MP7 - Mixer DYNACORD - Free user manual and instructions

USER MANUAL MP7 DYNACORD

49. PFL/PGM SPLIT LED

N\ DJ — PARN ADD-ON SUBWOOFER

The lightning flash with arrowhead symbol, within an — equilateral triangle is intended to alert the user to the k CAUTION | P\ of uninsulated “dangerous voltage” within the

products 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 AVIS: RSQUÉ DE CHOC ELECTRIQUE. NE PAS OUVRR ?_\intended to alert the user to the presence of important NOHEWR =

operating and maintance (servicing) instructions in the literature accompanying the appliance Read these instructions. Keep these instructions. Heed all wamings. 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. 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. To completely disconnect mains power from this apparatus, the power supply cord must be unplugged For US, CANADA and J apan only: Do not defeat the safety purpose ofthe 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 use by qualified personnel only. To reduce the risk of electric shock, do not perform any servicing other than that contained in the Operating

Instructions unless you are qualified to do so. Refer all servicing to qualified service personnel. Security regulations as stated in the EN 60065 (VDE 0860) and the CSA E60065-00 have to be obeyed when servicing the appliance. Use of a mains separator transformer is mandatory during maintenance while the appliance is opened, needs to be operated and is connected to the mains … Switch off the power before retrofitting any extensions, changing the mains voltage or the output voltage. . The minimum distance between parts carrying mains voltage and any accessible metal piece (metal enclosure), respectively between the mains poles has to be 3 mm and needs to be minded at all times. The minimum distance between parts carrying mains voltage and any switches or breakers that are not connected to the mains (secondary parts) has to be 6 mm and needs to be minded at all times. Replacing special components that are marked in the circuit diagram using the security symbol (Note) is only permissible when using original parts. Altering the circuitry without prior consent or advice is not legitimate. Any work security regulations that are applicable at the location where the appliance is being serviced have to be strictly obeyed. This applies also to any regulations about the work place itself. All instructions conceming the handling of MOS - circuits have to be observed. Note: Â SAFETY COMPONENT (HAS TO BE REPLACED WITH ORIGINAL PART ONLY)

DESCRIPTION CONTENTS Introduction. InputMono … Input/Stereo … Effect ....... derdeeseeeeeeerse Transition/Phones...….................... Master Rear panel .… . Standard installation. Specifications Block diagram Dimensions Warranty... Congratulations! You will find out that purchasing a MP 7 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 MP 7 you own a power mixerthatoffers 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 lite to compensate for poor lighting in a live mixing environment. 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 MP7 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 outthe MP 7. 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 correctiy. 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 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 MP 7 on an even surface to allow for sufficient airflow during operation. The device is equipped with an electronically controlled fan to protectthe power amplifier section againstthermal 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 atleast 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 MP 7's power on, the internal fan will 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 ofthe 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).

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 (<0.002% 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 CR ÜÙ en: sHero connected microphone gets its power supply (+24V) directly KEY PIN 2: a, + from the mixer. So, battery replacement belongs to the past. FN 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 levels in the range between -60dBu … + 11dBu; depending on the setting of the corresponding gain control. Because oftheir 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.

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 BAL ANCED

SHELD SHELD = SIGNAL

Do not connect signal sources to a channel's MIC and the LINE inputs atthe same time, since the signals cause mutual interference, which results in level reduction. When connecting 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.

The LO CUT-switch allows muting frequen- mn cies below 80 Hz by 18dB per octave 12 Especially for microphone applications using the LO CUT filter is good advice, since it efficiently suppresses popping so- quency feedback. Additionally, in most

unds and rumbling noise as well as low-fre- ° cases activating the LO CUT filter allows 3 boosting the bass, without having the un- Le wanted “booming”. 45 / 12% 100 1k 10k

TALK MIC/LINE 1 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.

Rotary control for adjusting the MIC or LINE inputs’ sensitivity, while optimally matching the incoming signals to the mixer's internal operation level. Cautious adjusting offers the benefits ofan improved S/N-ration and provides you with the full bandwidth ofthe MP 7'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 inputlevels, 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 adjustmentrange 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. Setthe 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 atits 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, butthe SIGNAL-LED lights constantiy. This is the basic channel setting, leaving you with at least 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 chan- nel's overall level.

The mixer's EQ section allows very differentiated shaping ofthe 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 setto their neutral position; i.e. their markers point straight up (detent position). If possible, do not setthe 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 ofthe best instruments for judging the sound quality. Try to avoid excessive enhancement ofthe MID band. The moderate use ofthe MID control is the bestremedy to avoid acoustical feedback. Lowering the frequency band's level more or less will provide you with high amplification rates wi- #5 TT E thout feedback. Set the LO-EQ in ac- #2 cordance to your personal taste, for , instance to achieve the desired, volu- $

minous vocal sound. Use the HI-EQ to ‘ L provide vocals with more crisp. n el

The setting of the PAN control defines the input signal's position within the stereo image When setto its center position, the audio signal is fed with equal levels to the left and right master busses. The PAN section's design ensures thatthe overall relative level of an audio signal is maintained, no matter to what position within the stereo image the PAN control is set.

Using the FX1/2 control lets you route the corresponding inputsignal 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 effects 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 constanty, it is strongly recommended to lower the affected channels’ send levels at their FX1/2 controls. For further information, please refer also to the paragraphs on the FX1/2 units

Engaging the MUTE button mutes the audio signal of the corresponding input channel.

Engaging this button assigns a channels 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 LE D-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. Ifthis is notthe case, increasing the input level using the gain control is necessary. On the other hand, ifthe PEAK LED blinks frequently or lights constantiy, the corresponding channel is likely to enter clipping and you have to reduce amplification using the gain control. The “signal present” LED lights atlevels 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 goodidea, too. Ofcourse, engaging a channel's PFL-button allows monitoring thatchannel's level via the display in the master section. Be sure to only engage the PFL-key ofthe 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.

The channel faderis used to setthe 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 ofcontrolto allow precise matching of relative big differences in the channel's level settings. Afterwards the overall volume is set through the use ofthe master fader. Even though the channel faders offer an additional gain of +10dB, it is good advice not to exceed the +5dB position.

The TALK-keyis specially meantfor announcements orD] -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.

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 connectmagnetic 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 ground 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 Setthe sound system to the desired maximum output level while using a turntable as sound source. Feedback mostly generates in the low-frequency range, forthatthe RIAA-equaliza- tion of the phono inputs amplifies the signal by up to approx. +20dB. Therefore, it is good advice notto position tumntables and mixer gear directly in front ofthe 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.

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 À (CD/MD) or B (turntable for channels 4/5 or CD/MD for channels 6/7). Before connecting a sound source, make sure to setthe corresponding inputs CHANNEL FADER (22) to its minimum position. This prevents the connected loudspeaker systems and the audience from being abused by nasty crackling noise.

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 individually adjusting the GAIN controls ofeach channel, so thatthe signal LED “SIG"is constantly lit while the peak LED “P K”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 ofthe master display lets you trim a channel's inputlevel setting more precisely. Engage a PFL button andthe 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 leftLE D-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. P resuming that during playback you have setthe 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 TheleftLED-chain indicates the level ofthe PFL-channel while the right LE D-chain displays the level of the momentarily played back audio signal. Using the GAIN-controls this allows optimally matching the two signal levels.

The mixer's tone control section allows 12 very differentiated and effective sha- 8 TT = ping ofthe incoming audio signal within 4 LL a miscellaneous frequency bands. Tur- nn ning one ofthe tone controls to the right # enhances/amplifies the corresponding . frequency range while turning it to the de left lowers/attenuates the signal of the 0 specific frequency band. Before alte- 24 ring the sound, all tone controls should 2 ei be setto their neutral position; i.e. their 2 marker points straight up (detent posi- #6 2 100 mn 1 z0k 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 ofthe original recording. 17.BAL This control lets you determine the proportion between a stereo-channels leftand rightaudio 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.

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).

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.

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). This allows you setting 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

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, ifthe 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. Ofcourse, engaging a channel's PFL-button allows monitoring that channel's level via the display in the master section. Be sure to only engage the PFL-key ofthe 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.

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 setto its maximum position. To be sure to use the mixer's entire dynamic capacity, set the CHANNEL FADER during playback to its maximum position.

EFFECT 1/2 FX1/FX2 The MP7 employs two completely independent 18-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 effectstructure, as shown on a printed listing. The programs within each preset group are sorted in ascending order, where higher numbers provide the same FX type with increased intensity. Presets 1 - 20 offer high quality reverberation effect programs that are equally suitable for live performance, recording studio or home recording applications. Program numbers 21 - 40 provide mixed effect types of echo/reverb and chorus/reverb while the numbers 41 - 60 offer different delay effects. The last group from 61 - 99 provides different flanger, chorus, and doubling effects presets as well as special delay and reverb programs. During the initialization ofthe FX units (when switching on the power of the PowerMate), preset 05 (Large Hall 3 Bright) is selected forthe FX1 while the FX2 unitis setto preset55 (Delay Mono 250ms). These two effects are similarly suitable for live performances and recording applications This is the factory-preset configuration that can be changed any time. For further information, please refer to the paragraph Changing FX Start Programs. The two effect programs are equally suitable for live performance or recording applications and can be used separately or together. For testing, evaluating and H eu £ eu 23 ppi P y gi g g

selecting effect programs, please also refer to the supplementary information form EFFECT PRESETS, which provides detailed description of all effect presets. This CIE +24 listing contains all presetnames together with the corresponding effectstructure, field

of application, and frequency characteristics. Take your time to test all presets and selectthe ones that are best suited for your specific application. Program number “0” H us Î Fs selects a Slap BackEcho, which is mainly for servicing and testing only, and therefore M revers | [1] aevene is not included in the effects listing on the front panel. D] pures ||] Piares AT en | [AT evo ST cuonus | [81] chorus LL mens | L| Rives | senc | |£] sreneo Changing FX Start Programs A nono A MED In the factory shipping state, the FX units start with the programs 5/55. If you EE prefer different programs, you can change and store the new settings in the programming mode. To assign new start programs, please proceed as e et_25 follows: où où

1. Hold down the two DOWN buttons of FX1 and FX2 simultaneously

while switching on the PowerMate. 456 FPX2

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

The display always indicates the actually selected program number for the corre- sponding FX-unit.

17 Go G = The UP/DOWN-keys let you step through the effect programs one by one in Li 23 increasing or declining order. Keeping either one button pressed for a longer period of time allows scrolling the effect program numbers with increased tempo IR IT 1-2 Don UP Down ur 25.FXON Hi ee H ee Engaging this switch turns the power of the corresponding internal FX-unit on and M revers | MT never the green LED lights. For intelligibility reasons switching the FX-units off during PLATES PLATES announcements is recommended ET eco | [21 eco Bi cnonus | [| coms Pushing down the TALK-button while making an announcement from the MIC 1-input Lo] revers | Léo] REVERS channel automatically reduces the audio signal's effects portion DEUY DE STEREO STEREO ET veu | [ST œuv (11 specuar | [51] speciar 26. PEAK LED PROGRAMS | |so] PROGRAMS These indicators signal if the input stages of the internal FX-units are driven into clipping. To achieve an adequate S/N-ratio, please adjustthe 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

2. Setthe FX-return control (27) of the corresponding effect channel to its

center position. Use the UP/DOWN-buttons to selectthe desired FX-program preset. 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. Repeatthis procedure for all input channels that you would like to include in the effect mix.

6. Please make sure thatthe PEAK LED only lights frequentiy at highly dynamic

7. Now, using the FX-return controls lets you alter the percentage of the effect

signal in the main mix. 5 w Itis good advice to keep an eye on the peak indicators when operating your MP7 to be able to quickly interact when the signal levels exceed the normal range and enter clipping

27. EFFECT RETURN FX1/FX2

The setting ofthese stereo controls determines the amountofthe effectsignal getting added to the main mix.

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

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 ofthe fact that listening to loud sound pressure levels over a longer period of time leads to hearing-da- mage!

This fader lets you cross-fade the PFL (audio signal sum of all channels with engaged PF L-function) and PGM (the actual master signal) audio signals via headphones. The fader lets you pre-listen the function ofthe TRANSITION FADER via headphones.

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.

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.

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 reinforcementin a neighboring room or monitoring purposes using a second power amplifier. For more details, please refer to the CONFIGURATION EXAMPLES.

The MASTER B outputs carry a stereo signal if this switch is set to the STEREO position (not engaged). When setto MONO (engaged), the MASTER B outputs the sum of the left and right channels.

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 postthe MASTER A fader. Changing the level of MASTER A also alters the MASTER B level

This control lets you setthe output level ofthe MONO OUT connector (40) The MONO OUT outputs the summed audio signal of the left and right channels independent from the setting ofthe MASTER A Fader (pre fader). The MONO OUT is mostly used for connecting the monitor system or a light control desk.

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 (postfader). Itemploys 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 orif so, thatitis deactivated! 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).

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 atthis outputis 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 bestmethod for avoiding problems with interference and humming (see chapter: Configuration of a standard PA-system)

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.

These LED's provide information aboutthe actual operational status ofthe MP7's internal power amplifiers. POWER ON lights whenever the MP7's power is setto ON. If, after Switching the MP7 on, the LED does not light, the first thing to do is to make sure thatthe mains plug is plugged in correctiy. Ifthatis the case and the LED still stays dimmed, please contact your dealer. The LIMIT indicator signals that the MP 7'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 - againstthermal 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 amplifiers 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 disconnectthe 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. ltindicates that the MP 7's protection circuitry is operational

46. 7-BAND EQUALIZER

The MP7's integrated, switchable 7-Band Stereo Graphic E qualizer 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 orshape itaccording to your personal taste.

MASTER A "9 The frequency ranges as well as the characteristics ofthe 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. Ifthe 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 ofthe factthatin mostcases less can be more is good advice.

The MASTER DISPLAY offers two modes. The PFL/PGM LED (49) indicates which one is actually selected: a) MASTER A Level: LED (49) is dimmed. The two LED-chains indicate the audio level that is output via the MASTER A OUTPUTS Land R in dBu. PFL/PGM Split: LED (49) lights. This mode is automatically activated when pressing 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

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

Stereo fader for adjusting the overall volume as well as the output level ofthe internal power amplifiers and the MASTER À OUTPUTS. Please, make sure to close the fader ofthe corresponding input channel or at leastthe MASTER controls before connecting any audio signalsources.This willsave yourself, your audience, and your equipment from unnecessary stress resulting from plug-in noise.

The MP7 provides professional SPEAKON-type high-perfor- mance connectors, which offermechanically and electric secu- re connection that complies with any safety standards. Additionally, SPEAKON-type connectors allow utilizing high- performance loudspeaker 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.

NOT CONNECTED 2+ POWER Mains switch for switching the MP 7'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.

STANDARD INSTALLATION CABLING The mains cord is supplied with your MP 7. The quality of all other cables is leftto your responsibility. Carefully chosen high quality cables are the 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 taughtus that flexible cables with a rubber jacketand à 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 MP 7'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 outputs and because ofits 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 ofthe MP 7'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, MOMO OUT, etc. - are laid outin 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 pot + balanced connecti- MIC INPUT ofthe MP7 has = on of microphones = hot_+ _— = Oo 7 b h 7°?) unbalanced HF -— shield cold — TT 102 All phone jack-type external equipment in/outputs ofthe MP 7 with XLR-connectors for in- and output La nn hot + cold — na) n (OC mn || = = Vol baancea Shield 192 a== hot_+ ==n (Oo || Un A] —D0 unbalanced shield — All phone jack-type extemal equipment with in/outputs ofthe MP 7 jack-type connector for A-- bot+ cod --n inputs and outputs (OU || = [ED saanced shield

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 Setting up BEBNNDNNNE 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 Compactoverallsoundis achieved by placing the leftand rightloudspeakers as far apartfrom each other as necessary but as close together as possible. Make sure thatthe 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 notto inadvertently reverse connectthe leftand rightchannels. The short SPEAKON-type cables are used to parallel connect Hi-range and Bass cabinets. ENTERAINER MIC 6 NY MC MC Ne ère 4 TS F TURNTABLE Ÿ Ne D2 DE 7 TURNTABLE U Ÿ CD-PLAYER . 4 N es) CD-PLAYER MELIC 000

STANDARD INSTALLATION Place the needed sound source devices (e.g. CD-P layer, turntable) or microphones on a secure even location and, ifnecessary, establish mains connections Connect all the gear to the MP7 (Fig. 2). DYNACORD © MP7 as) = | @) ADD-ON SUBWOOFER NS Nez Ga CP 12-1 CP 12-1 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 attheir 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:

Following this order when switching on your system prevents unpleasant power-on noise and feedback. Your PA-system is now ready for operation!

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

2. Avoid extreme output levels. The MP7 is no “HiFi-toy"!

Employing high-quality, high-performance P A-speaker systems, like the CP12-1 and CP 12-2, 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.

3. 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.

4. 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.

5. However, itis 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! Example 2: In Fig. 3 you can see how to control larger PA-S ystems with your MP 7. Simply connect the MASTER A outputs with the external system amplifier and the MASTER B outputs with the POWER AMP INPUTS ofthe 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 XA 48 SYSTEM

49. LED PFL/PGM SPLIT

LC] F S\ ADD-ON SUBWOOFER

• SPECIFICATIONS Technical Specifications MP7 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, one channel driven, unless otherwise specified. Maximum Midband Output Power, 1 kHz, THD =1 % into 4 ohms into 8 ohms Rated Output Power, 20Hz p. 20
• kHz, THD =0.2% 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 kHz 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 p. 60
• Hz Power Consumption at 1/8 maximum output power 4 ohms Dimensions, (WxHxD), mm Weight, including lid Optional Rack-Mount-Kit MP 7 (NRS 90259) Wall-Mount-Kit MP 7 (NRS 90242) Transition Fader MP7 (NRS 90261) 2x340W 2x200W 2x300W 2x150W 43 Vrms <0.006% <0.08% <0.03% <02% 15Hz p. 60
• kHz 30Hz kHz >90 dB >70 dB -74 dBu (155UV) -54 dBu (1.55 mV) -24 dBu (49 mV) -61.5 dBu (652 HV) +6 dBu (1.55 V) +11 dBu +30 dBu +20 dBu +14 dBu +20 dBu p. 40