performances by your Typhoon Earthing amp Power Connections Since all the signals are referenced to earthing system it s very important that it s clean and noise free The best way to do an earthing system is to use a Star fed instead of daisy chain A star fed earth connection means that in dependent wires runs for each outlet in this way you ll provide a safety reference screen for each single equipment Never mix the mains audio earthing outlets with light earthing outlets it could very easily generate interferences and audio degradation Please try to avoid placing the console close on any power distribution units or power amplifiers When using an external power supply it should be located as far as possible from the console The power supply should be set for the voltage supply available in your area and plugged into the mains socket using the cable provided with the ground screen connector properly connected The Typhoon should only be operated with the power supply connected to ground via the ground in the mains connector The use of alternative power supplies may
25. amp input path for mono or stereo signals the latter features just GAIN while the mono preamp input is regularly featured like any other mono input In this way the sound engineer can use for example the stereo keyboard outputs in the same channel of the entertainer voice if both signals are not required at the same time and each source will has its own level control PHANTOM POWER switch amp LED The switch must be engaged when you re using a condenser microphone or a direct box that can be powered by phantom power instead of batteries The LED gives the user a visual control over channels with phantom power on GAIN The GAIN control gives you the chance to continuously adjust the pre amplifier gain for input signal This control can be adjust ed in 0 60dB range for microphone input line input HIGH PASS LED A very useful LED shows if the HIGH PASS section for the MONO input is active or not INPUT SELECT LED This LED is lit when you use a mono signal the INPUT SELECT switch is pressed Cus STEREO IN GAIN INPUT SELECT mal ONO PHASE switch amp LED This switch allows the user to invert by 180 the signal This switch is very useful in a lot of circum stances in particular when several microphones are very close e g drum kit brass choirs etc and the sound engineer notices interferences be tween microphones that can t be by solved moving the microphones The LED
26. ase Date All the information presented in this Warranty Registration Card gives the manufacturer a better understanding of the sales status so as to purport a more effective and efficient after sales warranty service Please fill out all the information carefully and genuinely miswriting or absence of this card will void your warranty service 2 RETURN NOTICE 2 1 In case of return for any warranty service please make sure that the product is well packed in its original shipping carton and it can protect your unit from any other extra damage 2 2 Please provide a copy of your sales receipt or other proof of purchase with the returned machine and give detail information about your return address and contact telephone number 2 3 A brief description of the defect will be appreciated 2 4 Please prepay all the costs involved in the return shipping handling and insurance 3 TERMS AND CONDITIONS 3 1 ALTO warrants that this product will be free from any defects in materials and or workmanship for a period of 1 year from the purchase date if you have completed the Warranty Registration Card in time 3 2 The warranty service is only available to the original consumer who purchased this product directly from the retail dealer and it can not be transferred 3 3 During the warranty service ALTO may repair or replace this product at its own option at no charge to you for parts or for labor in accordance with the right side of this limite
27. ays use proper ready made insulated mains cabling power cord Failure to do so could result in shock death or fire If in doubt seek advice from a registered electrician Do Not Remove Any Covers Within the product are areas where high voltages may present To reduce the risk of electric shock do not remove any covers unless the AC mains power cord is removed Covers should be removed by qualified service personnel only No user serviceable parts inside e Fuse To prevent fire and damage to the product use only the recommended fuse type as indicated in this manual Do not short circuit the fuse holder Before replacing the fuse make sure that the product is OFF and disconnected from the AC outlet Protective Ground Before turning the product ON make sure that it is connected to Ground This is to prevent the risk of electric shock Never cut internal or external Ground wires Likewise never remove Ground wiring from the Protective Ground Terminal Operating Conditions Always install in accordance with the manufacturer s instructions To avoid the risk of electric shock and damage do not subject this product to any liquid rain or moisture Do not use this product when in close proximity to water Do not install this product near any direct heat source Do not block areas of ventilation Failure to do so could result in fire Keep product away from naked flames IMPORTANT SAFETY INSTRUCTIONS Read these i
28. ch auxiliary send GR7 OUT GR5 OUT INSERT INSERT INSERT y GR8 OUT GR6 OUT INSERT AUX7 OUT AUX5 OUT INSERT A INSERT A INSERT Y AUX8 OUT AUX6 OUT INSERT 21 5 OUT and INSERT This balanced XLR connector is for group 5 output with an unbalanced pre fader insert connector for each group output GR 6 OUT and INSERT This balanced XLR connector is for group 6 output with an unbalanced pre fader insert connector for each group output AUX 5 OUT and INSERT This balanced XLR connector is for auxiliary 5 send with an unbalanced pre fader insert connector for each auxiliary send AUX 6 OUT and INSERT This balanced XLR connector is for auxiliary 6 send with an unbalanced pre fader insert connector for each auxiliary send Typhoon Master Section MONITOR LEFT OUT amp RIGHT OUT m These impedance balanced connectors are useful to connect a pair of active monitors or an amplifier and passive studio monitors INSERT LEFT OUT amp RIGHT OUT and INSERTs These balanced XLR connectors output the LEFT RIGHT MASTER signals and include a pre fader insert unbalanced connector for each output INSERT Y RIGHT OUT LEFT OUT MONITOR RIGHT OUT A B e e HEADPHONES OUT LIGHT TALK BACK 12VDC 8W INPUT LIGHT This 4 pin XLR connector must be used to connect 12V DC 8W lamps TALKBACK INPUT
29. ctively reduce the risk of feedback when Entertainers Lead Singers are not talking singing Drum Percussion Mics It allows the sound engineer to mute the whole drum kit amp Percussion at once Choir Overheads It allows the sound engineer to remove all choir microphones at once Orchestra Parts It allows the sound engineer to zone microphones together e g Strings Brass etc and mute sections togther if they were not playing Two bands on stage It allows the sound engineer to immediately open all input channels for band B while he simultaneously closes all the input channels of band A avoiding noise by other input channels To activate this function the sound engineer has just to press the mute key M1 M2 M3 or M4 of the desired channel When the key M1 M2 M3 or M4 of the GROUP MUTE section will be pressed all the assigned channels will be in Mute Pressing for example M1 of the master section its key will be lit and simultaneously the keys of all channels programmed for Mute 1 will be lit and those channels will be turned off Note that if any assigned auto mute or the channel mute is activated then the channel will be muted until all assigned auto mutes and the channel mute are removed i e the mutes work like a logical OR where any single or combination of mutes will mute every channel output except the insert path If the Channel MUTE key is depressed and mute groups selection is not active the channel will be muted
30. d Signal Tip Hot Ring Cold Sleeve Screen Tip Hot Ring Cold Sleeve Screen Tip Hot Ring Cold Sleeve Screen 1 Screen Ground Pin2 Hot Signal Pin3 Cold Signal Tip Send Ring Return Sleeve Screen Tip Left Ring Right Sleeve Screen Pin 1 Chassis Pin 2 n c Pin 3 Ground Pin 4 VCC TAPE OUT MONITOR TALKBACK INSERT HEADHPONE LAMP 1 4 TRS insert e Lamp Connector Pin 1 Chassis Pin 2 n c Pin 3 Ground Pin 4 VCC Send Return 12VDC 8W Ring Sleeve Connectors needed TALKBACK AUX OUT 3200 4800 Kind of connectors needed XLR socket 1 4 6 3mm 1 4 6 3mm 1 4 6 3mm 1 4 6 3mm 1 4 6 3mm XLR socket gt N Co female TRS jack plug TRS jack plug TRS jack plug TRS jack plug TRS jack plug female gt 0 m m 0 m m lt lt 729 lt lt 725 D n male XLR plug male 1 4 6 3mm TRS jack plug male XLR plug male XLR plug male 1 4 6 3mm TRS jack plug male 1 4 6 3mm TRS jack plug male 1 4 6 3mm TRS jack plug male 1 4 6 3mm TRS jack plug male 4 pin Co For the right wiring please check also the following table Ring Right Signal Tip Sleeve Ring Strain Clamp Tip Left Signal Sleeve Ground Screen U
31. d warranty 3 4 This warranty does not apply to the damages to this product that occurred as the following conditions e Instead of operating in accordance with the user s manual thoroughly any abuse or misuse of this product Normal tear and wear The product has been altered or modified any way e Damage which may have been caused either directly or indirectly by another product force etc e Abnormal service or repairing by anyone other than the qualified personnel or technician And in such cases all the expenses will be charged to the buyer 3 5 In no event shall ALTO be liable for any incidental or consequential damages Some states do not allow the exclu sion or limitation of incidental or consequential damages so the above exclusion or limitation may not apply to you 3 6 This warranty gives you the specific rights and these rights are compatible with the state laws you may also have other statutory rights that may vary from state to state SEIKAKU TECHNICAL GROUP LIMITED No 1 Lane 17 Sec 2 Han Shi West Road Taichung 40151 Taiwan http www altoproaudio com Tel 886 4 22313737 email alto altoproaudio com Fax 886 4 22346757 All rights reserved to ALTO All features and content might be changed without prior notice Any photocopy translation or reproduction of part of this manual without written permission is forbidden Copyright 2005 SEIKAKU GROUP NF02034 1 3
32. e included the same circuit of mono inputs with discrete preamp level section and low cut filter So the sound engineer has the choice to use a mono signal and a stereo signal outputs in the same channel in different times without being obliged to change the GAIN control RIGHT This balanced input connector has been designed to accept line inputs up to 22dB This connector should be only used for the right output of an instrument The wiring is Tip Hot Ring Cold Sleeve Screen MIC I LINE IN LEFT MONO This balanced input connector has been designed to accept line inputs up to 22dB This connector should be used for the left or AR 6 mono output of an instrument This input follows the stereo path The wiring is Tip Hot Ring Cold Sleeve Screen LEFT Line in This balanced input connector has been designed to accept line inputs up to 22dB You can connect here keyboards outputs mixer outputs tape outputs etc The wiring 15 Tip Hot Ring Cold Sleeve Screen MICROPHONE in This XLR socket has been designed to accept microphone signals up to 22dB providing phantom power for condenser microphone when the switch in the front panel is engaged Pin1 Screen Ground Pin2 Hot Signal Pin3 Cold Signal Typhoon Stereo Input Channels The Typhoon preamp section is fully featured with all the useful controls to manage the sound source There are two different pre
33. e provide you with world class designs while our software development teams continue to develop an impressive range of audio specific algorithms By purchasing our ALTO products you become the most important member of our ALTO AUDIO TEAM We would like to share with you our passion for what we design and we invite you to make suggestions which will aid us in de veloping future products for you We guarantee you our commitment to quality continual research and development and of course the best performance price ratio The ALTO TYPHOON is a large format versatile 8 bus sound reinforcement mixing console designed for all types of live sound production as well as for recording purposes Each channel is equipped with a variety of key features including a warm natural sounding four band sweep EQ 4 band fixed EQ for stereo channels 8 Auxiliary sends Clip preamp and fader LEDs etc Besides the TYPHOON is equipped with fully featured intercom and talkback se ctions that will allow the sound engineer to work in a very fast and reliable way Seeing is believing let s meet ALTO TYPHOON We would like to thank all the people that worked with us to make a vision real Our designers and ALTO staff made the ALTO TYPHOON large format 8 bus sound reinforcement mixing console a very reliable and high quality product ready for all your venues And thanks to their passion for music and professional audio it has been possible for us to offer you our most impo
34. ely recall al the mixers status 20 amp CLIP LEDs These LEDs are very useful to control the behaviour of the channel signal path after the insert point the EQ section and the fader So you could notice the fader CLIP LED turned on while the preamp CLIP is not lit or vice versa In both cases the presence of two CLIP LEDs will help the sound engineer to immediately detect where the problem is PFL Solo switch This switch allows the sound engineer to control the channel signal The PFL pre fade listen signal is pre fader and stereo for stereo inputs and mono for mono inputs Solo stands for Solo In Place the signal is post fader placed in stereo front and it opens all the circuits of related effect When this large switch is engaged it s illuminated to give you an immediate visual control of which and how many channels are in solo When the MASTER SOLO switch is en gaged this switch acts in SOLO mode and mutes all other channels Typhoon Master Section The master section is the richest section of the mixer with plenty of inputs outputs and control switches Here s a detailed description of each connector RTN4 LEFT MONO amp RTN4 RIGHT These balanced connectors are for stereo auxiliary return 4 Connecting a plug just to LEFT input it will act as a mono effects return RTN3 LEFT MONO amp RTN3 RIGHT These balanced connectors are for stereo auxiliary return 3 Connecting a plug just to
35. ends 3 amp 4 share the same pre post fader switch PRE POST switch Auxiliary sends 5 to 8 share the same pre post fader switch Typhoon Mono Input Channels The assign section is useful to manage the output assignment to several outputs as well as direct out to listen in solo a channel and to mute or not a channel signal OUTPUT Assign 1 2 3 4 5 6 7 8 L R These switches allow the sound engineer to address the signal to selected audio path The odd even numbered switches are used to send the signal to sub groups while L R switch sends the signal directly to Main Mix output Please check the technique amp trouble shooting section of this owner s manual for further details about the way to use those switches PAN This pot allows the sound engineer to place the channel signal in a stereo front from hard left to hard right Of course you can use it also to move the channel signal in stereo front to create spatial effects MUTE You can use the MUTE switch to mute the channel signal when you don t need its sound When this large switch is engaged it s lit The signal is still sent only to insert point while the direct out is muted too Fader This long coarse fader will give to the sound engineer the ability to accurately manage the channel output level from up to 10dB M1 M2 M3 amp M4 These switches are very useful to manage the sound in a fast and reliab
36. essed engaged OUTPUT Assign 1 2 3 4 5 6 7 8 L R These switches allow the sound engineer to address the signal to the audio path he wants to The odd even numbered switches are used to send the signal to sub groups then you can send their signal to L R outs while L R switch sends the signal directly to Main Mix output Those switches can be used in several ways Recording the concert those switches can be used to make some groups toms amp drum kit over head keyboards etc while in other cases the sound engineer should prefer to use the sub groups to control some music sections by subgroups e g drums percussion and rhythmic instruments in stereo in subs 1 2 keyboards amp guitars in stereo in subs 3 4 wind and brasses in stereo in subs 5 6 lead singer choirs and voices in stereo in subs 7 8 AUX 1 AUX 2 AUX 3 4 AUX 5 8 switches These switches will allow the sound engineer to send the FX return signal to Auxiliaries In this way you can send e g to the lead singer monitor the reverb that affects the entire mix Typhoon Master Section The aux send section is useful to control the overall level of the send to a monitor speaker or to an effects unit MUTE This switch mutes the aux send signal when you don t need its sound This feature is important to reduce noise floor of effects units This switch will be lit when it is m m depressed engaged MUTE MUTE Fader This slider will give to the sound
37. gives an immediate control over channels with inverted phase electronic circuits CLIP LED At ALTO we re very careful about the feedback we continuously receive by our customers and the demands of pro users For this reason we in cluded a preamp CLIP LED allowing the sound engineer to detect the clip incurring at the beginn ing of the audio path The preamp CLIP LED turns on when the input level reaches 6dB before clip ping If the clipping has been generated by other channel controls e g an excessive boost by EQ the sound engineer will see the preamp CLIP LED not lighted while the fader clip LED will be lighted In this case the research of a wrong level setting will become much easier HIGH PASS switch This section will allow the sound engineer to re duce the lower frequencies of MONO INPUT by engaging the switch and selecting the turnover frequency in 40Hz A00Hz range This control is very useful when you detect hum or rumble or you want to cut unwanted low frequency sounds picked up by microphones STEREO IN GAIN The GAIN control gives you the chance to contin uously adjust the amplifier gain for LEFT MONO amp RIGHT inputs This control can be adjusted in 20 20dB range input INPUT SELECT switch Pressing this switch you ll select the mono input source for this channel while releasing this switch you ll use the stereo signal Typhoon Stereo Input Channels Stereo sources are generally keyboards outp
38. he two other corners are the speakers MAKE UP It s totally different from your girlfriend beauty content it s just the way compressors and limiters work in order not to loose level DRY No Martini No Party 222 No It s just the original sound of every instrument and or voice which are not affected by Fxs WET It s the processed signal by an effect unit reverb delay etc 6 Ag 455 ESI iol 19905 gt 002 080 61 Sed 009 NOOHdAL 17 epo eas WVHOVIG 90 18 0091 NOOHdAL Jeu TYPHOON BLOCK DIAGRAM 1 1 PPRP 1 RRRA ARAYE 1 3NOHdQV3H 1 3NOHdQV3H 100 YOLINOW 100 1 YOLINOW f 11n03avi 1 LNO NIYIN LNO 22 22 2 LNO e 2 us 1438 LNO NIV 1 8 T 100 49 LYASNI 139 100 8 1no xnv 100 TXNV 2018 A NOOHdAL 2 S 0105 315 5 1 ESNA 31nW lt 5 1 Y mJ 508 Y 13 508 1144 508 Y Tdd 7 sna 1144 508 144 508 1144 508 9xnv 5
39. his owner s manual match the labels on the unit Examples MIC IN gt Microphone input MID H gt Mid High frequency boost cut control GR1 GR2 gt Group 1 amp Group 2 2 The condition of the indicators on your mixer is surrounded by e g light or flash TYPHOON PICTURES TYPHOON 1600 TYPHOON 2400 5 3200 E _ oat on Te d 5 z i NES Ac e ar Um TYPHOON 4800 FUNCTIONAL DESCRIPTION Typhoon Mono Input Channels The Typhoon is supplied with all the connections pro users deserve to connect every kind of signal sources to Typhoon inputs DIRECT OUT INSERT LINE IN MIC IN MIC IN LINE IN INSERT DIRECT OUT CH 1 Direct Out This unbalanced connector can be used to directly output the signal of the channel for recording amp other purposes This output can be set pre or post fader by an internal jumper Please note that the Mute switch of the channel affects this connector when set to post fader The wiring is Tip Hot Ring amp Sleeve Screen Insert This unbalanced 1 4 jack connector has been designed to be used as insert point breaking the signal path immediately after the preamp section and
40. independent level controls and several pre post fader switches Generally pre fader is used for monitor purposes allowing the sound engineer to set a level that s independent by channel fader setting In this way the con trol will be much more accurate and the sound engineer doesn t risk unwanted feedback when for example he raises the level of the lead singer Post fader sends are better suited for FX sends control By doing so for example the sound engineer will raise the fader level of the lead singer the effect send as well maintaining the same sound balance between dry amp wet signals Please note that the channel Mute switch affects these controls AUX 1 The AUX 1 send level can be adjusted from up to 10dB AUX 2 The AUX 2 send level can be adjusted from up to 10dB AUX 3 amp 4 The AUX 3 amp 4 send level can be individually adjusted from up to 10dB AUX 5 8 The AUX sends 5 to 8 level can be individually adjusted from co up to 10dB 098 AUX3 e 4 4 Z CY v 9 e AUX2 PRE gt ZR 79 77 088 AUXT ucc 2 POST 6 10 098 2 e Y D 4 9 9 Q e 10 PRE POST switch This switch sets pre post fader the Aux 1 signal PRE POST switch This switch sets pre post fader the Aux 2 signal PRE POST switch Auxiliary s
41. ing the switch and selecting the turnover frequency 40Hz A00Hz range This control is very useful when you detect hum or rumble or you want to cut unwanted low frequency sounds picked up by microphones Typhoon Mono Input Channels We provided a very versatile EQ circuit with four sweep filters to satisfy professional users demand Thanks to the wide overlap section of the 4 filters this EQ allows to shape in a very efficient way the sound of all the sound sources the sound engineers has to manage HIGH gain It s a shelving filter giving the user a continuous adjustment of boost and cut from 15dB to 15dB MID H gain Its a peak dip filter giving the user a continuous adjustment of boost and cut from 15dB to 15dB MID L gain Its a peak dip filter giving the user a continuous adjustment of boost and cut from 15dB to 15dB LOW gain It s a shelving filter giving the user a continuous adjustment of boost and cut from 15dB to 15dB EQ LED This useful LED will allow the sound engineer to immediately understand if the channel has been equalised or not HIGH freq It s the control to set the centre frequency of the HIGH control It can be adjusted in 1 6 16kHz range It affects the frequency area from the upper fundamental frequencies up to the higher harmo nic frequencies allowing the skilled user to add brightness to sound sources as well as reduce unwanted hiss and high frequency noises MID
42. l tricks and tips The last part of this chapter is about trouble shooting GAIN settings You should use the channel input gain to obtain the best operating level for the console If the gain level is too low the best signal to noise ratio won t be achieved If the gain level is high you may risk to overload the channel causing distortion Clearly the GAIN should be positioned between these two points to gain an optimal signal to noise ratio without overloading the channel The ideal level for input channels is when the CLIP preamp LED just flashes on musical peaks TIP The presence in stereo channels of discrete input GAIN for mono input and stereo input allows the sound engineer to use two different signals on the same input for example the entertainer MIC and a stereo keyboard So when he has to use the MIC level he can choose MIC GAIN but he can promptly change to stereo input line with right GAIN setting just pressing the INPUT SELECT key Headroom Headroom is the amount of spare swing available to the system If 6dB headroom was desired at all times maximum level of 15dBis required to retain the headroom The consoles Busses Sub groups Aux sends and Left Right Master are the points where all channel signals are summed together In normal operation it s unlikely that all channels will receive the peak signal at the same time so typically when 48 channels are summed together a gain of around 6 to 9dB will be seen It is im
43. le way You can use M1 M2 M3 and M4 to program four MUTE memories This feature is important to give an immediate control over some channels that are not used all show long e g some instruments played just in some songs the voice of the presenter etc and to immediately recall al the mixers status See section 7 of this owner s manual for the pro cedure to store and recall the four Mute Groups memories 20 amp CLIP LEDs These LEDs are very useful to control the be haviour of the channel signal path after the insert point the EQ section and the fader So you could notice the fader CLIP LED turned on while the pre amp CLIP is not lit or vice versa In both cases the presence of two CLIP LEDs will help the sound engineer to immediately detect where is the pro blem PFL Solo switch This switch allows the sound engineer to control the channel signal The PFL pre fade listen sig nal is pre fader and mono while Solo stands for SIP Solo In Place the signal is post fader pla ced in stereo front and it opens all the circuits of related effect When this large switch is engaged it s illuminated to give you an immediate visual control of which and how many channels are in solo When the MASTER SOLO switch is engaged this switch acts in SOLO mode and mutes all other channels Typhoon Stereo Input Channels Each Typhoon is supplied with four stereo input channels These channels are ideal for stereo signals but w
44. nstructions Follow all instructions Keep these instructions Do not discard Heed all warnings Only use attachments accessories specified by the manufacturer Power Cord and Plug Do not tamper with the power cord or plug These are designed for your safety Do not remove Ground connections If the plug does not fit your AC outlet seek advice from a qualified electrician Protect the power cord and plug from any physical stress to avoid risk of electric shock Do not place heavy objects on the power cord This could cause electric shock or fire Cleaning When required either blow off dust from the product or use a dry cloth Do not use any solvents such as Benzol or Alcohol For safety keep product clean and free from dust Servicing Refer all servicing to qualified service personnel only Do not perform any servicing other than those instruc tions contained within the User s Manual Dear Customer Thank you for choosing the ALTO TYPHOON which is the result of our ALTO AUDIO TEAM s endeavours For ALTO AUDIO TEAM music and audio are much more than a job they are a passion and an obsession We have in fact been designing professional audio products for a number of years in cooperation with many of the world s major brands The ALTO line represents unparalleled analogue and digital products made by musicians for musicians With our design centres in Italy the Netherlands and the United Kingdom w
45. o the channel s insert point you have the ability to remove the guess work from setting your system gain However and this is a big however there still sources of potential problems The Typhoon is able to operate at levels up to 21dBu on both the insert send and return If the maximum input level of the compressor is less than 21dBu then it is possible to overload the input of the compressor The only way to solve this situation is to drop the channel input gain so that the input level of the compressor will not overload However bear in mind that the level returned from the compressor would also be lower than 21dBu and excessive use of the compressor makeup would overload the output of the compressor Very often other dynamic processors are used like expanders or noise gates to reduce the inherent noise of some sound sources e g electric guitars but in this case the signal overall level will not change And the level could slightly change with processors like Aural Exciters Enhancer and De Essers but it those cases too the difference is not dramatic Sometimes it happens that a special effect is used just for one channel generally it s the lead singer voice so the sound engineer uses a Channel strip or some effects unit that have been programmed for the lead singer voice In both cases the sound engineer has to be very careful setting of these ancillary equipments since the first one could drive the channel to overload
46. one Saxophone Bass Saxophone Trumpet in C Trumpet in F Alto Trombone Tenor Trombone Bass Trombone Tuba Valve Hom STRINGS Violin Viola Cello Double Bass Guitar KEYBOARDS Pianoforte Organ PERCUSSION Celesta Timpani Xylophone FREQUENCY AUXiliaries Sends Settings The Auxiliaries sends can be set pre post fader depending on what you re going to do typical settings of auxiliaries sends are Application Pre Post Fader Reason The level of monitors is not affected by channel fader level setting In this way the sound engineer can change the FOH level without affecting the performer listening level Post EQ means that musicians listen to the FOH sound Stage Monitors Pre fader Post EQ The level sent to to the effects is proportional to the fader level In this way the balance between wet processed and dry un processed sounds stays the same even when the sound engineer changes the channel fader level Effects Sends Post fader Post EQ The recording is made at constant level with the same equalisation Multi Track Recording Pre fader Post EQ used for FOH signal Of course changes in the mix level and EQ be set in post production Assign keys These switches allow the sound engineer to address the signal to the selected audio path The odd even numbered switches are used to send the signal to sub groups then you can send their signal to L R outs while L R switch sends the
47. ost demanding professional with its real hi fi soecs and its user friendly and ergonomic design despite the very high quantity of controls These models are ideal for large venue and large bands Thank you very much for expressing your confidence in ALTO products by purchasing ALTO s first large format mix ing console Typhoon an 8 bus sound reinforcement mixing console designed for all types of live sound production We re proud to introduce you our first large format mixing console designed and developed to meet the needs of the demanding live sound engineers providing the quality all the features and the reliability you deserve with its real hi fi specs and its user friendly and ergonomic design despite the very high quantity of controls The Typhoon is an all purpose FOH mixing console that can be used as Monitor mixer as well thanks to its 8 inde pendent auxiliary sends Each mono channel offers microphone and line input direct out and insert points lo cut filter four band sweep EQ etc The stereo channel offers stereo left amp right line input with four band fixed EQ as well as mono input with discrete mic amp line connections and lo cut filter Following the needs of professional live sound engineers we included a lot of special features like a Talkback section and a 3 frequency Oscillator and double CLIP indicator to immediately understand at a glance the behaviour of every channel mono signal The Typhoon is a large format p
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50. portant to leave some headroom in the summing amplifiers so that they do not overload should the sum exceed the maximum level TIP To prevent overload during sound check the GAIN should be set to a point that even the highest output from the microphone will turn on the CLIP preamp LED just during peak signals In this way you should prevent any un pleasant surprise during the show INSERT As explained before the insert point is a break in signal path that can be used for dynamic processing and or fx processing of a single input channel sub group Aux send or Main Mix channel Now we ll deeply investigate how to obtain the best results from this section Generally during a show the sound engineer has to work with high dynamic signals i e a vocalist performance SO it s better to reduce the dynamic range of the signal In this way there won t be louder peaks avoiding channel input overloading or too low musical nuances avoiding the channel noise floor to overcome these signals Limiters and Compressors are widely used for this application The means by which they achieve this won t be discussed here but these devices are used to automatically reduce the level of loud signals and also raise the gain to make up the level as desired The channel gain can now be set with adequate headroom to accommodate both loud and quiet signals and the compressor can reduce the dynamic range and make up any reduction in level By inserting such a device int
51. rk in small venue with irregular audience position prefer to have all groups in mono To LR switch This switch addresses the group signal to L R path PAN This pot allows the sound engineer to place the sub group signal in stereo front from hard left to hard right Of course you can also use it to move the channel signal stereo front to create spatial effects MUTE MUTE MUTE This switch is useful to mute that group signal when you don t need its sound This feature is important to reduce noise floor of effects units This switch will be lit when it is depressed engaged Fader This long throw fader will give the sound engineer the ability to carefully manage the group level from up to 10dB PFL This switch allows the sound engineer to control the group signal PFL is the acronym of pre fade listen the signal is pre fader This large switch is illuminated to give you an immediate visual control of which and how many channels are in solo Typhoon Master Section In the SOURCES section of the mixer you ll find many operating features LEVEL This is the main level control for the talkback and oscillator section OUTPUT Assign 1 2 3 4 5 6 7 8 L R These switches allow the sound engineer to assign the talkback osc signal to the audio path he wants to The odd even numbered switches are used to send the signal to sub groups then you can send their signal to L R outs while
52. rofessional mixing console You will get a smooth accurate more natural and open sound from this tool it is really ideal for gigs recording and fixed PA installations Your Typhoon has been designed to be a very versatile and user friendly mixing console so it s very easy to operate but we advise you to go through each section of this manual carefully In this way you will get the best out of your Typhoon in all application MAIN FEATURES Pre insert preamp CLIP LED Extremely high headroom offering excellent dynamic range Post fader post EQ Direct output can become pre fader post EQ by an internal jumper Pre fader pre eq channel insert MIC input channels with golden plated XLRs and balanced LINE inputs 4 band sweep EQ on mono channels 4 Stereo input channels with left right balanced TRS jacks and mono MIC amp line inputs 4 band fixed EQ on stereo channels Ultra low noise discrete Mic Preamps with 48V Phantom Power 100mm high precision faders Each input channel features Mute amp SOLO switches Overload amp signal present LEDs and low cut filters except stereo line inputs Fader CLIP LED SUB 1 2 3 4 5 6 7 8 amp MAIN L R signal assignment switch 8 AUX sends with pre post fader assign switches Channel inserts and direct outputs on each mono channel for connection of outboard equipment Groups Aux sends and Main Mix inserts for flexible connection of outboard equipment Control room phones discrete level Fully assign
53. rtant team member our continued support too Thank you very much ALTO AUDIO TEAM TABLE CONTENTS SAFETY INSTRUCTIONS 1 PREFACE 2 TABLE OF CONTENTS e 9 INI s cOUO 4 205 5 INSTALLATION AND CONNECTIONS 6 7 8 9 FUNCTIONAL DESCRIPTION E 10 31 Typhoon Mono TREE 10 14 Typhoon Stereo input channels 15 19 Typhoon Master 20 27 TYPHOON CONNECTIONS WIRING 28 31 GLOSSARY ee 38 TECHNIQUE 8 TROUBLESHOOTING 32 37 BLOCK DIAGRAMS gt 39 TECHNICAL SPECIFICATIONS trt ttd tent ea tc ttm i 40 41 PAGE 42 51 irengegemc 52 INTRODUCTION Our current top mixer line fitted with a wide range of controls to satisfy the needs of the m
54. se for Headphone 1 4 Stereo TRS Jack Plug Sleeve Strain Clamp Tip Signal Sleeve Ground Screen Use for Mono Line In Mono 1 4 Jack Plugs 1 4 Mono TS Jack Plug Ring Return Signal Tip Sleeve Ring Strain Clamp Tip Send Signal Sleeve Ground Screen Use for Insert Points 1 4 Stereo TRS Jack Plug 1 Ground Screen 2 Hot 6 1 Ground Screen 3 Cold 3 Cold Use for Balanced Mic Inputs Use for Main output For unbalanced use connect pin 1 to 3 For unbalanced use leave pin 3 unconnected 3 pin XLR Male Plug 3 pin XLR Line Socket seen from soldering side seen from soldering side Ring Return Signal Connected together To Channel Insert Sleeve Ground Screen Tip Signal To Tape or FX Input Sleeve Ground Screen Tapped Connection Direct Output Lead Enables the Insert to be used as a Direct Output while maintaining the channel signal flow gt To Processor Input Sleeve Ground Screen Tip Send Signal n 271 Channel insert Sleeve Ring Ring Return Signal gt Processor Output Y Stereo lead for insert Connection To be used when the external processor does not employ a single jack connection for the In Out Connections TYPHOON TECHNIQUE amp TROUBLESHOOTING This section of the owner s manual gives you some basic information about the technique how to get the best perfor mances from your Typhoon Of course there are severa
55. signal directly to Main Mix output These switches can be used in several ways to better suite your appli cation Application Signals are grouped in a way that the sound engineer can easily control the band sections A typical setting is drums percussion and rhythmic instruments in stereo by subs 1 2 key boards amp guitars in stereo by subs 3 4 wind and brass in stereo by subs 5 6 lead singer TP choirs and voices in stereo or in mono by subs 7 8 Some sound engineers prefer to assign ive the lead voice and lead guitar to mono groups e g 7 and 8 while other engineers prefer to directly assign those signals to LEFT RIGHT MASTER In this case the sub group fader is used to set the sub group level and to LR switch is engaged of course no input channel already assigned to sub groups has to be assigned to LEFT RIGHT MASTER Signals are grouped in a way that the sound engineer uses for particular stage monitor pur poses For example sub groups 1 amp 2 are used for side fills for the lead singer while sub Live 2 groups 3 amp 4 are used as drum fills for the drummer etc In this case the sub group fader is used to set the listening level and to LR switch is not engaged and each input channel has to be assigned both to sub groups both to LEFT RIGHT MASTER Signals are grouped to reach the desired channel of the multi track recorder Generally the sound engineers groups together in stereo some parts of the drum kit
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57. ssignment to several outputs and also to PFL SOLO or MUTE a channel signal OUTPUT Assign 1 2 3 4 5 6 7 8 L R These switches allow the sound engineer to address the signal to the selected audio path The odd even numbered switches are used to send the signal to sub groups while L R switch sends the signal directly to Main Mix output Please check the technique amp troubleshooting section of this owner s manual for further details about the way to use those switches BAL This pot allows the sound engineer to manage the balance of a stereo source or to place the channel mono signal in a stereo front from hard left to hard right Of course you can also use it to move the channel signal in stereo front to create spatial effects MUTE You can use the MUTE switch to mute the channel signal when you don t need its sound When this large switch is en gaged it s lit Fader This long coarse fader will give to the sound engineer the ability to accurately manage the channel output level from up to 10dB CH 41 42 M1 M2 M3 amp M4 These switches are very useful to manage the sound in a fast and reliable way You can use M1 M2 M3 and M4 to program four MUTE memories This feature is im portant to give an immediate control over some channels that are not used all show long e g some instruments played just in some songs the voice of the presenter etc and to immediat
58. t by channel fader setting In this way the control will be much more accurate and the sound engineer won t risk unwanted feedback when for instance when raising the level of the lead singer Post fader sends are better suited for FX sends control By doing so for example the sound engineers will raises the fader level of the lead singer the effect send as well maintaining the same sound Please note that the channel Mute switch affects these controls AUX 1 PRE POST switch ce AUXT The AUX 1 send level can be PE SN This switch sets pre post fader the Aux 1 signal adjusted from co up to 10dB 10 04B AUX2 RE PRE POST switch AUX 2 The AUX 2 send level can be adjusted from co up to 10dB This switch sets pre post fader the Aux 2 signal 9 79 7 4 PRE POST switch n n Auxiliary sends 3 amp 4 share the same pre post AUX 3 amp 4 fader switch The AUX 3 amp 4 send level can 228 be individually adjusted from n up to 1048 2 PRE POST switch Auxiliary sends 5 to 8 share the same pre post fader switch AUX 5 8 The AUX sends 5 to 8 level can be individually adjusted from co D up to 1098 10 09 AUX 2 ge 2 s POST D 4 a D 9 2 10 OdB AUX8 2 2 gt 4 D 0 D awe 10 Typhoon Stereo Input Channels The assign section is useful to manage the output a
59. tant in every mixer these controls affect the overall level the headphone listening the monitor listening and the memory Mute behaviour MUTE This switch mutes the stereo master level when you don t need its sound This feature is important to reduce noise floor before the show This switch is lit when it s depressed engaged FADER This long coarse stereo fader will give to the sound engineer the ability to carefully manage the master output level from co up to 10dB MASTER MUTE M1 M2 M3 amp M4 switches amp LEDs This section manages the store amp recall feature of the four Mute memories of your Typhoon For details about the use of those switches please refer at page 31 in Technique and Troubleshooting owner s manual section MASTER SOLO switch This switch allows the sound engineer to charge the console mode between PFL and SOLO When the switch is in the default unselected position the console is in PFL mode In this mode when the user presses a PFL switch the selected channel sends a pre fade signal or post fade AFL from AUX Masters to the headphone and monitor outputs This can be useful for tr oubleshooting for cueing various signals on the console When MASTER SOLO is selected the console is in SOLO mode SOLO made means that when the user presses a PFL switch on a channel all other channels are muted Multiple channels may be SOLO d so that combinations of signal may be heard In SOLO mode only the channel P
60. tinuously variable from 25dB to 35dB Input Gain Line Stereo Channel Continuously variable from 20dB to 20dB Maximum Input Level Mic 22dBu Line Mono Channel 22dBu Line Stereo Channel 22dBu Insert send impedance 1000hm Unbalanced Insert send level Max 10dBu 22dBu Insert return impedance 10kohm Unbalanced Insert return level Max 10dBu 22dBu CMR at 1kHz Line 20Hz 20kHz 60dB Frequency response Mic to Mix 20Hz 20kHz 0 1dB Signal Noise Ratio 20Hz 20kHz Mic EIN ref 150ohms 127dBu gain 60dB System Noise 20Hz 20kHz Summing Noise 90dBu 16 channels routed with faders down Line to Mix Noise 86dBu 16 channels routed at OdB pan centre Distortion at 1kHz Mic to Insert 30dB unity 20dBu output 0 00996 Mic to Mix 30dB unity gain 20dBu output Typ 0 03 Crosstalk at 1kHz channel to channel gt 80dB Mix to Mix gt 80dB Channel to Mix gt 80dB Fader Attenuation gt 100dB Output Nominal Signal Level Mic 60dBu to OdBu Line 0dBu Output Impedance All Line Outputs 1000hm Balanced Insert send impedance 100 Unbalanced Insert send level Max 22dBu Insert return impedance 10kohm Unbalanced Insert return level Max 22dBu Maximum Output Level Master Outputs on XLR 22dBu All other Outputs on XLR 22dBu All O
61. tors are for stereo auxiliary return 2 Connecting a plug just to LEFT input it will act as a mono effects return TAPE IN LEFT amp RIGHT These unbalanced input connectors have been designed to accept tape returns inputs their signals are routed to AUX Return 1 GR 1 OUT and INSERT This balanced XLR connector is for group 1 output with an unbalanced pre fader insert connector for each group output GR 2 OUT and INSERT This balanced XLR connector is for group 2 output with an unbalanced pre fader insert connector for each group output AUX 1 OUT and INSERT This balanced XLR connector is for auxiliary 1 send with an unbalanced pre fader insert connector for each auxiliary send AUX 2 OUT and INSERT This balanced XLR connector is for auxiliary 2 send with an unbalanced pre fader insert connector for each auxiliary send Typhoon Master Section GR 7 OUT and INSERT This balanced XLR connector is for group 5 output with an unbalanced pre fader insert connector for each group output GR 8 OUT and INSERT This balanced XLR connector is for group 6 output with an unbalanced pre fader insert connector for each group output AUX 7 OUT and INSERT This balanced XLR connector is for auxiliary 7 send with an unbalanced pre fader insert connector for each auxiliary send AUX 8 OUT and INSERT This balanced XLR connector is for auxiliary 8 send with an unbalanced pre fader insert connector for ea
62. tors to a level where the amplifier and console clip at the same point e g The input sensitivity is OdBu setting the input attenuator on the amplifier to 22dBu would mean that the console would clip at the same time as the amplifier So operating the console sensibly the amplifier should never be clipped The console LED Meters will also accurately show the available headroom left in the entire system 22dBu may not be a sensible level to set as many operators choose not to run the output of the console so high That is personal choice Run the output of the console at a level below OdBu This solution means that you won t get full benefit of the console and may suffer a reduced signal to noise ratio especially when running over long signal cables But the amplifiers should be saved from clipping As with many things in the audio world use your ears If something sounds distorted check Input Gain too high lower input gain and check EQ Too Much Boost disable EQ and check EQ Too Much Cut coupled with a High Input Gain disable EQ and check Too High a level into Inserted Processor disable insert and check Clipping Loudspeaker controller or Amplifiers Check both CLIP LEDs GLOSSARY In this owner s manuals we used terms of pro audio slang here s the explanation of some of those words SWEET SPOT It s the best place to listen to your mix with all the details of stereo front it s the 3 corner of a triangle where t
63. utputs on 1 4 inch jacks 22 Headphones 22dBu 6000hm Equaliser Mono Channel Treble shelving 15 15dB frequency range 1 6 16kHz bandwidth 1 octave Hi Mid peak dip 15 15dB frequency range 0 8 8kHz bandwidth 1 octave Lo Mid peak dip 15 15dB frequency range 0 16 1 6kHz bandwidth 1 octave Bass shelving 15 15dB frequency range 40 400Hz bandwidth 1 octave Hi Pass Filter slope 12dB Oct frequency range 40 400Hz Equaliser Stereo Channel Treble shelving 15 15dB 12kHz Hi Mid peak dip 15 15dB 3kHz Lo Mid peak dip 15 15dB 400Hz Bass shelving 15 15dB 80Hz Hi Pass Filter for mono input only slope 12dB Oct frequency range 40 400Hz Due to ALTO policy of continual research and product improvement specification features and mixer layout may be subject to change without notice Features and Connectors Inputs Mono ch Stereo ch St Fx Ret Tape 4600 8 w XLR amp 1 4 TRS jack 8 stereo in 2x1 4 TRS jack amp mono in XLR amp 1 4 TRS jack 8 2 2400 16 w XLR amp 1 4 TRS jack 8 stereo in 2x1 4 TRS jack amp mono in XLR amp 1 4 TRS jack 8 2 3200 24 w XLR amp 1 4 TRS jack 8 stereo in 2x1 4 TRS jack amp mono in XLR amp 1 4 TRS jack 8 2 4800 40 w XLR amp 1 4 TRS jack 8 stereo in 2x1 4 TRS jack amp mono in XLR amp 1 4 TR
64. uts pre mixers etc so the signal deserves few EQ adjustments For this reason we choose for the Typhoon stereo channels a four band fixed EQ HIGH gain It s a shelving filter giving the user a continuous adjustment of boost and cut from 15dB to 15dB 12kHz MID L It s a peak dip filter giving the user a continuous adjustment of boost and cut from 15dB to 15dB 400 2 EQ LED This useful LED will allow the sound engineer to immediately understand if the channel has been equalised or not 9 MID H It s a peak dip filter giving the user a contin uous adjustment of boost and cut from 15dB to 15dB 3kHz LOW It s a shelving filter giving the user a contin uous adjustment of boost and cut from 15dB to 15dB 80Hz EQ switch This switch allows the user to use the EQ Section in signal path Of course it can be used too to make A B comparisons between equalized signal and not equalized signal to control the It can be used too to apply equ alization at a certain point of the show exclud ing it when it s not necessary Typhoon Stereo Input Channels At ALTO we thought that you deserve a very versatile auxiliary section So we provided you the same eight discrete auxiliary sends of mono channels with independent level controls and several pre post fader switches Generally pre fader is used for monitor purposes allowing the sound engineer to set a level that s independen

LTO Typhoon large scale mixing console

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