Dynacord MP7 User's Manual
Contents
1. fe o O COOC gt e Vi SPEAKER OUTPUTS Zo n amp DYNACORD OC e SIS HEADPHONES ON 9 is a E brenda red S BEER 2 c Sgr Fig 2 Employ cables with stereo phone type plugs to connect the AM12 to the MONO OUT of the MP7 Set the LINE IN control on the AM12 at its center position This lets you control the AM12 s volume setting from the MONO OUT control on the MP7 Set all faders on the MP7 at their minimum position and turn all output controls e g MONO OUT counterclockwise as far as possible Switch on the power of all included components in the following sequence 1 Sound source equipment e g CD Player turntable etc 2 MP7 3 AM12 active monitors Following this order when switching on your system prevents unpleasant power on noise and feedback Your PA system is now ready for operation 42 STANDARD INSTALLATION When operating the MP7 be sure to mind the following notes 1 A red LED next to the meter instruments that is constantly lit signals that the corresponding channel is on the verge of clipping Use the Gain control of the corresponding channel to reduce the audio signal level until the red LED lights only during program peaks Avoid extreme output levels The 7 is no Hi2. 10 80Hz 250Hz 630Hz 2 5kHz 4kHz 8kHz 16kHz Ea STEREO MASTER GRAPHIC EQUALIZER ON 2 9 6 3 47 60 48 e e 6 0 ES L 27 OR A9 VN CH 1 50 4 4 L R 0 51 MASTERA OES MASTER 45 STATUS INDICATORS These LED s provide information about the actual operational status of the MP7 s internal power amplifiers POWER ON lights whenever the MP7 s power is set to ON If after switching the MP7 on the LED does not light the first thing to do is to make sure that the mains plug is plugged in correctly If that is the case and the LED still stays dimmed please contact your dealer The LIMIT indicator signals that the MP7 s internal power amplifiers are actually operated at their limits Frequent blinking of the LED is acceptable since the amplifiers incorporated limiters prevent the occurrence of distortion Continuous lighting indicates that degrada tion in the outputted sound is likely to happen In that case reducing the master level is recommended The PROTECT indicator lights when one of the power amplifiers extensive protection functions against thermal overload HF induc tion DC at the outputs and SOAR protection is activated When the MP7 is in protect mode the speaker outputs are muted and the inputs of the power amplifier are short circuited to prevent the ampli
3. 14 15 16 17 INPUT STEREO 16 TONE CONTROL The mixer s tone control section allows very differentiated and effective sha ping of the incoming audio signal within miscellaneous frequency bands Tur ning of the tone controls to the right enhances amplifies the corresponding frequency range while turning it to the left lowers attenuates the signal of the specific frequency band Before alte ring the sound all tone controls should be set to their neutral position i e their marker points straight up detent posi tion Please keep in mind that the stereo channel EQ s are so called Kill EQ s Up to turning them to their 6dB marking the tone controls behave analogue to their counterparts in the mono channels When turning the controls further the Kill function becomes active and nearly totally attenuates the corresponding frequency band The Kill function is meant to be used as special effect providing you with the opportunity to produce mixes that are as creative and entertaining as possible In this way and when using the MP7 for Karaoke the MID control lets you effectively mute the lead vocals of the original recording 10k 20k 17 BAL This control lets you determine the proportion between a stereo channels left
4. EQ STEREO CHANNELS 6 amp 7 without RIAA MONO OUT H SUB QUT ASSIGN POWER AMP Dn POST d AMP L Les LO CUT FILTER POLE ZERO POWER ON 12d8zoct COMPENSATION 7 FX PFL L PFL R X SUM L X SUM R Y SUM L Y SUM R MICI L MICI R PFL DISP X Y LED TALK MASTER L MASTER R LIMIT TURN ON DELAY ce MAINS VOLTAGE PH NS L0 CUT 12d8zoct LTER 2 COMPENSATION POWE R AMPLIFIER 2x300 WATTS 3 8 Z4 Limit gens PROTECTION 68 Hz 1 Oe EE son dr PROTECT om HS i amo R RELAY SPEAKER R 65 ABMESSUNGEN DIMENSIONS Abmessungen Dimensions in mm 178 2 160 0 ELA i S i a d 5 2 gt Fj 66 GARANTIE Das Werk leistet Garantie f r alle
5. and right audio levels During the playback of pre recorded music leaving the BAL control as close as possible to its center position is strongly recommended Extreme settings for this control should be left for effect purposes only TRANSITION SECTION The TRANSITION FADER in the master section allows conveniently cross fading between two channels Assigning each stereo channel to one of the two fader sides X or Y is possible via corresponding switches 18 ASSIGN X Y This switch allows assigning the corresponding channel s audio signal to either side X or Y of the TRANSITION FADER The two LED s next to the switch indicate the ASSIGN status blue X green Y off TRANSITION inactive 19 TRANSITION This switch allows assigning the corresponding channel to the TRANSITION FADER CAUTION Whenever you want to listen to a channel s audio signal via the master while the corresponding TRANSITION switch is set to on you have to raise the channel fader and slide the TRANSITION FADER to the side which you have previously selected using the ASSIGN X Y 18 switch 20 PFL Engaging this button assigns a channel s audio signal to the PFL bus For monitoring the PFL bus signal via headphones slide the PHONES MIX fader in the direction Simultaneously assigning more than one channel to the PFL bus is possible while the individual channel s volume fader setting is not recognized PRE FADER LISTEN This allows you settin
6. keeping the original packing as well as carefully storing all documents accompanying the appliance generally increases the price when reselling the device Installation and Connections Always install the MP7 on an even surface to allow for sufficient airflow during operation The device is equipped with an electronically controlled fan to protect the power amplifier section against thermal overload The ventilation direction is Front to Rear Fresh cold air enters the mixer at its front side and warm air leaves the appliance through the ventilation louvers in the rear panel Do not cover the frontal or the rear ventilation louvers since otherwise the MP7 would automatically enter protect mode preventing damage through thermal overload When protect mode is engaged the device is not going to be damaged Nevertheless regular operation is not possible during this period of time In case you have decided to install the MP7 in a 19 rack system make sure to leave at least 2RU of room above and at least 1RU of empty space below the appliance Of course you can cover the resulting gaps in the rack system using optionally available blinds with ventilation louvers Before establishing the mains connection please make sure that the appliance matches the voltage and frequency of your local mains supply Mind the label next to the mains switch stating the operation voltage your MP7 is factory preset to When switching the MP7 s power on the internal fan will
7. levels in the range between 60dBu 11dBu depending on the setting of the corresponding gain control Because of their design which is especially matched for connecting low impedance microphones as well as their phantom power capability these XLR inputs are not suitable for the connection of additional mixing consoles FX units keyboard instruments or other electronic gear When connecting this kind of equipment please utilize the LINE inputs 2 LINE Electronically balanced inputs for the connection of electronic instruments such as keyboards drum computers E guitars and E basses with an active output as well as all other high level signal sources like additional mixers FX units CD player etc The LINE inputs have been designed to handle levels in the range between 40dBu 30dBu Connecting balanced or unbalanced signal sources is equally possible using monaural or stereo phone plugs with their pin assignment matching the diagram If the device that is going to be connected is furnished with a balanced output stage using balanced cables with stereo phone plugs is certainly preferable This type of connection is greatly insensitive to the induction of external noise or HF interference UNBAL ANCED BALANCED SHIELD SHIELD SIGNAL SIGNAL SIGNAL Do not connect signal sources to a channel s MIC and the LINE inputs at the same time since the signals cause mutual interference which results in level reduction When connectin
8. lt gt DYNACORD OWNER S MANUAL MONO web MASTERB POWER AMP OUTPUTS OUTPUTS INPUTS RECORD 9 9 9 e c OOOO 9 DYNACORD 7 70 exe ENTERTAINMENT SYSTEM Ponen 5 10 7 GAIN z Aen CO STEREO MASTER GRAPHIC EQUALIZER co 9 TRANSITION SC PROGRAMS 3 9 310 n K GE PHONES BAL Ge GE MES LL 1111 log se m e s P Es PHONES MIX 0 ij iJ ASSIGNABLE TRANSITION Gis X Y 30 E 49 a 8 E TALK Mic LINE1 weuuez MIC LINE3 STEREO 4 STEREOS STEREO STEREO MP7 ENTERTAINMENT SYSTEM IMPORTANT SAFETY INSTRUCTIONS The lightning flash with arrowhead symbol within an CAUTION equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the RISK OF ELECTRIC SHOCK oe product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons WARNING To REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE The exclamation point within an equilateral triangle is intended to alert th
9. nachweisbaren Material und Ferti gungsfehler f r die Dauer von 36 Monaten ab Verkauf Garantieleistungen werden nur dann anerkannt wenn g ltige d h vollst ndig ausgef llte Garantieun terlagen vorliegen Von der Garantie ausgenommen sind alle Sch den die durch falsche oder unsachgem e Bedienung verursacht werden Bei Fremdein griffen oder eigenm chtigen Ande rungen erlischt jeder Garantie anspruch WARRANTY The manufacturers warranty co vers all substantial defects in mate rials and workmanship for a period of 36 months from the date of purchase Liability claims are accepted solely when a valid correctly and comple tely filled out Warranty Registrati on form is presented by the original owner of the product The warranty does not cover damage that results from improper or inadequate treat ment or maintenance In case of alteration or unauthorized repairs the warranty is automatically termi nated GARANTIE La garantie constructeur couvre tous les d fauts mat riels et de main d oeuvre pour une p riode de 36 mois compter de la date d achat La garantie ne sera recon nue que si la Carte de Garantie correctement et compl tement rem plie est pr sent e par l acheteur d origine du produit Les dommages dus un mauvais maniement de l appareil un traitement ou une maintenance incorrects ou ina d quats ne sont pas garantis Toute modification ou intervention effec tu e par
10. run for approximately 2 seconds at full speed This is to provide you with an acoustic signal that the mixer is ready for operation Additionally any dust particles that might have gotten into the enclosure are blown out The SPEAKER OUTPUTS on the rear panel of the MP7 are provided through professional standard SPEAKON high performance connectors which offer absolute secure connection The pin assignment of these sockets is 1 hot and 1 cold 23 INPUT MONO TALK MIC LINE 1 1 MIC Electronically balanced XLR type inputs identical to the ones found on major studio and live sound mixing consoles for connecting low impedance microphones The input stage provides extremely low noise and low hum signal processing at an outstandingly low distortion rate 0 00295 typically even in the high frequency range Generally any type of microphone can be connected as long as its pin assignment 24V PHANTOM is in accordance with the diagram shown aside Connecting condenser type microphones is no problem In that case the 1 2 PIN 1 SHIELD connected microphone gets its power supply 24V directly oy ite S g from the mixer So battery replacement belongs to the past Using dynamic and condenser microphones together on these inputs is generally possible Nevertheless please make sure to consider the owner s manual of the employed microphones The MIC inputs are capable of handling
11. the audio signal that is fed to these two units Identically configured each unit provides 99 stereo program presets which can be selected through the use of the UP DOWN buttons The 99 preset programs are sorted by algorithm and effect type into different groups as indicated on a printed label The programs within each preset group are sorted in ascending order where higher numbers provide the same FX type with increased intensity The presets 1 20 offer high quality reverberation effects that are equally suited for being used during live performances in the recording studio or in your home recording environment The program numbers 21 40 provide mixed effecttypes 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 presets as well as special delay and reverb programs During the initializa tion of the FX units when turning the MP7 s power on the preset 05 Large Hall 3 Bright is selected for the FX1 while the FX2 unit is set to preset 55 Delay Mono 250ms These two effect programs are equally suitable for live performances and recording applications plus that they are especially useful complementing each other when using both FX units at the same time For a more detailed description and for selecting or testing effect presets please also refer to the supplementary information form EFFECT PRESETS which lists all preset
12. use by qualified personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the Operating Instructions unless you are qualified to do so Refer all servicing to qualified service personnel 1 Security regulations as stated in the EN 60065 VDE 0860 and the CSA E60065 00 have to be obeyed when servicing the appliance 2 Use of a mains separator transformer is mandatory during maintenance while the appliance is opened needs to be operated and is connected to the mains Switch off the power before retrofitting any extensions changing the mains voltage or the output voltage 4 The minimum distance between parts carrying mains voltage and any accessible metal piece metal enclosure respectively between the mains poles has to be 3 mm and needs to be minded at all times The minimum distance between parts carrying mains voltage and any switches or breakers that are not connected to the mains secondary parts has to be 6 mm and needs to be minded at all times 5 Replacing special components that are marked in the circuit diagram using the security symbol Note is only permissible when using original parts 6 Altering the circuitry without prior consent or advice is not legitimate 7 Any work security regulations that are applicable at the location where the appliance is being serviced have to be strictly obeyed This applies also to any regulations about the work place itself 8 All instruc
13. 2 5kHz 4kHz 8kHz 16kHz Ea STEREO MASTER GRAPHIC EQUALIZER ON 2 9 6 3 47 e 48 e e 6 0 ES L 27 R Em 49 2 AR 09 1 50 4 4 k R 51 MASTERA OES The frequency ranges as well as the characteristics of the EQ faders are designed to meet your day in day out requirements In case you intend to have a clear and highly intelligible sound you might want to increase the level setting of the 8kHz or 16kHz band a bit If the mid range sounds a bit nasal try attenuating the mid band by some decibels If you like to provide your sound with more bass you have to boost the low frequency range using the 80Hz or the 250Hz controls On the other hand if the overall sound is undefined with too much bass lowering the levels of these two frequency bands will solve the problem Especially when using the equalizer being aware of the fact that in most cases less can be more is good advice 47 EQ ON OFF This switch activates or deactivates ON OFF the integrated 7 BAND EQUALIZER 48 MASTER DISPLAY The MASTER DISPLAY offers two modes The PFL PGM LED 49 indicates which one is actually selected a MASTERA Level LED 49 is dimmed The two LED chains indicate the audio level that is output via the MASTER A OUTPUTS L and R in dBu b PFL PGM Split LED 49 lights This mode is automatically activated when pressi
14. 24 dBu 49 mV 61 5 dBu 652 uV 6 dBu 1 55 V 11 dBu 30 dBu 20 dBu 14 dBu 20 dBu 1 8 kohms gt 10 kohms 1 kohms 47 ohms 75 ohms 130 dBu 104 dBu 91 dBu 84 dBu 105 dB 9 30 dB 60 Hz 9 30 dB 2 4 kHz 9 30 dB 12 kHz 15 dB 60 Hz 12 dB 2 4 kHz 15 dB 12 kHz 10 dB 24V dc 12V dc 100V 120V 230V 240V 450 W 455 5 x 175 8 x 340 6 13 kg 112 844 112 742 112 853 BLOCK DIAGRAM MONO CHANNEL 1 9 2 FX DUAL STEREO EFFECTS lt A te FX1 FX2 Fa i Lo H H H H PEAK FX2 z lt jug e per BE 4 e m PEAK FX a UP DOWN UP DOWN lt 24 A xA EG Gei MONO CHANNELS 2 8 3 ssec LF WF HF I L 7 BAND EQ UA IE tao 4 SIGNAL MASTER L OO0000 XA TALK poe CHANNEL ATT 7 es E ne 3 BAND EG E Ee 5 anb ra d Se Y PAN LK A z 0000000 e Gs MASTER R Ne m E s T 3 c sevo Taal m2 STEREO CHANNELS 4 amp 5 IK eae I Mun s SE BILD TRANSITION ES al Dox BAND EG rm HF 39 Caria Ca gt 0 lt 3 BAND
15. 8dB of headroom Which me ans you have at least a range of 8dB before signal clipping 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 influence the channel s overall level 5 EQ SECTION The mixer s EQ section allows very differentiated shaping of the incoming audio signal within different frequency bands Turning an EQ level control 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 altering to the sound all EQ controls should be set to their neutral position i e their markers point straight up detent position If possible 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 a natural sounding reproduction as an orientation mark and rely on your musically trained ear which still is one of the best instruments for judging the sound quality Try to avoid excessive enhancement ofthe MID band The moderate use of the MID control is the best remedy to avoid acoustical feedback Lowering the frequency band s level more or less will provide you with high amplification rates wi thout feedback Set the LO EQ ac 12 cordance to your personal taste for insta
16. ERB HALLS REVERB PLATES REVERB PLATES ECHO REVERB ECHO REVERB CHORUS REVERB CHORUS REVERB DELAY STEREO DELAY el DELAY STEREO 51 DELAY eil 61 SPECIAL gg PROGRAMS 61 SPECIAL 26 PEAK LED These indicators signal if the input stages of the internal FX units are driven into clipping To achieve an adequate S N ratio please adjust the FX units input level as follows Note on how to adjust the FX input signal 1 Establish a dry mix without effect settings according to the previous descriptions 2 Set the FX return control 27 of the corresponding effect channel to its center position 3 Use the UP DOWN buttons to select the desired FX program preset 4 Press the FX ON switch 5 Play the sound source of the desired input channel and adjust the desired amount of the FX signal using the FX controls of the input channel until the resulting effect mix meets your requirements Repeat this procedure for all input channels that you would like to include in the effect mix 6 Please make sure that the PEAK LED only lights frequently at highly dynamic signal peaks 7 Now using the FX return controls lets you alter the percentage of the effect signal in the main mix It is good advice to keep an eye on the peak indicators when operating your MP7 to be able to quickly interact when the signal levels ex
17. Fi toy Employing high quality high performance PA speaker systems like the CP12 1 and CP12 2 allows sound reproduction at extreme high sound pressure levels which bares the risk of resulting hearing damage The same is true for the headphones output Do not expose your ears to high sound pressure levels over an extended period of time The use of closed DJ type headphones provides improved shielding against outer noise and is therefore strongly recommended Using these types of headphones automatically leads to reducing the sound level settings The Master EQ is primarily aimed for making minor corrections in the overall sound only Employing high quality loudspeaker systems is the best guarantee for a perfect sound even with the Master EQ being deactivated Make sure to carefully test all components of the entire system prior to a live performance Test the system set to the output level which you are going to use during the later performance This is the only way to ensure that you are not facing feedback or other problems with the connected gear resulting from vibration shock or other sources during the later performance However it is good advice to check the system s overall sound quality as well as the volume setting during a performance and make corrections if necessary Example 1 Extending your system with an add on subwoofer for more bass pressure is displayed in fig 1 Ask your local dealer before extending your system Examp
18. Hz Frequency Response 3dB ref 1 kHz Any input to any mixer output Any input to speaker output L R Crosstalk 1 kHz Fader attenuation Channel seperation Input Sensitivity all level controls in max position MIC input Line Input Mono CD MD Line Input Stereo Phone Input Stereo Power Amplifier Input Maximum Level mixing desk MIC inputs Line inputs All other inputs Record Send output All other outputs Input Impedances MIC 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 STEREO LO Shelving MID Peaking HI Shelving Equalization MIC LO Shelving MID Peaking HI Shelving Master EQ 2x7 band Stereo Phantom Power all MIC Inputs Lamp Power Requirements factory preset 50Hz 60Hz Power Consumption at 1 8 maximum output power 4 ohms Dimensions WxHxD mm Weight including lid Optional Rack Mount Kit MP7 NRS 90259 Wall Mount Kit MP7 NRS 90242 Transition Fader MP7 NRS 90261 2 x 340 W 2 x 200 W 2 x 300 W 2x 150 W 43 Vrms lt 0 006 lt 0 08 lt 0 0396 lt 0 2 15Hz 60KHz 30Hz 40kHz gt 90 dB gt 70 dB 74 dBu 155uV 54 dBu 1 55 mV
19. Make sure that the main speakers are not behind you Otherwise you will be facing feedback whenever your system set up includes microphones or turntables Use SPEAKON type cables to establish connections between the loudspeaker systems and the MP7 Follow the instructions as shown in figure1 Make sure not to inadvertently reverse connect the left and right channels The short SPEAKON type cables are used to parallel connect Hi range and Bass cabinets SPEAKER OUTPUTS Fa G e LEFT H J1 PUT Fouen 77 RATED OUT UT POWER 3 40HMS 300 ATIS 4OHNS ame MP7 Gs e es E ADD ON SUBWOOFER Fig 1 41 STANDARD INSTALLATION Place the needed sound source devices e g CD Player turntable or microphones on a secure even location and if necessary establish mains connections Connect all the gear to the MP7 Fig 2 ENTERAINER MIC TURNTABLE TURNTABLE
20. The TALK key is specially meantfor announcements or DJ like moderation with background music programs talk over Engaging this key automatically attenuates the signal levels of the channels 2 7 by about 15dB Therefore the announcer channel channel 1 clearly stands above the rest mix without need to alter any of the mixer s level settings Since the TALK function is only active as long as the TALK key is kept pressed down you have to engage it for the entire period of time you want to make an announcement As long as the TALK key is not engaged channel 1 functions like channels 2 and 3 29 INPUT STEREO X m CD MD PHONO 5 10 GAIN 0 3 WD I Ke 20 420dB 0 3 m 3 HI 30 9dB 0 MID NW 80 9dB 0 a 3 LO WW KZ 80 9dB 191 BAL 2 2 3 S 4 4 L R ASSIGN Y STEREO 4 13 14 15 16 17 13 STEREO INPUT A CD MD Unbalanced stereo inputs for connecting LINE level devices like for example CD Players MD Players Tape Decks PC Soundcards etc B phono only channels 4 5 stereo inputs with RIAA equalization for the connection of magnetic turntable pickups Caution Make sure to connect magnetic turntable pickup systems only These inputs are not suitable for connecting high level audio signal sources like CD Players etc Do not forget to connect the turntable s gr
21. ceed the normal range and enter clipping 27 EFFECT RETURN FX1 FX2 The setting of these stereo controls determines the amount of the effect signal getting added to the main mix 34 242 6 p 8 530 1 979 0 10 PHONES LLL PFL M ATI Pam 31 PHONES MIX LAMP PHONES 382 33 12V 2 4W LAMP 12V 2 4W PIN 1 SHIELD PIN 2 12 PIN3 OVDC TRANSITION PHONES 28 X Y LED These LED s indicate whether an input channel has been assigned to either side of the TRANSITION FADER 29 When these LED s are dimmed the transition function has not been activated for either input channel and the TRANSI TION FADER is inactive 29 ASSIGNABLE TRANSITION This assignable fader allows comfortably cross fading be tween the audio signals of two selected input channels Please refer to the paragraph TRANSITION SECTION in the chapter INPUT STEREO 30 PHONES This control lets you adjust the headphones volume Caution Depending on the type of headphones connec ted to the phones jack the MP7 is capable of producing very high output levels via the phones output Therefore make sure to turn the control all the way to the left minimum setting before connecting the headphones Be aware of the fact that listening to loud sound pressure levels over a longer period of time leads to hearing da mage 31 PHONES MIX This fader lets you cross fad
22. dually adjusting the GAIN controls of each channel so that the signal LED SIG is constantly lit while the peak LED PK lights briefly during peak levels only GAIN adjustment should always be carried out with EQ controls set to their center position This leaves enough headroom for later EQ adjust ment without clipping Using the PFL PGM Split function of the master display lets you trim achannel s input level setting more precisely Engage a PFL button and the yellow PFL PGM LED beneath the master display will light while the right LED chain indicates the level of the momentarily running master signal PGM and the left LED chain indicates the PFL bus level Tip The correct use of the PFL PGM Split function during mixing facilitates the matching of different signal levels to a great extent Presuming that during playback you have set the channel faders to their maximum position pressing the PFL button of the channel that you are about to adjust the level for lets you monitor the different levels on the master display The left LED chain indicates the level of the PFL channel while the right LED chain displays the level of the momentarily played back audio signal Using the GAIN controls this allows optimally matching the two signal levels 30 CD MD wi 4 N 4 X P o ee PHONO 5 10 GAIN 15 0 20dB ASSIGN Y STEREO 4 13
23. e the PFL audio signal sum of all channels with engaged PFL function and PGM the actual master signal audio signals via headphones The fader lets you pre listen the function of the TRANSITION FADER via headphones 32 PHONES STEREO phones jack for the connection of headphones with an impedance of 32 600 ohms Two phones connectors are available one on the controls panel and one on the mixer s front panel 33 LAMP XLR socket for connecting a gooseneck litlite 12VDC 2 4W max Please be sure to painstakingly mind the specificati ons on the power consumption and pin assignment of the used lamp Overload or short circuit can result in serious damage or failure of the output If possible only use the gooseneck litlite 112700 which is available from the DY NACORD accessory assortment If in doubt please consult your local dealer 35 MASTER MONO MASTERB 5 7 37 34 1 9 1M 9 0 10 0 10 SUB STEREO JL 456 QUT 35 8 4 T 38 2 UN n VR PRE cha POST 936 39 40 MONO MS A RE B T AMP OUT OUTPUTS OUTPUTS INPUTS RECORD amp 9 9 SUB OUT 34 MASTER B This control allows setting the output level of the MASTER B which is a second universal stereo output carrying the stereo sum audio signal iden tical to the MASTER A It is extremely useful in accomplishing sound reinforcement in a neighboring room or monitoring purpo
24. e user to the presence of important operating and maintance servicing instructions in the literature accompanying the appliance AVIS RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR 1 2 3 4 5 6 T 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 block any of the ventilation openings Install in accordance with the manufacturer s instructions Install only in rack with back cover Only use attachments accessories specified by the manufacturer 10 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 11 To completely disconnect mains power from this apparatus the power supply cord must be unplugged c For US CANADA and Japan only Do not defeat the safety purpose of the grounding type plug A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety When the provided plug does not fit into your outlet consult an electrican for replacement of the obsolete outlet IMPORTANT SERVICE INSTRUCTIONS CAUTION These servicing instructions are for
25. fiers from being damaged In this case you should first check if the frontal and or rear ventilation louvers are blocked Another cause for the activation of the protect functions might 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 circuit During the power on operation the PROTECT LED always lights for about two seconds This is normal It indicates that the MP7 s protection circuitry is operational 46 7 BAND EQUALIZER The MP7 s integrated switchable 7 Band Stereo Graphic Equalizer is located in the L R master channel section The seven frequency bands each providing 10dB amplification attenuation offer the possibility to optimally match the overall sound to the acoustic conditions of different locations or shape it according to your personal taste 2p 18 LLL 15 4 12 LANL ol 6 Jot 3 Vi i 1 E PL 12 d ag 1k 10k 20k 20 10 37 10 3 MASTER PROTECT 1 45 POWER 10 3 3 10 80Hz 250Hz 630Hz
26. g a signal s correct level or making special EQ adjustments without the need of including it in the main mix Once a PFL button is pressed the master display automatically enters PFL PGM mode yellow LED below the display lights The right LED chain indicates the level of the master audio signal PGM while the left LED chain indicates the PFL bus signal level 31 INPUT STEREO CD MD PHONO 5 10 GAIN L N J N P 10 209 oN i r 13 14 15 16 X ASSIGN Y TRANSITION STEREO 4 21 SIGNAL PEAK indicator The Signal Peak indicator provides optical information of a channel s actual signal level at all times As already mentioned in the chapter GAIN the signal present LED should blink in the rhythm of the incoming signal If this is not the case increasing the input level using the gain control is necessary On the other hand if the PEAK LED lights constantly the corresponding channel is likely to enter clipping and you have to reduce amplification using the gain control The signal present LED lights at levels 30dB below clipping while the peak LED lights at a level of 8dB below the occurrence of overdrive To prevent the mixer s input channels from clipping which for instance may be caused by increasing volumes keeping an eye on these indicators during operation is a good idea too Of course engaging a cha
27. g signal sources please make sure that the corresponding channel faders or at least the master faders are at their minimum settings This will save yourself your audience and the equipment from extensive wear from unpleasant plug in noise 3 LO CUT 80Hz The LO CUT switch allows muting frequen cies below 80 Hz by 18dB per octave Especially for microphone applications using the LO CUT filter is good advice since it efficiently suppresses popping so unds and rumbling noise as well as low fre quency feedback Additionally in most cases activating the LO CUT filter allows wanted booming IN boosting the bass without having the un 26 TALK MIC LINE 1 INPUT MONO Another welcome side effect is that the power amplifier and the connected loudspeaker systems are not polluted by low frequency interference closing off the sound system which certainly is not in yours or the audience s interest Your speaker systems will provide you with a truly clear natural and powerful sound performance when using the Lo CUT filter 4 GAIN Rotary control for adjusting the MIC or LINE inputs sensitivity while optimally matching the incomi
28. gnal present LED lights at levels 30dB below clipping while the peak LED lights at a level of 8dB below the occurrence of overdrive To prevent the mixer s input channels from clipping which for instance may be caused by increasing volumes keeping an eye on these indicators during operation is a good idea too Of course engaging a channel s PFL button allows monitoring that channel s level viathe display in the master section Be sure to only engage the PFL key of the channel that you are about to adjust The channel s level is displayed in the master display s left LED chain Here as well make sure that the red LED 12dB lights only briefly during dynamic peaks 28 5 0 e We So a RA e D SF gt ov A qw DN di a a o n P E o RIN TALK MIC LINE 1 INPUT MONO 11 VOLUME The channel fader is used to set the volume of a single channel and to establish an accurately proportioned mix of all input signals The channel faders should be positioned within the range of 5dB to OdB leaving you with a sufficient degree of control to allow precise matching of relative big differences in the channel s level settings Afterwards the overall volume is set through the use of the master fader Even though the channel faders offer an additional gain of 10dB it is good advice not to exceed the 5dB position 12 TALK
29. he best precaution to prevent problems from occurring during the later operation In the following we would like to provide you with some recommendations for the trouble free operation of your setup SPEAKER CABLES Our experience as a manufacturer of loudspeaker systems has taught us that flexible cables with a rubber jacket and a diameter of 2 5mm per conductor used in combination with SPEAKON plugs and sockets are the best choice to guarantee the optimal connection of loudspeaker systems The connection of the SPEAKON plugs to the corresponding connectors on the MP7 s rear panel has to be in accordance to the corresponding diagram below We recommend the use 4 wire cables where also the pins 2 and 2 are connected through This provides you with the possibility to use these cables in an active 2 way system configuration as well DYNACORD speaker cables with SPEAKON connectors and all other cables plugs and sockets are available at your professional audio dealer LF CABLES BALANCED OR UNBALANCED For LF cabling all the low current wiring your best choice are balanced cables 2 signal conductors ground shielding with XLR type connectors or stereo phone jacks and plugs The cables should be step proof shielded and never longer than absolutely necessary Too many too long cables mostly lead to confusion and generate unnecessary problems Of course you can also connect unbalanced cables with monaural phone plugs to the MP7 s in and o
30. ironment Recessed carrying handles in both side panels and an extremely sturdy transport coverlid protecting the controls ensure easy and safe transportation Besides if you want to include your MP7 in a 19 rack system the only thing you have to do is to exchange the side panels for metal rack ears Its powerful 2x300W 4ohms power amp a huge amount of functions high dynamic range low noise design and its 18 bit Dual Stereo FX section the MP7 is best equipped for universal use The 7 is going to fulfill all your expectations that you can possibly demand of an Entertainment System Use this owner s manual as a guide when exploring the capabilities of your MP7 The vast amount of integrated functions is all explained systematically and point by point Moreover you will find some useful tips on how to overcome general difficulties during live performance applications Unpacking and Warranty Open the packaging and carefully take out the MP7 Detach the protective foil covering the FX unit display In addition to this owner s manual you will find the mains cord and the warranty card Please make sure that the warranty registration form is filled out correctly You will be able to apply for warranty claims only when this form has been completed We grant 36 months of warranty starting with the date of the original purchase Therefore we ask you to also keep the original certificate of purchase stating the date of purchase Experience has shown that
31. le 2 In Fig 3 you can see how to control larger PA Systems with your MP7 Simply connect the MASTER A outputs with the external system amplifier and the MASTER B outputs with the POWER AMP INPUTS of the MP7 The volume of the Main PA is controlled by the master fader like before MASTER B drives the internal amplifiers and provides a full stereo monitoring via two additional monitor cabinets 48 SYSTEM CC de 4 0 9 amp C 2 Fig 3 2 x 300 W STEREO MONITORING 43 SPECIFICATIONS Technical Specifications MP7 Mixing desk in rated condition Unity Gain MIC Gain 20 dB all faders position 0 dB all pots in mid position master fader 6dB amplifier rated output power into 8 ohms one channel driven unless otherwise specified Maximum Midband Output Power 1 kHz THD 1 96 into 4 ohms into 8 ohms Rated Output Power 20Hz 20 kHz THD 20 296 into 4 ohms into 8 ohms Maximum Output Voltage of the power amplifier no load THD 1 kHz MBW 80kHz MIC input to Main L R output 16 dBu Power amplifier input to speaker L R output DIM 30 power amplifier IMD SMPTE power amplifier 60Hz 7 k
32. names together with the correspon ding program profiles their individual characteristics and a description of how and in which combination they are best used Take your time to test all presets and select the ones that are best suited for your specific needs Program number 0 is a Slap Back Echo effect which is mainly meant for service and testing purposes That is the reason why it is not included in the effects listing on the front panel FX1 FX2 REVERB REVERB ECHO CHORUS DELAY DELAY SPECIAL HALLS PLATES REVERB REVERB STEREO MONO PROGRAMS 23 DISPLAY The display always indicates the actually selected program number for the corre sponding FX unit 24 UP DOWN The UP DOWN keys let you step through the effect programs one by one in increasing or declining order Keeping either one button pressed for a longer period of time allows scrolling the effect program numbers with increased tempo 25 FX ON Engaging this switch turns the power of the corresponding internal FX unit on and the green LED lights For intelligibility reasons switching the FX units off during announcements is recommended Pushing down the TALK button while making an announcement from the MIC1 input channel automatically reduces the audio signal s effects portion 33 EFFECT 1 2 nyc cle Hlal 1 24 DOWN UP DOWN UP REVERB HALLS REV
33. nce to achieve the desired volu minous vocal sound Use the HI EQ to provide vocals with more crisp 27 INPUT MONO TALK MIC LINE 1 6 PAN The setting of the PAN control defines the input signal s position within the stereo image When set to its center position the audio signal is fed with equal levels to the left and right master busses The PAN section s design ensures that the overall relative level of an audio signal is maintained no matter to what position within the stereo image the PAN control is set 7 FX1 2 Using the FX1 2 control lets you route the corresponding input signal to the integrated digital effects units FX1 or FX2 at variable levels In this way assigning special effects to musical instruments or vocals is fairly simple When establishing an effect mix it is good advice to start with all FX controls set to their center position From this point you can increase or reduce the effect s intensity depending on your personal preferences Please make sure to carefully monitor the PEAK LED s in the FX1 2 channels during a performance The indicator should only light briefly at the occurrence of peak signals If the LED lights constantly it is strongly recommended to lower the affected channels send levels at their FX1 2 co
34. ng a PFL button The left LED chain indicates the PFL bus level while the right LED chain indicates the audio level of the master sum please also refer to the chapter INPUT STEREO 49 PFL PGM SPLIT LED Indicates the master display mode 50 BAL This control is for determine the ration of the levels of the left and right MASTER A output channels During music playback it is recommended to leave the BAL control at its center position when ever possible In most cases extreme settings are only useful for effect purposes 51 MASTER A FADER Stereo fader for adjusting the overall volume as well as the output level of the internal power amplifiers and the MASTER A OUTPUTS Please make sure to close the fader of the corresponding input channel or at least the MASTER controls before connecting any audio signal sources This will save yourself your audience and your equipment from unnecessary stress resulting from plug in noise 38 SPEAKER OUTPUTS RIGHT ager LEFT 2 ES NOT CONNECTED ES 24 2 RATED OUTPUT POWER RATED OUTPUT POWER 300 WATTS 4 OHMS 300 WATTS 4 OHMS POWER MAINS FUSE PHONO GROUND REAR PANEL SPEAKER OUTPUTS RIGHT LEFT The MP7 provides professional SPEAKON type high perfor mance connectors which offer mechanically and electric secu re connection that complies with any safety standards Additionally SPEAKON type connectors allow utilizing high performance loudspeake
35. ng signals to the mixer s internal operation level Cautious adjusting offers the benefits of an improved S N ration and provides you with the full bandwidth of the MP7 s outstanding sound capabilities On the XLR type connectors an amplification of 10dB is achieved when the control is set all the way to the left and 60dB when the control is set to its maximum position to the right Especially when dealing with very low input levels like they occur during vocal recordings or when picking up distant sound sources 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 50dB 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 correct input level Note on how to set the input level 1 Set the gain control and the corresponding channel fader to their minimum setting 2 Connect the desired sound source microphone musical instrument to the corresponding MIC or LINE input 3 Play the sound source at its highest volume setting respectively sing or speak as loud as possible directly into the microphone 4 While doing so adjust the input level using the gain control so that during the loudest passages the PEAK LED is just not lit but the SIGNAL LED lights constantly This is the basic channel setting leaving you with at least
36. nnel s PFL button allows monitoring that channel s level via the display in the master section Be sure to only engage the PFL key of the channel that you are about to adjust The channel s level is displayed in the master display s left LED chain Here as well make sure that the red LED 12dB lights only briefly during dynamic peaks 22 CHANNEL FADER Stereo Fader for setting the volume of a stereo channel Different from the fader function of the MIC input channels here the audio signal is not amplified when a channel fader is set to its maximum position To be sure to use the mixer s entire dynamic capacity set the CHANNEL FADER during playback to its maximum position 32 25 26 Lt Ser DOWN UP DOWN UP 1 REVERB REVERB Al HALLS HALLS 11 REVERB 11 REVERB zo PLATES PLATES 21 ECHO 21 ECHO REVERB REVERB 31 chorus 31 cHoRus do REVERB REVERB pu 41 DeLay go STEREO STEREO 51 DELAY 51 DELAY 6 61 speci 61 SPECIAL gj PROGRAMS g PROGRAMS ON ON FX1 FX2 456 FX1 456 FX2 3 7 PK 3 c7 PK 2 j8 8 1 E 9 1 9 0 10 0 10 27 EFFECT 1 2 1 2 The MP7 employs two completely independent 18 bit stereo effect units FX1 and FX2 The setting of the mono input channels individual FX controls determines
37. ntrols For further information please refer also to the paragraphs on the FX1 2 units 8 MUTE Engaging the MUTE button mutes the audio signal of the corresponding input channel 9 PFL Engaging this button assigns a channel s audio signal to the PFL bus For monitoring the PFL bus signal via headphones slide the PHONES MIX fader in the direction PFL Simultaneously assigning more than one channel to the PFL bus is possible while the individual channel s volume fader setting is not recognized PRE FADER LISTEN Once a PFL button is pressed the master display automatically enters PFL PGM mode yellow LED below the display lights The right LED chain indicates the level of the master audio signal PGM while the left LED chain indicates the PFL bus signal level This allows you setting a signal s correct level or making special EQ adjustments without the need of including it in the main mix 10 SIGNAL PEAK indicator The Signal Peak indicator provides optical information of a channel s actual signal level at all times As already mentioned in the chapter setting instructions the signal present LED should blink in the rhythm of the incoming signal If this is not the case increasing the input level using the gain control is necessary On the other hand if the PEAK LED blinks frequently or lights constantly the corresponding channel is likely to enter clipping and you have to reduce amplification using the gain control The si
38. ound wire to the PHONO GROUND binding post Otherwise it is likely that you are faced with interference noise Tip When using turntables high acoustic output levels can result in unwanted feedback You can avoid this from happening during a performance by rehearsing the latter scenario Set the sound system to the desired maximum output level while using a turntable as sound source Feedback mostly generates in the low frequency range for that the RIAA equaliza tion of the phono inputs amplifies the signal by up to approx 20dB Therefore it is good advice not to position turntables and mixer gear directly in front of the loudspeaker systems Pieces of plastic foam or special shock absorbers may be a remedy But when using them make sure not to cover any ventilation louvers of the equipment 14 INPUT SELECT Simultaneously connecting audio signal sources to both inputs A and B is possible Using the INPUT SELECT switch lets you select whether you want to reproduce the signal of source A CD MD or B turntable for channels 4 5 or CD MD for channels 6 7 Before connecting a sound source make sure to set the corresponding input s CHANNEL FADER 22 to its minimum position This prevents the connected loudspeaker systems and the audience from being abused by nasty crackling noise 15 GAIN The setting of this control defines a channel s input sensitivity It is fairly simple to match the input level of different audio signal sources by indivi
39. pe external equipment in outputs of the MP7 with XLR connectors for in and output balanced 377 hot 0 unbalanced o All phone jack type external equipment with in outputs of the MP7 jack type connector for A hot cod 7 inputs and outputs e les e GO shield 40 STANDARD INSTALLATION In the following we will explain how to set up a standard PA system with monitoring facility using the MP7 The equipment list includes MP7 Hi range speaker system cabinets e g CP 12 2 Bass speaker system cabinets e g CP 12 1 Loudspeaker pole mount stands or 2 intermediate poles Speakon cables 8m Speakon cables 2m AM12 active monitor system LF cable with stereo phone plugs NNNNN Setting up Look for the most suitable location to set up the loudspeaker systems Whenever possible place the bass cabinets on the floor and the Hi range cabinets directly on top However in doing so make sure that the hi range cabinets lower edge is in the same height of the audience s heads or above You can either use intermediate poles between the bass and Hi range cabinets or if this does not provide enough elevation for the speaker systems or there are no bass cabinets included use appropriate speaker pole mount stands Compact overall sound is achieved by placing the left and right loudspeakers as far apart from each other as necessary but as close together as possible
40. r cables with diameters of up to 4 x 2 5mm Single plugs and jacks as well as high performance speaker cables are available from the DYNACORD accessory assort ment 2 2 NOT CONNECTED 2 POWER Mains switch for switching the MP7 s power ON or OFF The appliance is operational when the POWER ON LED lights and the power relays have switched the power amplifier output signal to the speaker outputs Before switching the mixer s power on make sure to set the master faders to their minimum position This will save yourself your audience and your equipment from unne cessary stress resulting from switching or feedback noi se When switching your audio system on with additional power amplifiers or other electronic equipment like for example CD Players MD Recorders etc connected please proceed in the following sequence 1 switch the CD Player s power on 2 switch the MP7 s power on 3 switch the additionally connected gear power amps on Please proceed in the opposite sequence when switching the audio system off PHONO GROUND Facility for connecting the chassis ground of a turntable Make sure to connect the chassis ground to the PHONO GROUND screw Otherwise you might be facing hum and interference noise 39 STANDARD INSTALLATION CABLING The mains cord is supplied with your MP7 The quality of all other cables is left to your responsibility Carefully chosen high quality cables are t
41. ses using a second power amplifier For more details please refer to the CONFIGURATION EXAMPLES 35 STEREO MONO The MASTER B outputs carry a stereo signal if this switch is set to the STEREO position not engaged When set to MONO engaged the MASTER B outputs the sum of the left and right channels 36 PRE POST Setting this switch to PRE not engaged lets you control the MASTER B level independent from the level of the MASTER A When set to POST engaged the MASTER B signal is post the MASTER A fader Changing the level of MASTER A also alters the MASTER B level 37 MONO OUT This control lets you set the output level of the MONO OUT connector 40 The MONO OUT outputs the summed audio signal of the left and right channels independent from the setting of the MASTER A Fader pre fader The MONO OUT is mostly used for connecting the monitor system or a light control desk 38 SUB OUT The SUB OUT represents an output that is especially implemented for connecting a subwoofer via an external power amplifier The SUB OUT audio signal relates to the MASTER A fader s setting post fader It employs an internal 12dB oct 100Hz low pass filter The SUB OUT control lets you set the proportion between subwoofer and general output levels of the system CAUTION In case you would like to connect an active subwoofer to the SUB OUT connector make sure that it does not incorporate an integrated frequency crossover or if so that it is deac
42. tions concerning the handling of MOS circuits have to be observed e Note A N SAFETY COMPONENT HAS TO BE REPLACED WITH ORIGINAL PART ONLY 22 DESCRIPTION CONTENTS Introduction 4x obo ese ec T ER Rees 23 Input Mono ees oe Re hn e ERR E 24 Input Stereo sar Rx 28 EOC O AEA smal etes laesa Rose Granite 31 5 33 Masltet 5 2 Dese a mist irn re denne 34 Rear panel 3 e apto enata re e 37 Standard installation 38 Specifications o Sa Na RED PLE ERE 62 Block diagram ists Seb dee ere RAE 63 DIMENSIONS EEN 64 Warranty coe d coe ete ted Der cere 68 Congratulations You will find out that purchasing a MP7 Entertainment System was an excellent decision The design of the MP7 is based on decades of experience research and development as well as a steadfast manufacturer customer relationship in the professional audio market With the MP7 you own a power mixer that offers a wide range of functionality in a truly compact frame All the troubling experience with cabling and matching mixers amplifiers FX units and equalizers now belongs to history The mixer s ergonomic layout and clearly structured controls allow instant access at all times The MP7 additionally provides the possibility for connecting a litlite to compensate for poor lighting in a live mixing env
43. tivated If this is not possible you are left with the options of choosing the Mono OUT or MASTER B outputs to accomplish the task The SUB OUT audio signal is output via the SUB OUT connector 41 39 RECORD SEND These RCA type connectors carry the MASTER A pre fader audio signal which means that the setting of the master fader doesn t affect the level of the audio signal that is present at the RECORD SEND connectors which let you connect a CD MD recorder or TAPE DAT deck The nominal level of 10dBV at this output is suitable for professional use as well as for home recording purposes 40 43 OUTPUT CONNECTORS Impedance balanced outputs for the connection of external gear The outputs are carried out as stereo phone type jacks Whenever possible use balanced cables Balanced cabling is the best method for avoiding problems with interference and humming see chapter Configuration of a standard PA system 44 POWER AMP INPUT Electronically balanced input of the internal power amplifier with signal split function Connecting a phone type plug interrupts the signal path between MASTER A and internal power amp You can now feed the internal power amplifier from the POWER AMP INPUT The MASTER A audio signal is still output via the MASTER A OUTPUTS 36 10 3 PROTECT j 45 POWER 10 3 3
44. une personne non qualifi e entraine la r siliation automatique de la garantie Anderungen vorbehalten Subject to change without prior notice GmbH Hirschberger Ring 45 94315 Straubing Telefon 09421 706 0 Telefax 09421 706 265 Printed in Germany 14 06 2001 360468 Internet http www dynacord de
45. utputs and because of its superb grounding managing system in most cases no interference will occur Still there is a minimal risk that problems could arise Generally spoken if you have the choice balanced LF cables are always the better solution and they should be preferred 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 a 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 MP7 s input stage effectively eliminates even existing artifacts of interference All inputs of the MP7 provide balanced audio connections and high common mode rejection The mixing stage outputs MASTER B OUT etc are laid out in GND SENSING technology a special impedance balanced 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 like they can be used with the MP7 balanced connecti MIC INPUT of the MP7 on of microphones unbalanced All phone jack ty
Download Pdf Manuals
Related Search