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Dynacord PowerMate 1600 Music Mixer User Manual

1. 1 U j gt l qi EL ABMESSUNGEN DIMENSIONS 514 5 20 26 673 5 26 52 PowerMate 1000 PowerMate 1600 m05 2 DYNACORD PowerMate 1000 88 81 9 6 gt 08 S 86L vv 9 S plc 2 0 08 mmmn m mn mmm gt lt 194 7 64
2. D g D L 1 DO s gam 00 lo 3 8 ip op n a ee e eo h o O eon ce GO 0 gl e wt wo of poo 1 an GG eu 0 eu1000 eu 0 e006 eee ou i eu i eun9 eee eeoee l 1 Q Q 0 Le 871 ab 9 LOL G 9 L GOL 9 LOL LV LL Levy RACK MOUNTED 58 59 NOTES EVluuupio USA Telex Communications Inc 12000 Portland Ave South Burnsville MN 55337 Phone 1 952 884 4051 FAX 1 952 884 0043 Germany EVI AUDIO GmbH Hirschberger Ring 45 D 94315 Straubing Germany Phone 49 9421 706 0 FAX 49 9421 706 265 Subject to change without prior notice Printed in Germany 10 04 2004 363 488 www dynacord de 60
3. 7 EQ SECTION The mixers EQ section allows very differentiated shaping of the incoming audio signal within miscellaneous frequency bands Turning one of the EQ level controls to the right enhances amplifies the corresponding frequency range while turning it to the left lowers attenuates the signal of that specific frequency band Before you begin to alter the sound all EQ controls should be set to their neutral position i e their marker points straight up locked in place Try not to set the EQ controls to extreme positions Usually minor changes are totally sufficient and produce the best results in the overall sound You should use the natural reproduction as an orientation mark and rely on your musically trained ear The moderate use of the MID control is the best remedy to avoid acoustical feedback Especially in this frequency range you should try to avoid excessive enhancement Lowering the level more or less in this band will provide you with high amplification rates without feedback Use the LO control according to your pleasing to add more punch to the sound of a kick drum or body to the vocals Use the HI control in the same way to provide cymbals and the human voice with more treble and a more transparent sound The MID EQ section offers parametric EQ setting via separate rotary controls for the adjustment of level MID and frequency band kHz in the range between 100 Hz and 8 kHz 35 INPUT MONO gt
4. UNBALANCED BALANCED SHIELD SHIELD SIGNAL SIGNAL SIGNAL In case you want to connect a monaural sound source to a stereo input channel you just have to plug it into the L MONO input The signal gets internally routed to both channels 17 GAIN MIC Rotary controls for adjusting the MIC inputs sensitivity providing the possibility to optimally match the incoming signals with the mixer s internal operation level The GAIN MIC control in the stereo channel is only active for the XLR type input For further information about setting and functioning of these controls please refer to the chapter GAIN of the MONO INPUT description within this manual CAUTION The GAIN MIC control of an inactive microphone input should always be set to its minimum position Otherwise the noise of the inactive input is added to the audio signal of the corresponding LINE input which could lead to unnecessary extra noise at the main output becoming clearly intelligible in program breaks 38 o F 3 o INPUT STEREO 18 LINE TRIM These rotary controls are for matching the incoming line level signals to the operating level of the PowerMate The total adjustment range is 30dB Unity gain no amplification 0 dB is achieved at the OdB mark The control offers level reduction of 10dB and an amplification of 20dB This range allows the connection of most professional semi professional and
5. PA ATED LOAD IMPEDANCE TONNS AUX 1 AUX 2 REC SEND 2TRACK RET FX 1 FX 2 LAMP ONIY SEND SEND GLOBAL 8628160 R 2 AUX MAIN MAIN EQ EQ POVVER AMP MONO SEND _ INSERTS OUTPUTS INPUTS OUTPUTS INPUTS OUTPUT OS 2 CON 22 22 22 CON CON CON I9819 0 0 6 PHONES w L PA AMPLIFIER R 54 MASTER PATCHBAY AND DIFFERENT SETUP ALTERNATIVES 3 Maximum amount of speakers in a passive configuration The PowerMate allows the maximal connection of three loudspeaker cabinets with an impedance of 8 ohms per power amp output channel In other words the internal power amplifier is capable of driving a maximum of six 8 ohms speaker systems The following diagram shows an example of how to set up your PowerMate for operation with the maximum amount of speakers connected MONITOR Usual power mixer applications do not include a monitor amps rack Thus active monitor systems like the DYNACORD AM12 for example represent a convenient alternative 4 Active 2 way stereo configuration This example uses the internal power amplifier of the PowerMate to drive the Hi Mid cabine
6. B 2 so w 3 ey ES o o 15 3 0 2 VOICE FILTER 20 20 20 50 100 200 500 Ik 2k 5k 10k 20k 20 50 100 200 500 4k 5k 10k 20k H H LOW HI EQ MID EQ Adjustments in the MID frequency range are certainly the most effective way to shape the sound As a matter of fact determining the correct center frequency is not always as easy as it seems Here is one method amongst others how to quickly find the right setting of the parametric EQ for your application Setting Instructions 1 Slightly lower the channel fader to avoid feedback Turn the MID rotary control all the way to the right 15dB Play the desired sound source or talk into the microphone While doing so turn the frequency rotary control kHz slowly from left to right Surely and within no time you will detect the frequency range that is not to your liking or causing the feedback 6 Leave the frequency control in this position and turn the MID control to the left until the sound is natural or to your liking BON 8 AUX FX 1 2 The AUX FX controls allow adjusting individual amounts of the input signals to be routed to the integrated FX1 or the FX2 effects units The sig
7. As well as with the inserts of the monaural input channels different DIRECT OUT functions can be accomplished Please also refer to the corresponding section in the description of the MONO INPUTS 58 MAIN OUTPUTS The signals at the MAIN OUTPUTS are post master fader and mainly meant to feed additional external power amplifiers Through these outputs it is also possible to establish two way active system set ups In this case the active crossovers respectively the active subwoofers have to be connected to the MAIN OUTPUTS If you want to use the internal power amplifier to drive the high frequency cabinets the treble signal coming from the crossover has to be fed back into the PowerMate via the Power Amp In connectors 59 EQ INPUTS OUTPUTS The EQ INPUTS are provided through electronically balanced phone jacks with breaker function Inserting a phone plug interrupts the signal path between master and internal power amplifier You can then operate the internal power amps via EQ INPUTS The signals at the EQ OUTPUTS are post master fader and post internal 7 band equalizer and can be used like the MAIN OUTPUTS for connecting external power amps POWER AMP INPUTS 60 POWER AMP INPUTS The POWER AMP INPUTS are also provided via electronically balanced phone jacks with breaker function When inserting a phone plug the signal path gets split up between the master and the internal power amplifier which allows operating the interna
8. Please keep in mind that major alteration of the EQ setting does not ecessarily result in the improvement of the overall sound Especially when sound shaping is concerned less can be more 5 Repeat steps 1 4 for all stereo input channels in use If musical instruments are connected directly to the monaural inputs follow the descriptions above describing the adjustment of the microphones Make sure that all channel faders gain and LINE TRIM controls of unused input channels are at their minimum setting In this way you avoid unnecessary noise 52 SETTING UP A STANDARD PA SYSTEM Main Mix Position the master faders in the range between 30dB and 20dB Establish a basic mix using the channel faders so that the individual sound levels relate to each other according to your personal taste The best range for the channel faders to be set to is in the area of 5dB to OdB In this way you are provided with enough tolerance for later adjustments Use the master faders to adjust the overall volume In case you are using the FX units please proceed as follows 1 Set the AUX1 FX1 send controls to their center position Set the effects return fader of the FX1 unit to the 5dB mark Use the UP DOWN buttons to select the desired effect preset Press the FX ON button Play the sound source of the desired input channel and adjust the desired amount of the FX signal using the FX controls of this input channel Repeat this st
9. an open reel or an additional SUB mixer The signal is post master fader and post STANDBY switch which allows playing intermission music during performance breaks or checking the mix during the rehearsal using the headphones You just have to engage the STANDBY switch to mute all channel signals at the main outputs The 2TRACK RETURN signal however will pass unobstructed 46 MASTER 55 2TRACR to MASTER This control is used to mix the 2TRACR signal to the main mix post fader of the I NT master controls Caution When adjusting the level of the device that is connected O O to the 2TRACR RETURNS CD player tape deck etc always begin with the Soke ance 2TRACK to MASTER control set at its minimum setting Otherwise depending on the output quality of the connected sound source the outputted level can instantly hit the top 5 6 2 SEN 56 2TRACR to AUX 3 4 The signal coming from the 2TRACK RETURNS is internally summed and can be added to the monitor bus using the 2TRACK to AUX3 4 control MAIN MAIN poe 57 MAIN INSERTS Stereo phone jacks for left and right channels with breaker function The low impedance output is assigned to the tip send and the high impedance input return is assigned to the ring of the connector This jack allows incorporating external third octave band or octave band EQs compressors limiters de noisers etc into the master s signal path The insertion point is pre master faders
10. 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 Z Any work security regulations that are applicable at the location where the appliance is being serviced have to be strictly obeyed This applies also to any regulations about the work place itself 8 All instructions concerning the handling of MOS circuits have to be observed NOTE A SAFETY COMPONENT MUST BE REPLACED BY ORIGINAL PART 31 DESCRIPTION First of all we would like to thank you and congratulate you to your purchase of a DYNACORD power mixer The PowerMate compact power mixers incorporate profound know how based on our research development and inter communication with our customers in the professional audio market for decades With a PowerMate you own a power mixer that offers a wide range of functionality in a very compact frame Forget about the troubling experiences with cabling and matching mixers amplifiers FX units and equalizers You now own a device with optimally matched components The mixers ergonomic console shape and clearly structured controls provide perfect overview for instant access at all times A gooseneck litlight can be easily plugged into the provided socket to compensate for insufficient lighting conditions Also during the t
11. eliminates even existing artifacts of interference All inputs of the PowerMate provide balanced audio connections and high common mode rejection The mixing stage outputs AUX MAIN EQ etc are laid out in GND SENSING technology a special pin assignment of the output jacks offering all advantages of the balanced signal transmission but lets you also connect monaural phone plugs without a problem Nevertheless as mentioned above when longer cables are involved using stereo phone plugs and balanced cables are the better alternative The diagrams below show the pin assignments of plugs and cables that are used with the PowerMate nn hot n MIC INPUT 3 balanced connec 3 Y shield col g I tion of microphones o od et El Le unbalanced All phone jack es external equipment in outputs of the with XLR type in PowerMate I ea en A output jacks MES shield oy balanced Direct OUT via FS N I INSERT uninterrupted ain Inser signal path ann hot s J unbalanced All phone jack L met shield i external equipment in outputs of the with phone jack PowerMate I nm pa n in output jacks x s o bala
12. hi fi sound sources For further details on how to set the LINE TRIM control please refer to the description of the GAIN control in monaural channels If you use a keyboard as sound source on one of the stereo inputs make sure that no split zones or layers with channel separation are activated The stereo channel mapping will otherwise appear like it is set on the keyboard the lower layer in the left and the top layer in the right channel and you will not have the opportunity to re position the sound in the overall stereo image unless you connect the keyboard output to two adjacent monaural input channels leaving you the option to place the sound in the final mix via PAN controls One more tip in case you desperately need another input and all channels of the PowerMate are already in use The microphone input and the phone plug type inputs are electrically totally separated from each other Each input is equipped with its own gain control respectively trim control providing you with the possibility to connect a LINE level sound source in addition to a microphone Of course the two sources share all other controls Consequently separate adjustments are not possible Hence to that fact this option is only meant as a subsidiary function and should only be used when there is absolutely no other alternative 19 EQ SECTION The mixers EQ section allows very comprehensive and effective shaping of the incoming audio signal within miscella
13. mainly used for monitoring Pre Fader Monitoring is especially preferable when monitoring and main mix need to be completely different from each other e g when the volume setting of particular musical instruments or vocals needs to be higher or lower than in the main mix In most cases the mixing console is placed somewhere in the audience area FOH and is being operated by an experienced sound technician POST FADER The audio signal that is present at the AUX control is tapped post volume fader and therefore affected by the fader s setting This mode is mainly used for establishing FX or special monitoring mixes Using the POST Fader method is recommended when the mixer is also located on the stage and you have to operate it yourself 36 LN w a En 2 60 dB LO CUT 80 Hz VOICE FILTER INPUT MONO Setting all AUX3 or AUX 4 controls to their center position the main mix is also present on the monitor bus giving you the opportunity to control the volume settings of each channel individually from the stage The overall volume of the monitor mix is set using the AUX3 AUX4 faders in the master section If you are using this option you should keep in mind that all volume changes made with the channel faders also apply to the monitor mix leaving you with a higher risk of acoustic feedback The Post Fader Monitoring method provides the possibility of canceling channels of some instruments like kick or snare drum
14. typical sound reinforcement installation a block diagram specifications connection guidelines etc So take your time and keep on reading Unpacking and Warranty Open the packaging and take out the PowerMate Remove the FX unit displays protective foil In addition to this owner s manual you will find the mains supply cord and the warranty card Please check if the warranty registration form is filled out correctly Only when this form is completed you will be able to apply for warranty claims DYNACORD grants 36 months of warranty starting with the date when you received the appliance from your local dealer Therefore we would like to ask you to also keep the original certificate of purchase together with the warranty certificate Keeping all papers and the original packaging of the device is generally recommendable since they come in handy re selling an appliance Installation and Connections Do not cover the ventilation louvers in the bottom plate of the appliance Always place the PowerMate on an even surface to allow for sufficient airflow during the operation The device is equipped with electronically controlled ventilators to protect the power amplifier against thermal overload The direction of the airflow is front to rear Fresh cold air enters the mixer at its lower front side and warm air leaves the device through the ventilation louvers in the rear panel Do not cover the frontal or the rear ventilation louvers Otherwis
15. you are using a monaural phone plug instead you will get a DIRECT OUT with breaker function the signal flow within the channel is interrupted DIRECT OUT ant hot qr E Wg shield 4 GAIN Rotary control for adjusting a MIC LINE inputs sensitivity These controls let you optimally adjust the incoming signals to the mixers internal operation level Cautious adjusting offers the benefits of an improved S N ratio and provides you with the full bandwidth of the PowerMate s outstanding sound capabilities On the XLR type connectors an amplification of OdB is achieved when the control is set all the way to the left and 60dB when the control is set all the way to the right Especially when dealing with very low input levels during vocal recordings or when the sound source is located in a distance the high gain is extremely profitable Using the LINE input the signal is generally attenuated by 20 dB while maintaining the total adjustment range of 60dB The LINE input s unity gain no amplification 0 dB is achieved at the 20dB mark The following is meant as a short note for your assistance on how to determine the right input level Setting Instructions 1 Set the gain control and the corresponding channel fader to their minimum values 2 Connect the desired sound source microphone musical instrument etc to the desired MIC or LINE input 3 Start the reproductio
16. 30 power amplifier IMD SMPTE power amplifier 60Hz 7 kHz Frequency Response 3dB ref 1kHz Any input to any Mixer output Any input to Speaker L R output Crosstalk 1kHz Fader and AUX Send attenuation Channel to channel CMRR MIC input 1kHz Input Sensitivity all level controls in max position MIC input LINE Input Mono LINE Input Stereo Power Amplifier Input Maximum Level mixing desk MIC inputs Mono Line inputs Stereo Line inputs All other inputs Record Send output All other outputs Input Impedances MIC Insert Return EQ Input and 2 Track Return All other inputs Output Impedances Record Send Phones All other outputs Equivalent Input Noise MIC Input A weighted 150 ohms Noise Channel inputs to Main L R outputs A weighted Master fader down Master fader 0 dB Channel fader down Master fader 0 dB Channel fader 0 dB Channel gain unity Signal Noise Ratio power amplifier A weighted Equalization LO Shelving MID Peaking mono inputs MID Peaking stereo inputs HI Shelving Master EQ 2x7 band 63 125 400 1k 2k5 6k 12k Hz Power Consumption at 1 8 maximum output power 4 ohms Dimensions WxHxD mm PowerMate1000 PowerMate1600 Weight without lid including lid PowerMate1000 PowerMate1600 Optional RMK 1000 Rack Mount Kit PowerMate 1000 2 Gooseneck Lamp 12V 2 4W 12 XLR FS11 Footswitch 56 2 x 870 W 2 x 700 W 2 x 430 W 2 x 700 W 2 x 350 W 70 Vrms
17. DYNACORD OWNER S MANUAL PowerMate 1000 1600 Power Mixer CONTENTS IMPORTANT SAFETY INSTRUCTIONS 31 IMPORTANT SERVICE INSTRUCTIONS 31 DESCRIPTION Y C ellgel l legef 1 a 32 UNPACKING AND WARRANTY _ 32 INSTALLATION O C la 32 INPUTMONO una 33 INPUTSTEREO our 38 EFFECT 12 41 AUX 3 4 ae 43 MASTER an 44 REAR PANEL 49 SETTING UP A STANDARD PA SYSTEM 50 MASTER PATCHBAY 0 0 54 SPECIFICATIONS TECHNISCHE DATEN _ 56 BLOCK DIAGRAM 1 L anRaree vv lt 57 DIMENSIONS ABMESSUNGEN 58 30 IMPORTANT SAFETY INSTRUCTIONS The lightning flash with arrowhead symbol within an CAUTION equilateral triangle is intended to alert the user to the A presence of uninsulated dangerous voltage vvithin the product s enclosure that may be of sufficient WARNING To REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK magnitude to constitute a risk of electric shock to DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE AVIS RISQU DE CHOC ELECTRIQUE NE PAS OUVRIR WARNING CONNECT ONLY TO MAINS SOCKET WITH The exclamation point within an equilateral triangle PROTECTIVE EARTHING CONNECTION T is intended to alert the user to the presence of persons important operating and maintance se
18. K peak LED of the PowerMate provides optical indication of the risk of occurring overdrive before you would actually hear the distortion over the connected speaker systems As outlined in the setting instructions the Signal LED should blink in the rhythm of the incoming signal If this is not the case you have to increase the gain If the PEAK LED on the other hand blinks frequently or lights continuously the corresponding channel is likely to enter clipping and you have to turn the gain control a bit to the left The Signal LED lights at levels 30dB below clipping while the peak LED lights at a level of 6dB below the occurrence of overdrive Keeping an eye on the indicator during a performance is also a good idea because some very dynamically performing members of a band or changing keyboard setups can easily lead to channel clipping resulting in the degradation of the overall sound 14 VOLUME The channel faders set the volume of the corresponding channels establishing an accurately proportioned mix The channel faders should be positioned within the range of 5dB to OdB leaving you with a degree of control that allows the precise matching of relative big differences in the channels level settings The overall volume is set through the use of the master faders Even though the channel faders offer an additional amplification of 10dB we would like to advise you to exceed the 5dB mark only in very few exceptional cases If the PowerMat
19. OWER 125Hz 400Hz 1kHz 2 5kHz 6kHz 12kHz L R 16 12 Siga Saga e ae Rete 575 Ge L R L MASTER R ma MASTER The PROTECT indicator lights when one of the PovverMate s extensive protection circuits against thermal overload HF induction DC at the outputs and SOAR protection is activated When the PowerMate is in protect mode the speaker outputs are muted and the amplifier inputs are short circuited to prevent the power amp from being damaged In this case you should first check whether the ventilation louvers are blocked Another cause could be that you have connected more than three 8ohms speaker systems per power output Please also disconnect the SPEAKON connectors and check the speaker cables for short circuits During power on operation the PROTECT LED always lights for about two seconds and the internal fans run at full speed signalizing that the PowerMate s protection circuitry is operational 45 MASTER LED DISPLAY The PowerMate offers two 12 segment LED chains for optical monitoring the output levels of the L R master signals The indication range of the LED meter is 40dB indicating the levels that are present at the main outputs in dBu The meters OdB mark is referenced to a OdBu output signal at the mixer output Further increasing the level leads to the power amplifiers maximum input level of 6dB equaling an output power of 700 watts into 4 ohms per c
20. ate typical lt 0 002 even in the high frequency range Generally any type of microphone can be connected as long as its pin assignment is in accordance to the diagram shown below When condenser microphones are connected you have to press the PHANTOM POWER MIC 1 6 button which is located in the input section The microphone gets its operating voltage 48Vdc through the mixer and you can forget about battery replacement times MIC 2 MIC 3 MIC 4 MIC5 48V PHANTOM POWER T N I pina sHtELp s PIN 2 a PHANTOM POWER e MIC 1 6 N 2 3 b 22 Z y COL y O SF une 22 une ZZ in 22 CAUTION Always connect the microphones before turning on the phantom power or switching the PowerMate on with phantom power being activated This is the only way to prevent your microphones from being damaged Also make sure to engage the STANDBY button in the master section to prevent yourself and your environment from nasty power on noise Simultaneous connection of condenser type microphones and dynamic microphone models is generally possible with phantom power being activated Before you do so please consult the manual of the concerned microphone The MIC input accepts levels between 60dBu 21dBu depending on the setting of the corresponding gain control Because of their low impedance design and the phantom power these XLR type inputs are not suitable for cascading
21. channel is capable of handling levels between 60dBu 11dBu Low level circuitry architecture and phantom power 48V ability of this XLR type input are mainly aimed at the connection of microphones making it not necessarily suitable for connecting Line level appliances like mixers effects units etc Please use the provided LINE inputs to connect those sound sources General functions and usage of MIC inputs were already discussed in detail for monaural channels MIC 2 MIC 3 MIC 4 MIC 5 48V PHANTOM POWER I A N PiN 1 SHIELD 30 PIN 2 a PHANTOM POWER e Q MIC 1 6 NG PIN 3 b 6 22 une 22 une S77 une S Z 16 STEREO INPUT L MONO R Electronically balanced inputs for the connection of musical instruments with stereo output like keyboards drum machines E guitars and E basses with an active output as well as all other equivalent sound sources with high level outputs like additional mixing consoles FX units CD players etc The stereo LINE input is meant for balanced or unbalanced sound sources with levels between 20dBu 41dBu For the connection of external devices you can use monaural or stereo phone plugs which are in accordance to the diagram below If the external appliance is equipped with a balanced output stage using balanced cables and plugs is preferable since this type of connection provides improved shielding against HF induction and external noise
22. cumstances and conditions have an influence on how sensitive or insensitive your system is for acoustical feedback The following notes are meant to assist you in avoiding feedback and you should take them into consideration even before you activate the feedback filter 1 Do not position the main speaker systems behind the microphones 2 Switch off all microphones that are not in use 3 Consider the microphones different polar patterns and characteristics when placing the monitor speakers 4 Do not turn up the monitor system s volume higher than actually necessary 5 Try to avoid extensive equalization on channels that you want to include in your monitor mix 6 Keep in mind that a microphone behaves different when somebody stands right in front of it 7 Position the microphones as direct as possible to the sound source If you still have the feeling that the monitor system s acoustic output is not sufficient after considering the above mentioned precautions you can use the FEEDBACK filter to mute the frequency that tends to generate feedback the most Therefore you have to perform the following steps Increase the AUX3 4 monitor level until the limit is reached where feedback starts The slightly hovering sound that you hear is generated by the system itself Switch on the feedback filter turn the rotary control and set it at the mark where the sound disappears Switching the filter on and off lets y
23. e s summing bus gets overloaded with too many high level input channels despite its special gain structure the summing amplifier could be driven into clipping Once you register that some channel faders are set above the 0dB marking lowering the setting of each channel fader by about 5dB and increasing the overall output level by elevating the master faders is the wiser solution The proportion of the mix and the overall volume stay the same while the risk of clipping is banished 37 INPUT STEREO o RE 3 o Since most features AUX faders controls and channel faders of the STEREO INPUTS are virtually identical to the ones of the MONO INPUTS vve vvill not discuss their functioning in detail again Thus in the following we only point out the differences and like to ask you to refer to the analogous paragraphs within this owner s manual describing the MONO INPUTS 15 MIC Different from the products of many other manufacturers the stereo input channels of the PowerMate like their monaural counterparts incorporate extensive circuitry and electronically balanced XLR type connectors for the connection of low impedance microphones No matter if your setup is more microphone oriented or you have more line level sound sources to connect you can always use the full amount of input channels provided by your PowerMate Dependable on its setting the high quality MIC input in the stereo
24. e the PowerMate automatically enters protect mode to prevent thermal overload While the protect mode prevents that the device is being damaged regular operation is impossible during the period of time it is activated In case the PowerMate is installed in a 19 rack system vertically you have to allow at least 2 HU of free space above and 1 HU below the mixer Of course you can cover the empty space with special blind plates that also have ventilation louvers Before establishing the mains supply connection please make sure that the device matches the voltage and frequency of your local mains supply Check the label next to the mains switch When switching the power on the internal fans will run for about 2 seconds at full speed to give you an acoustical signal that the PowerMate is ready to be operated In addition dust particles that might have gotten into the device get blown out For a secure connection the SPEAKER OUTPUTS on the rear panel of the PowerMate are provided through professional standard high performance SPEAKON connectors The pin assignment of these sockets is 1 hot and 1 cold 32 80 Hz VOICE FILTER 2 12 15 15 48 5 kHz INPUT MONO 1 MIC Electronically balanced XLR type inputs for the connection of low impedance microphones like the ones featured in major studio and live mixing consoles This type of input stage provides extraordinary low noise signal conversion at an extremely low distortion r
25. eakers are connected to the outputs of the monitor power amp 51 SETTING UP A STANDARD PA SYSTEM Connect the PowerMate s AUX3 4 SEND with the monitor amplifier s input using an LF cable with the stereo phone plug on one end and the XLR type connector on the other Connect all microphones preferably to the monaural inputs of the PowerMate and keyboards and other comparable sound sources to the rest of the available inputs Pull all faders down and engage the PowerMate s STANDBY button to prevent unwanted feedback noise First switch the PowerMate on and then the external amplifier In case you have condenser microphones connected to the PowerMate you can now turn on the phantom power by pressing the PHANTOM switch Activate the PowerMate s operational mode through pressing the STANDBY button again Sound Check First adjust the input levels of the microphones that are connected to the PowerMate Please proceed as follows 1 Set the corresponding gain controls and the channel faders to their lowest position 2 Speak or sing as loud as possible into the microphone 3 Use the gain control to adjust the level so that even at loud passages the red PEAR LED does not light but the green SIGNAL LED lights constantly Adjust the EQ of the monaural input channels 1 Slide the channel fader and the master faders up a bit so that the sound coming from the main speakers is heard 2 Turn the MID control carefully all the way
26. ecommend using 4 wire cables where also the pins 2 and 2 are connected through This provides the possibility to use these cables in an active 2 way system configuration as well DYNACORD s accessory assortment comprises different speaker cables with SPEAKON connectors and all other cables plugs and sockets available at your local professional audio dealer LF Cables Balanced or Unbalanced For LF cabling all the low current wiring your best choice are balanced cables 2 signal conductors ground shielding with XLR type connectors or stereo phone plugs The cables should be step on proof shielded and never longer than really needed Too many too long cables mostly lead to confusion and generate unnecessary problems Of course connecting unbalanced cables with monaural phone plugs to the PowerMate s in and outputs is also possible and in most cases no interference will occur because of its superb grounding managing system Generally spoken if you have the choice a balanced LF cable is always the better solution Today s modern audio equipment like amplifiers equalizers FX units mixing consoles and even some keyboards offers balanced in and outputs In a balanced signal path the cable screen provides gapless connection of all metal parts offering efficient shielding against the induction of external noise The balanced cabling in conjunction with the common mode rejection of the PowerMate s input stage effectively
27. ep for all input channels that you want to include in your effect mix 6 Adjust the AUX1 FX1 SEND controls so that the Peak LED only lights frequently at highly dynamic signal peaks GN If necessary repeat steps 1 6 for the second internal FX unit FX2 Monitor Mix For now let s presume that you don t use the Powermate as FOH mixer in the audience area but on stage The following procedure is explained for AUX3 For setting AUX4 please perform the same steps analogous Lower the setting of the AUX3 fader located in the master section Engage the AUX3 POST button located in the master section Set the AUX3 faders of all input channels in use to their center position In this way the main mix and the monitor mix are completely identical Push the AUX3 fader up until a slight feedback noise is heard Activate the FEEDBACK FILTER and adjust its control so that the feedback noise disappears Use the AUX3 fader to reduce the AUX3 level by about 6dB This will provide you with enough headroom before feedback during the performance even then when some microphone positions are changed disadvantageously Use the FX to AUX3 controls to add the effect mix to the monitor mix without influencing the main mix Normally the monitor mix needs less FX than the main mix Let the artists perform some and check the sound of the system from different angles and distances If you come to the conclusion that some correction
28. ermine the amount of the summed L and R signal that is sent POST FADE to the AUX FX summing bus For more details on the functioning of these controls please refer to the INPUT MONO section of this owner s manual 21 AUX3 4 These controls determine the amount of the summed L and R signal that is sent to the AUX3 or AUX4 summing bus Depending on the setting of the AUX PRE POST switch in the PowerMate s master section you can choose if the signal gets split PRE or POST FADER For more details on the functioning of these controls please refer to the INPUT MONO section of this owner s manual 22 BAL The function of the BAL control of the stereo channels is equivalent to the PAN control s function of the monaural channels If you turn the rotary control all the way to the right the right signal is outputted to the right output while the signal of the left channel is muted When the control is set to its center position the L R signals are present with their equal intensity on the corresponding outputs Whenever stereo sound sources are connected to a stereo input you should leave the BAL control at the center position or make only minor adjustments in either direction In case a microphone or another monaural sound source is connected the BAL controls function absolutely identical to the PAN controls of the monaural input section 23 MUTE The MUTE button mutes the input signal post fader including all AUX sends PFL and Signal Peak
29. ets Keeping a button pressed continuously lets you step quickly through the program numbers 31 32 FX1 2 to AUX3 4 These controls allow adding the output signal of FX1 or FX2 to the monitoring channel Experience has revealed that the effect level in the monitor mix has to be lower than the level in the main mix since the distance between monitor speakers and artists is much 3 7 shorter 1 9 AUX 1 SEND AWE SEND 33 FX ON This switch switches an internal FX unit on and the green LED lights Please keep in mind that you can also use an external footswitch for the switching of the FX unit In this case the LED also shows the actual operational status of the FX unit If you want to use a footswitch the FX ON switch has to be engaged first The corresponding FX unit is activated and you can use the footswitch to switch the selected effect program on or off 34 PFL Engaging the PFL button routes the audio signal to the headphones bus so that it is 1 j present at the phones output connector The phones output volume is independent of A the corresponding channel fader s setting PRE FADER LISTEN which provides the possibility to listen to the sound of the selected audio signal without including it in the CHORUS CHORUS REVERB REVERB 35 PEAK LED These indicators signal if the internal FX units or the AUX 1 2 SEND signals are on the verge of clipping To achieve an adequate S N ratio please adjust the FX un
30. hannel Although higher levels are being displayed the power amp s processor already limits the signal which is indicated by the lit LIMIT LED in the status display 46 STANDBY Pressing the STANDBY button mutes the output signals at the main outputs EQ outputs and MONO output Caution The monitor outputs AUX3 4 are still operational Because the signal flow between MAIN INSERTS and MAIN OUTPUTS is interrupted the signal feed to the internal power amplifier is also interrupted The STANDBY LED lights indicating that stand by mode is engaged and that input channel signals are not output via the speaker systems However audio signals connected via 2Track Return are still outputted providing you with a very comfortable solution to play intermission music during performance breaks 47 PFL MASTER Engaging the master PFL button the PRE FADER mono master signal is routed to the headphones bus so that it can be monitored via headphones output The volume of this signal is not affected by the setting of the MASTER fader The meter instrument in the master section is simultaneously switched so that the left LED chain indicates the level of the summed pre fader L R master signal channel in dBu which basically is the master bus level while the right LED indicates the level of the summed post fader master output 48 MASTERL R Level controls to adjust the output signals of the left and right main outputs MASTER Please make sure
31. he PowerMate is operational when the POWER ON LED lights and the power outputs are activated through automatic switching of the power relays Please make sure to set the master faders to their minimum position or engage the STANDBY switch before switching the power on This will save you your audience and the equipment from unnecessary stress In case additional external equipment is connected to the PowerMate e g power amps FX units EQs etc please proceed in the following order when switching your equipment on 1 switch on the FX units 2 switch on the PovverMate 3 switch on external power amps When switching the power off please proceed in the opposite order 49 SETTING UP A STANDARD PA SYSTEM Cabling The mains supply cord comes with the PowerMate The quality of all other cables lies in your responsibility Carefully chosen high quality cables are the best precaution to prevent later problems during live operation The following wiring alternatives are recommended to provide trouble free operation of your system Speaker Cables From our experience as a manufacturer of loudspeaker systems we know that flexible cables with a rubber jacket and a diameter of 2 5mm2 per conductor used in combination with SPEAKON plugs and sockets are the best choice to guarantee the optimal connection of loudspeaker systems Connect the SPEAKON plugs according to the corresponding diagram on the PowerMate s rear panel We r
32. hones output presents the master L R signal when there is no PFL button engaged 52 PHONES This control sets the volume of the headphones connected CAUTION Make sure to set the control to its minimum position before connecting headphones 53 RECORD SEND L R These RCA type connectors carry the PRE FADER master L R signal The signal is not affected by the setting of the master faders and therefore mostly used for the connection of cassette decks open reel tape decks or DAT recorders for recording purposes The nominal level of 10dBV of the outputs matches the professional industry standard as well as most home recording applications Nevertheless you should use the input gain control of your recording device as far as it is provided CAUTION On most tape decks the input signal is directly carried through to the outputs In case you have connected both the REC SENDS and the 2TRACK RETURNS and the PowerMate s 2TRACK to MASTER control is set to anything but its lowest setting the recorded signal is included in the main mix again The difference in delay of the two signals is responsible for dropouts and general degradation of the sound In the worst case activating the RECORD button on your tape deck could lead to very unpleasant feedback noise To prevent this from happening make sure to set the 2TRACK to MASTER and the AUX3 4 controls to their lowest settings 54 2TRACK RETURN L R Here you can connect a tape deck a CD player
33. ical output Consequently reduced leakage power or dissipation is synonymous to less waste heat energy is used more efficiently and the power consumption stays clearly below that of conventional Class AB operation As a result installing Class H power amps within rack shelf systems is possible with less space between appliances The power amplifier of the PowerMate is designed to live through the hardwearing use in the touring business It incorporates protection circuitry against thermal and capacitive overload and short circuit as well as against HF interference and DC at the outputs Further protection of the power output stage against back feed of electrical energy BACK EMF is provided through special circuitry When the PowerMate is switched on a relay controls the delayed switching of the power outputs The internal fans run shortly at full speed acoustically signaling that the PowerMate is operational Limiter circuitry soft start controls the initial current inrush preventing the mains fuse from being blown during power on Two 3 speed fans off slow fast guarantee absolute thermal stability at low running noise The ventilation is directed front to rear allowing trouble free operation even in very compact amp racks The extensive comparator circuitry constantly monitors the input and output signals of the PowerMate s power amp and activates the internal limiters whenever a non linear operational state is encountered This provides re
34. it can result in damaging this output To prevent this from happening we recommend the use of the gooseneck lamp 112700 available from the DYNACORD accessory assortment For further information please consult your local dealer STEREO POWER ANPLIFIER The PROCESSED COMPACT PRECISION stereo power amplifier of the PowerMate has been designed in discreet bipolar technology to provide a nominal output power of 700 watts into 4 ohms per channel The minimal load impedance of 2 7 ohms allows the operation with a maximum of three 8 ohms loudspeaker systems connected in parallelto each output channel Their low distortion rate and inter modulation provide the amplifiers of the PowerMate with outstanding transmission capabilities that do not have to fear the comparison with professional high end stand alone audio power amplifiers The transmission qualities of CL power amps are simply extraordinary Optimised power supply units employing low leakage toroidal transformers and the consistent use of Class H technology provide extensive headroom far above the stated nominal output At the same time this contributes to a reduction in weight and leakage power Characteristic for the Class H power amplifier design of the PowerMate is its extremely fast signal dependent operating voltage switching which results in doubling the regular supply voltage when needed In comparison to Class AB power amps Class H power amps generate by far less leakage power at ident
35. its input level as follows 4 5 6 AUX 3 5 Setting Instructions 7 El 2 1 Establish a dry mix without effect settings according to the previous 1 F descriptions O 7 Position the effect return fader of the corresponding effect channel at the 5dB mark MZ 9 gt Use the UP DOWN buttons to select the desired FX program preset aa Press the FX ON switch Play start the reproduction of the sound source connected to the desired input channel and adjust the desired amount of the FX signal using the AUX FX controls of this input channel Repeat this step for all input channels that you want to include in your effect mix 6 Monitor the Peak LED so that it only lights frequently at highly dynamic signal peaks When clipping occurs reduce the AUX FX controls in the channels 7 Use the FX to AUX control to add the effect mix to the monitor mix Use the FX return faders to add the desired amount of the FX signal to the main mix In case you are using a different effect setting for the second FX unit you have to repeat steps 2 8 respectively Pay some attention to the peak indicators when operating your PowerMate to be able to quickly interact when the signal levels exceed the normal range and enter clipping BON 36 EFFERT RETURN These stereo faders are used to determine the effect amount added to the main mix In case you have to set these faders at a position above the 5dB ma
36. l LO EQ provides you with a richer sound without additional rumbling or popping noise Another welcome side effect is that the power amplifier and the connected loudspeakers do not get polluted with unnecessary low pitched interference Your audience will be thankful for the use of the LO CUT filter too since in this way they can enjoy a truly clear natural and powerful sound performance 6 VOICING FILTER This button activates an asymmetric microphone Ap filter which can be used in addition to the channel EQ The voicing filter enhances the first harmonic oscillation and the treble of the human voice while slightly attenuating the mid frequency range This CNT voice shaping method provides powerful vocals that are clearly emphasized from the rest of the mix This pre shaping is not achievable using ordinary third or octave band equalizers The use of this filter is not restricted to vocals only Horns woodwinds and other acoustic instruments can profit from the voicing filter as vvell VVe leave it entirely up to your creativity and imagination to try the VOICING filter with as many different sound sources as you want Normally you do not have to fear any problems with the occurrence of feedback
37. l power amps via POWER AMP INPUTS For detailed information on the functioning and the operation of the MASTER PATCHBAY consisting of MAIN INSERTS MAIN OUTPUTS EQ IN and OUTPUTS and POWER AMP INPUTS please refer to the corresponding section later in this owner s manual 47 MASTER 61 FOOTSWITCH 1 ma Phone jack for the connection of an optionally available DYNACORD FS11 110 TORN 693 footswitch to switch the effect mode of the internal FX units on or off To Fr accomplish this function the FX1 and FX2 ON switches have to be engaged remotely control the effects units using only a single footswitch the FS11 has Le to be connected to the FX1 GLOBAL connector Both FX units are simultaneously switched This function is useful for example when switching from vocal performance to announcer When remotely controlling the FX units using two footswitches one FS11 needs to be connected to the FX1 GLOBAL and the other to the FX2 connector Now the two effects units can be switched independently which is mostly used to switch between different effects settings during a performance 62 LAMP XLR LAMP ONLY 12V This XLR type socket provides a DC voltage of 12V 5 vvatts and is meant for the connection of a LAMP gooseneck lamp litlite Please make sure that 12V 5W the used lamp complies with the here mentioned PIN1 N C specifications and pin assignment Overload or 6 D short circu
38. liable protection of the connected loudspeaker systems against overload and clipping Distortion is not intelligible even when the maximum input level is overridden The amplifier of the PowerMate additionally incorporates LPN filters DYNACORD patent Together with the 12dB Hi Pass filters these Low Pass Notch filters eliminate faults in the transient response of typical sound reinforcement speaker systems and provide your setup with an extraordinarily precise and powerful reproduction of low frequencies 48 NA OUTPUT RIGHT RATED LOAD IMPEDANCE 4 OHMS OUTPUT LEFT Z RATED LOAD IMPEDANCE 4 OHMS SPEAKER OUTPUTS 1 N C 2 2 2 OUTPUT WIRING CLASS 2 REAR PANEL SPEAKER OUTPUTS RIGHT LEFT The PowerMate is equipped with professional SPEAKON high performance connectors offering electrical and mechanical secure connection which complies to all security regulations It also allows the use of high quality speaker cables with diameters of 4 x 2 5mm2 The DYNACORD accessory assortment includes all recommended cables and connectors Warning The symbol h representing the speaker connectors indicates the presence of touch sensible voltages which can cause harm to body and health Please be sure to adhere to corresponding notes and instructions in this owner s manual when establishing speaker connections 2 2 NOT CONNECTED 2 POWER Mains switch to turn the PowerMate on or off T
39. lt 0 005 lt 0 01 lt 0 01 lt 0 01 15Hz 80kKHz 20Hz 70kHz gt 85 dB gt 80 dB gt 80 dB 74 dBu 155 uV 54 dBu 1 55 mV 34 dBu 15 5 mV 6 dBu 1 55 V 21 dBu 41 dBu 4 30 dBu 4 22 dBu 14 dBu 4 22 dBu 2 k ohms 2 2 R ohms 8 k ohms gt 15k ohms 1k ohms 47 ohms 75 ohms 130 dBu PM1000 95 dBu 90 dBu 83 dBu 105 dB PM1600 95 dBu 88 dBu 82 dBu 15 dB 60 Hz 15 dB 100 Hz 8 kHz 12 dB 2 4 kHz 15 dB 12 kHz 10 dB Q 2 0 640 VV 514 5 x 210 3 x 478 7 673 5 x 210 3 x 478 7 20 kg 21 kg 23 5 kg 25 kg 112 698 112 700 110 693 BLOCK DIAGRAM SLIYM 882XZ U34I4lIdQU U3MOd
40. n of the sound source at the highest volume level to be expected respectively sing or speak as loud as possible directly short distance into the microphone 4 While playing the sound source or singing into the microphone adjust the input level using the gain control so that during the loudest passages the PEAK LED is just not lit but the SIGNAL present LED lights constantly This is the basic channel setting leaving you with at least 6 dB of headroom i e you have at least a range of 6dB before signal clipping occurs In case you intend to make further adjustments to the channel s EQ setting you should perform steps 3 and 4 again afterwards since changes in the sound shaping section also have an influence on the channel s overall level 34 80 Hz VOICE FILTER 2 12 15 15 48 5 kHz INPUT MONO 5 LO CUT 80 Hz When the LO CUT switch is engaged frequencies Ap below 80 Hz are attenuated 18 dB octave slope In most cases using the LO CUT filter with microphone channels is a good advice since it efficiently suppresses popping sounds rumbling noise and low frequency feedback The only exceptions are kick drum and acoustic bass Sometimes it can be also very effective to combine the LO CUT filter with the voicing filter For instance to provide vocals with more body without getting additional low pitched PS Ps Ds El noise Activating the LO CUT and raising the bass leve
41. nal path is split post volume fader POST FADER so that the fader setting also influences the amount of the signal that is fed to the FX units Using the AUX FX controls lets you easily assign an effect for groups of musical instruments or vocals For example you can assign a short reverb effect of the FX1 unit to the lead vocals and a combined effects program echo hall and chorus via FX2 to the background vocals To determine the desired intensity of each effect you should start with the controls set at their center and make individual adjustments from there on Please monitor the PEAK LEDs in the FX1 2 channels The indicator should only light briefly at the occurrence of high program peaks If the indicator is constantly lit you should lower the send levels of those channels where the program peaks occur For further information please read the paragraphs about the FX1 2 units In case you are not using the internal FX units and or you want to connect external signal processing units the pre mixed AUX FX1 2 signals are outputted via the AUX1 2 send jacks 9 AUX 3 4 AUX 3 and AUX 4 controls are primarily meant for establishing two independent monitor mixes Using the master section s AUX PRE POST switches allows determining whether the signals are split pre or post fader PRE FADER The audio signal that is present at the AUX control is tapped pre volume fader and therefore not affected by the fader s setting This mode is
42. nced Y type cable for the Channel Insert RETURN connection of ex Main Insert ternal FX units and D signal processors 50 with phone jacks SETTING UP A STANDARD PA SYSTEM In the following we would like to explain how to install a typical sound reinforcement system in passive configuration The necessary equipment is 1 PowerMate 1000 1 Power amplifier e g 2x250 watts 2 HI cabinets e g 3 way 12 speakers 2 LO cabinets e g 15 woofer 2 Speaker pole stands or 2 connection rods 2 Stage monitor speakers 4 SPEAKON cables 8m 2 SPEAKON cables 2m 1 LF cable with a stereo phone plug on one side and an XLR type connector on the other end LEFT RIGHT 1 MONITOR AMP Y AUX 3 AUX 4 Setting Up Place the PowerMate and the external power amplifier in a way that allows their unobstructed operation and connect the mains cord Try to locate the best position where you want to place the loudspeaker systems If possible the woofers should be placed on the floor while the Hi cabinets most favorable position is above the Lo cabinets on the same vertical axis It is importan
43. neous frequency bands Turning one of the EQ level controls to the right enhances amplifies the corresponding frequency range while turning them to the left lowers attenuates the signal of that specific frequency band Before you begin to alter the sound all EQ controls should be set to their neutral position i e their marker points straight up locked in place Do not set the EQ controls to extreme positions Usually minor changes are totally sufficient and produce the best results in the overall sound You should use the natural reproduction as an orientation mark and rely on your musically trained ear The moderate use of the MID control is the best remedy to avoid acoustical feedback Especially in this frequency range you should try to avoid excessive enhancement Lowering the level more or less in this band will provide you with high amplification rates without feedback Ap 45E 06 The EQ section of the STEREO channels is designed in a way that HI and LO controls provide a degree of control that is equally adequate for LINE level inputs and microphones The MID control is active in a comparably wide frequency band around 2 4 kHz With most microphones this is the critical range where a slight attenuation offers excellent results 39 INPUT STEREO 5 10 LINE TRIM 15 20 AUX FX These controls det
44. nging FX Start Programs The two effect programs are equally suitable for live performance or recording applications and can be used separately or together For testing evaluating and selecting effect programs please also refer to the supplementary information form EFFECT PRESETS which provides detailed description of all effect presets This listing contains all preset names together with the corresponding effect structure FX 1 FX 2 ESS field of application and frequency characteristics Take your time to test all presets and select the ones that are best suited for your specific application Program number 0 selects a Slap Back Echo which is mainly for servicing and testing only and therefore is not included in the effects listing on the front panel Also provided is aT a FOOTSWITCH connector which allows the connection of a footswitch pedal to 888 remotely control the FX units EFFECT ON OFF function If your footswitch features a LED like the optionally available DYNACORD FS 11 does this indicator will light when the effect is activated EFFECT ON 6 MONO 60 MONO ECIAL SPECIAL BF Changing FX Start Programs In the factory shipping state the FX units start with the programs 5 55 If you prefer different programs you can change and store the new settings in the programming mode To assign new start programs please proceed as follows 1 Hold down the two DOWN buttons of FX1 and FX2 simultaneo
45. oint is post master fader and pre power amplifier The EQ is bypassed when the EQ ON switch is not locked in its ON position Seven frequency bands offering 10 dB amplification attenuation and a quality of Q 2 allow shaping the overall sound to meet your personal preferences or to optimally match it to the acoustic conditions of different locations Ap 15 63Hz 125Hz 400Hz 1kHz 2 5kHz 6kHz 12kHz 10 RIGHT GRAPHIC EQUALIZER ssb 0 a 63Hz 125Hz 400Hz 1kHz 2 5kHz 6kHz 12kHz 38 L R ak PROTECT 16 20 50 100 200 500 1k 2k 5k 10k 20k LIMIT 12 j POWER 9 SiGe The frequency ranges as well as the characteristics of the EQ faders are very praxis oriented In case you want to have a clear and highly 55 intelligible sound which as a side effect provides the cymbals with i _ more crisp you should raise the levels of the 12kHz or 6kHz band a spa bit If the MIDs are nasaling you should attenuate the mid range by EE some decibels To provide the kick drum with more punch you have to L R boost the low frequency range using the 63Hz or the 125Hz controls In case the overall sound is undefined with too much bass lowering the levels of these two frequency bands will solve the problem However especially with equalization y
46. other mixing consoles or the connection of FX units keyboards or other electronic equipment When connecting this kind of equipment please use the LINE level inputs 2 LINE Electronically balanced inputs for the connection of electronic instruments such as keyboards drum machines E guitars and E basses with an active output as well as all other high level signal sources like additional mixers FX units CD players etc The LINE input accepts levels between 40dBu 41dBu The connection of balanced or unbalanced signal sources is established through monaural or stereo phone plugs assigned according to the diagram below If the device that you want to connect has a balanced output stage the use of balanced cables with stereo phone plugs is preferable This type of connection is greatly insensitive to the induction of external noise or HF interference UNBALANCED BALANCED SHIELD SHIELD SIGNAL Do not connect identical signal sources to LINE and MIC inputs at the same time since the signals would interfere with each other resulting in level reduction One more noie Please do not connect E guitars or E basses with passive high impedance outputs directly to a LINE input The LINE inputs of the PowerMate like the Line level inputs of mixers from other manufacturers are designed for the connection of the relatively low source impedance of electronic instruments The reproduction of the instrument s original so
47. ou easily check whether you tuned in the correct frequency The feedback filter attenuates the level of the corresponding frequency band by about 9dB Since the filtered band is extremely narrow an alteration in the sound of your monitor system is hardly audible Caution Please be extremely careful in driving the system just below the feedback limit Careless operation resulting in feedback noise at high SPL can cause severe damage to your speaker systems and even more important the human ear 40 MUTE The MUTE button mutes the Aux Send output signal PFL signals are not affected 41 PFL Through this button you can route the pre AUX3 4 fader signal to the headphones bus The signal is outputted for listening via the headphones output The setting of the AUX3 4 fader is not relevant for the signal s volume PRE FADER LISTEN The meter instrument the master section is simultaneously switched so that the left LED chain indicates the level of the actually chosen channel in dBu leaving you with the opportunity for adjusting the level without routing it to the AUX3 4 SEND bus 43 MASTER 42 AUX3 4 VOLUME This fader controls the summed audio signal at the AUX3 4 SEND output When used for monitoring this fader lets you control the volume of the monitor system 43 7 BAND EQUALIZER Left and right master channels employ a 7 band equalizer which gets activated through the use of the EQ ON button The EQ s insert p
48. ou should be aware of the fact that in most cases less adjustments provide better results Thus your first choice should be to establish the mix using only the input channel controls and see if you get a satisfactory result If so you can use the graphic EQ for the AUX3 4 or the MONO bus where in most cases especially when used for the monitoring it is more needed You will find the description of how to include the graphic EQ in these buses in the following explanation of the MASTER PATCHBAY 44 STATUS INDICATORS These indicators are to inform you about the actual operational state of the PowerMate s internal power amplifier The POWER ON indicator is always lit when the PowerMate is operational If the LED does not light after switching the power on please make sure that the PowerMate s mains cable is correctly plugged in If this is the case and the LED is still dimmed please contact your dealer The LIMIT indicator signals that you are operating the PowerMate at the internal power amp s limit Frequent blinking of the LED is acceptable since the amplifier s incorporated limiter prevents distortion Continuous lighting indicates that you have to be aware of degradation in the outputted sound In that case the master level has to be reduced 44 63Hz 125Hz 400Hz 1kHz 2 5kHz 6kHz 12kHz 63Hz PROTECT LIMIT P
49. ously described under INPUT MONO 40 EFFERT 1 2 AUX 1 AUX 2 FX1 2 SEND SEND folie The PowerMate offers two independently controllable identically configured 24 bit stereo effect units FX1 and FX2 Each unit provides 99 program presets which are selected by the use of the UP DOWN buttons The 99 presets are divided into groups according to their different effect structure as shown on a printed listing The programs within each preset group are sorted in ascending order where higher numbers provide the same FX type with increased intensity Presets 1 20 offer high quality reverberation effect programs that are equally suitable for live performance recording studio or home recording applications Program numbers 21 40 provide mixed effect types of echo reverb and chorus reverb while the numbers 41 60 offer different delay effects The last group from 61 99 provides different flanger chorus and doubling effects presets as well as special delay and reverb programs During the 7 initialization of the FX units when switching the power of the PowerMate preset Js 05 Large Hall 3 Bright is selected for the FX1 while the FX2 unit is set to preset 55 AUX 1 SEND AUX 2 SEND Delay Mono 250ms These two effects are similarly suitable for live performances and recording applications This is the factory preset configuration that can be changed any time For further information please refer to the paragraph Cha
50. ransport you will quickly learn to appreciate the PowerMate s superiority recessed handles on the sides compact dimensions and low weight plus the sturdy cover that protects the controls from being damaged However if you would rather like to install your PowerMate 1000 in a 19 rack shelf no problem The only thing you have to do is to replace the plastic side panels by a pair of metal rack mount ears Through its multiple functions its high dynamic capacity and extremely low noise design in combination with its 24 bit Dual Stereo effect unit and the high performance power amplifier the PowerMate is best equipped for universal use No matter whether on stage in a home recording environment or in a permanent installation your PowerMate is the ideal partner to meet your expectations of a professional audio device effective and reliable Of course you want to install and operate your new PowerMate as quickly as possible Nevertheless please take the time to do this by means of this user s manual Starting with input channels effects and master areas up to the power amp every section is explained systematically and in detail within this owner s manual Through the careful perception of the manual you will learn about all functions and find some useful and practical tips for the daily operation of the PowerMate Even more important you will find some adjustment guidelines that should be painstakingly carried out plus the description of a
51. rk please check if the FX units input signals are adjusted properly Otherwise use the AUX FX SEND controls to increase the input levels 42 AUX 3 POST FEEDB FILTER 300 630 AUX3 4 Generally the AUX3 4 channel is used for monitoring purposes Depending on the setting of the AUX3 4 POST button it is also possible to configure the bus for the connection of an additional external FX unit 37 AUX3 4 SEND This output provides connection for an external FX unit or when used for monitoring a power amplifier or active stage monitor speaker systems Using the AUX3 4 fader allows setting the output level in a wide range up to 20dBu The AUX3 4 SEND is designed in Ground Sensing technology to prevent the induction of external noise even with long cables Use balanced cables for the connection of external components whenever it is possible 38 AUX3 4 POST As already previously described this switch allows determining whether Pre or Post Fader signals are present at the AUX3 4 channel The corresponding yellow LED signals when the switch is engaged and all input channel AUX3 4 controls are assigned post fader 39 FEEDBACK FILTER The feedback filter is a very narrow banded notch filter which is only active in a range that is extremely susceptible for acoustical feedback The FEEDBACK filter rotary control sets the corresponding frequency range Pressing the corresponding button activates the filter Several cir
52. rvicing 1 Read these instructions instructions in the literature accompanying the 2 Keep these instructions appliance 3 Heed all vvarnings 4 Follow all instructions 5 Do not use this apparatus near water 6 Clean only with a dry cloth T Do not cover any ventilation openings Install in accordance with the manufacture s instructions 8 Do not install near heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or the grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrican for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer 12 Unplug this apparatus during lightning storms or when unused for a long period of time 13 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
53. s in the overall sound image are necessary activate the 7 band equalizer and match the sound to your liking By doing so you should keep in mind that during the performance the sound is going to be altered because the audience is present which has a major effect on the acoustical condition of the location the degree of first reflections and the absorption of low frequencies If possible you should check the sound in the house during the performance and if necessary adjust it to the changed conditions And for the rest we like to wish you lots of fun and success with your new PowerMate mixer 53 MASTER PATCHBAY AND DIFFERENT SETUP ALTERNATIVES The patch field vvithin the master section is referred to as MASTER PATCHBAY The mixers Line output levels return and insert connections are to be found here To provide you with a wide range of connection possibilities the MASTER INSERTS MAIN OUTPUTS EQ INPUTS and EQ OUTPUTS POWER AMP INPUTS and the AUX SENDS and AUX RETURNS can be independently connected with each other or routed to external devices In the basic configuration when no plugs are inserted into any of the MASTER INPUT connectors signals are patched internally and fed to the internal power amplifier Once you connect a plug to the INSERTS EQ INPUTS or POWER AMP INPUTS the internal signal path is interrupted providing you with the opportunity to include external signals Following we would like to show you some
54. stay operational 24 PFL Engaging the PFL button sums the stereophonic audio signal of the corresponding input channel and routes the resulting monaural signal to the headphones bus You are able to listen to the audio signal via the phones output The meter instrument in the master section is simultaneously switched so that the left LED chain indicates the level of the actually chosen channel in dBu which allows optimally matching the level of the signal source You can assign as many channels as you want to the phones summing bus at the same time The volume levels of the individual signals are not affected by the setting of the corresponding channel faders PRE FADER LISTEN This gives you the opportunity to set the level and the EQ of a channel without the need to include it in the main mix i e you can leave the channel fader down or even engage the MUTE button 25 SIGNAL PEAK The stereo SIGNAL PEAK indicator function provides independent analysis of left and right channel audio signals The respective highest level reading is indicated assuring that neither one is already driven into clipping For further information on how to use this indicator most efficiently please refer to the description of the monaural channel s identical feature 26 VOLUME The channel fader is used to simultaneously adjust both levels volumes of the stereo signal Functioning and specifications are totally similar to the monaural channel fader as previ
55. t that the lower edge of the Hi cabinets is approximately at the same height level or slightly higher as the heads of the audience Either you use the interconnection rods to mount the Hi cabinets on top of the woofer cabinets or in case this kind of installation is not possible or you are not using woofer systems use the separate speaker pole stands instead Do not place the left and the right speakers further apart than necessary The less distance there is between the two speaker clusters the more compact the sound Try to avoid the positioning of the main loudspeakers behind the imaginary line of microphones Otherwise if you have to drive the system at higher sound levels the risk of feedback is very likely After you have installed all microphone stands and all artists found their place the best spot to install the monitor speakers is up front facing the musicians and vocalists Nevertheless please check if a microphone is directly pointing in the direction of a monitor In this case change its position You should also be aware of the individual characteristics of the employed microphones Establish connections according to the diagram Use the different SPEAKON cables to connect the speaker systems to the PowerMate s power outputs respectively to the power outputs of an external amplifier Make sure not to confuse the channels by accident Using the short SPEAKON cables to connect Hi and Lo cabinets in parallel The two monitor sp
56. to rain or moisture does not operate normally or has been dropped 14 Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids such as vases are placed on the equipment 15 To completely disconnect this equipment from the AC Mains disconnect the power plug from the AC receptacle 16 The mains plug of the power supply cord shall remain readily operable IMPORTANT SERVICE INSTRUCTIONS CAUTION These servicing instructions are for use by qualified personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the Operating Instructions unless you are qualified to do so Refer all servicing to qualified service personnel 1 Security regulations as stated in the EN 60065 VDE 0860 IEC 65 and the CSA E65 94 have to be obeyed when servicing the appliance 2 Use of a mains separator transformer is mandatory during maintenance while the appliance is opened needs to be operated and is connected to the mains 3 Switch off the power before retrofitting any extensions changing the mains voltage or the output voltage 4 The minimum distance between parts carrying mains voltage and any accessible metal piece metal enclosure respectively between the mains poles has to be 3 mm and needs to be minded at all times The minimum distance between parts carrying mains voltage and any switches or breakers that are not connected to the mains secondary parts has to
57. to set the input channel faders or at least the master faders to their minimum position or to engage the STANDBY switch before connecting an external sound source to an input of the PowerMate This will save you your audience and the equipment from unnecessary stress 45 MASTER REC SEND 2TRACK RET 53 54 49 MONO OUTPUT At the monaural output the summed L R master audio signal is present that can be used for additional monitoring side fill and next door applications or for the connection of a delay line or subvvoofer 50 MONO OUT With subwoofer operation next door monitoring or delay line applications a pre post switch able mono output often comes in handy PRE FADER The mono out s signal is summed and outputted pre master faders i e the level at the mono out is independent from the master faders settings POST FADER The mono out s signal is summed and outputted post master aders i e the level at the mono out depends on the setting of the master faders Of course controlling the SUB s level via master fader makes sense when using an active monaural subwoofer For monitoring applications e g side fill on the stage using the pre fader setting seems more reasonable 51 PHONES Stereo phone jack for the connection of headphones with an impedance of 32 600 ohms The audio signals of the channels with PFL buttons engaged is outputted via this connector The p
58. to the right 15dB You should not hear any feedback 3 Play the sound source or speak into the connected microphone 4 Turn the frequency control kHz slowly from left to right 5 Surely and within no time you will detect the frequency range that is not to your liking or causing feedback noise 6 Leave the frequency control in this position and turn the MID control to the left until the sound is natural or to your liking 7 If necessary adjust the Hi and LOW controls starting from their centered position until the sound matches your personal taste 8 Repeat steps 1 7 for all monaural input channels in use In case you are also using the stereo input channels you can adjust the levels in a similar way 1 Set the LINE TRIM controls the MIC gain controls and the channel fader to their lowest setting 2 Play the corresponding sound source at the highest volume that is to be expected during the performance 3 Use the LINE TRIM control to adjust the level so that even at loud passages the red PEAK LED is not lit but the green SIGNAL present LED lights constantly Adjust the EQ of the stereophonic input channels 1 Slide the channel fader and the master faders a bit up so that you can hear the sound through the main speakers 2 Ser the EQ controls to their center position 3 Play the corresponding sound source 4 Starting from the center position you can adjust the controls until the sound is to your liking
59. ts The full range signal is fed via MAINOUTPUTS or EQ OUTPUTS to an active crossover The Lo signal outputs of the x over are connected to an external power amplifier driving the woofer cabinets The signal of the x overs Hi signal outputs is fed back to the PowerMate s internal power amplifier via POWER AMP INPUTS Compared to the passive configuration the overall sound gains transparency and higher sound pressure levels are possible since the Hi Mid cabinets do not have to deal with the low frequency signals A 4 NA OUTPUT RIGHT OUTPUT LEFT Z RATED LOAD IMPEDANCE RATED LOAD IMPEDANCE 4 OHMS 4 OHMS IO 55 SPECIFICATIONS Technical Specifications PowerMate1000 PowerMate1600 Mixing desk in rated condition Unity Gain MIC Gain 20 dB all faders position O dB all pots in mid position master fader 6dB amplifier rated output power into 8 ohms dual channel unless otherwise specified Maximum Midband Output Power 1 kHz THD 1 into 2 66 Ohms into 4 Ohms into 8 Ohms Rated Output Power THD 0 1 Single Channel into 4 Ohms into 8 Ohms Maximum Output Voltage of power amplifier no load THD at 1kHz MBW 80kHz MIC input to Main L R output 16 dBu typical Power amplifier input to Speaker L R output DIM
60. typical examples of how to use the MASTER PATCHBAY 1 Connection of an external power amplifier If you need to connect more loudspeaker systems than the PowerMate is capable of handling directly you have to use an external power amplifier Using LF cables with phone plugs you can patch the signal either at the MAIN OUTPUTS pre EQ or at the EQ OUTPUTS post EQ In this configuration the signal path to the internal power amplifier is not interrupted and the audio signal is outputted via the speaker systems connected to both amplifiers AUX 1 AUX 2 REC SEND 2TRACK RET FX 1 FX 2 LAMP ONLY RW a GLOBAL 07 gt V 2 QZ FOOTSWITCH EQ POWER AMP MONO O OUTPUTS INPUTS OUTPUT 2 22 OO in gt 2 Using the internal povver amplifier for monitoring purposes In case you want to use an external power amplifier to drive your main speaker systems the internal power amps can be used for monitoring and side fill purposes Use short patch cables to connect the AUX3 or AUX4 OUTPUT to the EQ inputs see diagram The monitoring signal is fed to the internal power amps providing you with the possibility to connect passive monitor speaker systems MONITOR MONITOR g JoHo Jomo
61. und characteristics will be unsatisfactory Connect those instruments using a special transformer or pre amplifier with very high input impedance Musical instruments with an active electronic output battery powered can be connected without any problems 33 INPUT MONO VOICE FILTER 12 15 415dB ey s o DR w m oy N K When connecting signal sources please make sure to set the corresponding channel faders or at least the master faders to their minimum positions or engage the STANDBY button This will save you your audience and the equipment from extensive wear from unpleasant pops 3 INSERT Stereo phone jack with breaker function The low impedance output is assigned to the tip send and the high impedance input return is assigned to the ring This jack allows the connection of external compressors limiters EQs de noisers etc into the corresponding channel s signal path The insertion point is post gain controls Lo Cut filters and voicing stage and pre sound shaping section and channel faders You have to use a stereo phone plug according to the diagram aside in case you intend to use this jack as a true insert bus INSERT ff lt an RETURN I _ Sl SEND When using the insert socket as a DIRECT OUT Pre EQ the stereo phone plug s tip and ring have to be short circuited so that the audio signal is not interrupted If
62. usly while switching on the PowerMate 2 Prog appears briefly on the display Programming mode is now active A software related side effect is that all buttons behave a bit slower than usual 3 Release the two DOWN buttons and select the desired start programs 4 Press the two UP buttons to store the displayed effect numbers as your new start programs The FX unit acknowledges the save procedure by briefly indicating Prog on the display FX1 FX2 REVERB REVERB ECHO CHORUS DELAY DELAY SPECIAL HALLS PLATES REVERB REVERB STEREO MONO PROGRAMS 27 28 AUX1 2 SEND The audio signal of the mix that you have established for the corresponding AUX FX bus the identical mix that is fed to the internal FX1 2 units is present at this socket which makes it perfect for connecting external FX units for example Setting the level is possible by means of the corresponding AUX FX SEND control The external devices output signals can be sent back to the PowerMate via stereo channel input The AUX1 2 sends are designed in Ground Sensing technology to prevent the induction of external noise even with long cables 41 EFFERT 1 2 29 DISPLAY The display alvvays indicates the actually selected program number of the corresponding FX unit The display screen is covered with a protective foil to prevent it from being damaged during shipment Please remove the foil 30 UP DOWN The UP DOWN buttons are for selecting effect pres
63. which are in fact already very loud on stage from the monitor mix by turning the corresponding controls all the way to the left 10 PAN This control determines the position of the connected sound source within the stereo image When this control is set at its center position the audio signal is fed with equal levels to the L and R master busses The PAN control section is designed to maintain the essential sound pressure level no matter at what position within the stereo image the PAN control is set to 11 MUTE The MUTE button mutes the input signal post fader including all AUX sends PFL and Signal Peak stay functional 12 PFL Engaging the PFL button routes the audio signal to the headphones bus so that it is present at the phones output connector The meter instrument in the master section is simultaneously switched so that the left LED chain indicates the level of the actually chosen channel in dBu which allows optimally matching the level of the signal source The phones output volume does not dependent on the setting of the corresponding channel fader PRE FADER LISTEN which provides the possibility to listen to or shape the sound of the selected audio signal without need to include it in the main mix 13 SIGNAL PEAK Indicator The signal peak indicator plays a key role when setting input levels Unlike the mixers of many other manufacturers that either only provide a peak indicator or no channel indicator at all the P

Dynacord PowerMate 1600 Music Mixer User Manual

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