M810 - Enceinte amplifiée YORKVILLE - Free user manual and instructions

USER MANUAL M810 YORKVILLE

TYPE: YS1032 TYPE: YS1033

The Owner's Manual should be read and understood before operation of your unit. Please, save these instructions for future reference.

Packaging: Keep the box and packaging materials, in case the unit needs to be returned for service.

When using electric products, basic precautions should

always be followed, including the following: Power Sources: Your unit should be connected to a power source only of the voltage specified in the owners manual or as marked on the unit This unit has a polarized plug. Do not use with an extension cord or receptacle unless the plug can be fully inserted. Precautions should be taken so that the grounding scheme on the unit is not defeated Hazards: Do not place this product on an unstable cart stand, ipod, bracket or table. The product may fall causing serious personal injury and serious damage to the product. Use only with cart, stand, tpod, bracket, or table recommended by the manufacturer or sold with the product. Follow the manufacurers instructions when installing the product and use mounting accessories recommended by the manufacturer.

The apparatus should not be exposed to dripping or splashing water; no objects filed with liquids should be placed on the apparatus.

Terminals marked with the “ightning bol are hazardous live; the external wiring connected to these terminals require installation by an instructed person or the use of ready made leads or cords:

No naked flame sources, such as lighted candles, should be placed on the apparatus.

The AC supply cord should be routed so that it is unlikely that it will be damaged. If the AC supply cord is damaged DO NOT OPERATE THE UNIT.

The unit should be serviced only by qualified service personnel

safety-4v0.pdf 04/29/03

Thank you for purchasing a Yorkville powered mixer. We at Yorkville Sound are confident that you’!l find the M810/M1610 to be an excellent and versatile mixer/amp. Weve used our expe- rience in the development of powered mixers to create the smallest, lightest, and most power- ful combination mixer/amplifiers available. This manual contains information to help you get the maximum performance from your M810/M1610. We hope you'll take the time to read it.

Stereo Power Amplifier

The M810/M1610 features high-efficiency stereo power amplifiers which have been designed to deliver maximum power into a 4-ohm load. When lower speaker impedances are connect-

ed, a dedicated, sonically transparent circuit limits the output power to safe levels. Multiple speakers may be connected without the amplifier overheating or shutting down.

1. MIC & LINE Inputs

The M810/M1610 features gold-plated dual- contact XLR low-impedance microphone con- 4 6 7/8 nectors on the channels. These microphone inputs are balanced for maximum noise sup- pression. Condenser microphones can also be connected. The 48 Volt DC phantom power is activated by depressing the Phantom Power push-button on the rear panel.

Note: Condenser and dynamic mics can be used together while the phantom power is on. It will not affect the perfor- mance of the dynamic mics.

In addition to the XLR inputs, each channel features 4-inch LINE in jacks. Channels 1-4, 7/8 and 9/10 are balanced line-level inputs and will accept either balanced (Tip/Ring/ Sleeve) or unbalanced (Tip/Sleeve) input cables from high impedance microphones, mixer line outputs, keyboards, synthesizers, electric pianos etc.

Note: When connecting a balanced signal, use balanced patch cables with either an XLR or a Tip/Ring/Sleeve %-inch plug on the mixer end.

Channels 5 and 6 have very high impedance, unbalanced %4-inch inputs which are opti- mized for instruments such as electric basses, acoustic electric guitars etc. Stereo channels 7/8 and 9/10 have Left and right 44-inch balanced LINE in jacks as well as mono gold-plated XLR low impedance microphone inputs. The %-inch inputs may be used to connect a stereo CD player, tape deck or an additional mixer etc. À phono pre-amplifier must be connected to the M810/M1610 inputs for optimum turntable performance.

Connecting signals to both types of inputs on any one channel (MIC and LINE in) is not recommended. To do so may change the gain of the input circuit.

Note: You may connect a stereo source to channels 1 through 6 but you must use two chan- nels, one for left and one for right and Pan appropriately or sum to mono using a ‘Y’ cable.

2. Channel 1-6 TRIM Controls & SET LEDs

The first 6 mono channels of the M810/M1610 have been equipped with an input TRIM control and are also protected by an overload protection circuit. The TRIM controls are used to make sure that an ideal signal Level is flowing through the channel, no matter what the input source. Each channel has a green LED that will flash when the proper signal level has been reached. The channel overload protection circuit will provide additional protection from clipping on peaks of up to 16 dB above normal operating levels.

i.. Turn down the channel LEVEL control,

ii. With a normal signal present at the input, turn up the TRIM control until the green LED just starts to flash (when the signal peaks).

iii. You can then use the LEVEL control to set the channel volume Level. Increasing the TRIM beyond this point will compress the signal on that channel.

3. Channel LEVEL Controls & CLIP LEDs

This adjustment determines the signal Level sent to the MAIN mixing bus. The CLIP LED will illuminate when the channel's overall signal level is 3 dB below the onset of actual clipping. As a result, small amounts of clip LED activity are acceptable, however frequent or continu- ous activity indicates the need to turn down the LEVEL control.

In audio terminology, a bus is a mix-down channel where all the signals from the input channels are blended into one signal. The M810/M1610 has 5 busses: MAIN (left and right), MONITOR, EFFECTS and RECORD OUT.

4. Channel Lo, Mid, & Hi Equalization

The M810/M1610 tone controls adjust the bass, middle and treble frequencies for each channel independently. Center frequencies have been carefully selected to help achieve the best quality of sound. Bass is centered on 80 Hz, Mid at 2.5 kHz and the Hi is at 12 kHz. The adjustment range for each control is +/- 15 dB. These parameters provide versatile equalization consistent with the clean simplicity of the M810/M1610's design. As with equalizers, boosting one or more frequencies increase the channel's level. If the channel is already at a high Level, clipping may occur, in which case the clip LED will illuminate. Reduce the LEVEL setting and/or the Equalizer if clip activity is excessive.

Note: The center position reflects a neutral or flat EQ control setting; however, turning down EQ settings can be used effectively to reduce feedback and/or distortion).

5. Channel MON Controls

The MON control (monitor send) on each channel varies the amount of signal being sent to the monitor bus in the M810/M1610. In the mono channels the MON signal is pre-LEVEL control, post-EQ and post-TRIM. It is taken before the LEVEL control so the monitor signal can be mixed independently of the MAIN mix. As a result, channel EQ and TRIM settings do affect the sound of the monitor signals, while the channel LEVEL controls do not affect the MON signal. The MON signal in the stereo channels is pre-LEVEL and pre-EQ.

Note: With an independent monitor mix, it may be beneficial to connect a graphic equal-

izer between the MON output and the monitor amplifier (Power AMP IN B, extemal ampli- fier or powered speakers, depending on how you have it set up) to help control feedback.

6. Channel EFX Controls

The EFX control (effects send) for each channel adjusts the level of the channel signal being sent to the M810/M1610 effects bus. This signal is post-LEVEL control and post-EQ, the sound is affected by both the channel EQ controls and the channel LEVEL control. The signal from the effects bus is internally routed to the Digital Effects Processor. The channel EFX control

regulates the intensity of the built-in digital effects for the channels output. When using the built-in digital effects, you can connect a standard on/off footswitch (e.g. Yorkville model IFS- 1A) to the EFX Out/Footswitch jack to turn the internal effects on or off. For more informa- tion see the section EFX Out/Footswitch in this manual.

Tip: Alternatively, this signal at this jack can be connected to the input of an exter- nal stereo effects unit and returned via channel 7/8 or 9/10. However, if you do not require any effects at all, the effects bus output signal can be connected to the input of an additional monitor system or another amp/speaker system via the EFX Out/ Footswitch jack using a standard balanced patch cord. In this case, the EFX controls would act as send controls to achieve a semi-separate mix. Remember that the chan- nel LEVEL controls also affect this signal.

7. Channel Pan & Bal Controls

The signal balance of each channel going to the Left and right main PA channels can be adjusted by the Pan control in channels 1 to 6, and by the Bal control in channels 7/8 and 9/10. Turning this control counterclockwise towards the L will increase the signal Level in the Left channel to a maximum of 3 dB while also reducing the level in the right channel to zero. Turning the control clockwise towards the R will increase the signal Level in the right channel while also reducing the signal level in the Left channel.

1. MAIN Master Control The MAIN master control adjusts the overall Level of the main mix, the PA volume.

Note: To ensure maximum sig- nal headroom and clarity, set the channel TRIM and LEVEL con- trols first for a good signal with- out clipping, then set the master for the overall volume desired.

2. MON Master Control The overall level of the monitor

mix is adjusted with the MON ES LP master control. pr

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Note: As with the MAIN mas- Loan É ter, set the MON master to © spam SR

deliver the desired volume after setting the channel sends.

3. MAIN EFFECTS Return Control

The MAIN EFX control regulates the amount of signal going from the output of the inter-

nal Digital Effects Processor to the MAIN mixing bus where it is mixed with the dry signals directly. It controls the intensity of the effects on the Left and right MAIN output signals.

4. MON EFFECTS Return Control

The MON EFX control regulates the amount of signal going from the output of the internal Digital Effects Processor to the MON mixing bus where it is mixed with the dry signals directly from the channel MON send controls. It controls the overall effects intensity for the MON Out signal.

5. Pre-EQ OUT, Post-EQ OUT These jacks offer a variety of patching and routing options. They are positioned in the signal path before and after the M810/M1610 main graphic equalizers.

These bus signals are at line Level, not speaker level (use the SPEAKER outputs on the rear panel to drive speakers). Using signals from these jacks has no effect on the operation of the M810/ M1610 built-in power amplifier. This makes it possible to feed an external power amplifier, or even multiple inter-connected power amps, while the internal power amplifier is functioning.

Note: It is not necessary to have speakers connected if you'd like to use the unit strictly as

a mixer. If a mono signal is required, possibly to feed a mono-house PA or another amp/ speaker system, use the L/Mono Pre-EQ jack. Mono operation of this jack is switched to left channel only as soon as a jack is inserted in the R Pre-EQ jack. The Post-EQ OUT jacks are not linked in this manner. They follow the operation of the Main/Mon switch described below.

The Power AMP A IN and Power AMP B IN jacks are direct inputs to the built-in power amplifiers. They are referred to as À and B rather than Left and right simply because it is possible to power both main PA speakers with one amplifier channel and monitors with the other. This can be accomplished by selecting the Main/Mon position on the selector

switch located between the graphic equalizers. In the Left/Right position, Power AMP A receives the Left signal while Power AMP B receives the right signal. In the Main/Mon position, Power AMP A receives a mono sum of Left and right signals while Power AMP B receives the monitor signal. An alternative use for the Power AMP A IN and Power AMP B IN jacks would be as patching inputs. Since they're switching jacks if you plug into one (or both) the internal signal flow will be interrupted. This interrupts the signal from the M810/M1610 mixer to the built-in power amplifiers allowing you to insert signal control devices such as an élite processor, an additional equalizer, or a compressor/limiter into the main stereo signal path. Connect cables from the L and R Post-EQ OUT (or Pre-EQ OUT) to the device's input jacks and then from the device’s output jacks to the M810/ M1610 Power AMP A IN and Power AMP B IN jacks.

You can connect another mixer to the M810/M1610 power amplifier through the Power AMP A IN and Power AMP B IN jacks. This slaves the amplifier to the other mixer’s sig- nals; it no longer receives the built-in mixer's signals which means that you could use the built-in mixer to do a totally separate mixing job. For example, you could patch the M810/M1610 L and R Pre-EQ OUT (or Post-EQ OUT) to inputs on another mixer con- nected to other amplifiers driving a PA speaker system while using the M810/M1610's A and B amps to power control room speakers.

These phono connectors send the L'and R pre-EQ, pre-EFFECTS (not affected by the MAIN EQ) main mix signals. The Rec OUT control, located just below the MAIN control, adjusts the sig- nal level for these jacks. Using phono patch cords, connect directly to the Auxiliary (line- level) inputs on a tape deck or other recording device.

The monitor bus output signal from the Mon OUT jack is line Level and would normally

be patched to the input of a mono power amplifier (or a single channel of a stereo amp) driving stage monitor speakers. Keep in mind that in the Left/Right position of the Amp Assign switch there is no internal equalization for the monitor mix (you might want to patch a graphic equalizer between the Mon OUT jack and the input of your monitor power amplifier, this can help regulate the feed). As mentioned under #5. Pre-EQ OUT, Post-EQ OUT section (above), the monitor mix signal can also be patched to one channel of the internal amplifier using the Amp Assign switch.

9. EFX Out / Footswitch Jack

Using this jack you can connect a standard on/off footswitch to control the activation of the internal Digital Effects Processor or it can be used as an effects send jack for use with an external effects processor.

Note: Both devices would be sent a signal, so you could connect the external unit's left and right outputs to the L and R inputs on channel 7/8 (channel 9/10 or any of the other channels). Use the LEVEL of that channel to adjust the amount of wet signal added to the main mix and the MON control to adjust the amount of wet signal added to the monitor mix. Make sure that its EFX control on the channels are turned off. An alternative could be to use the EFX Out / Footswitch jack to deliver line level signal to the input of an auxiliary amplifier or even a recording device. Here, the channel EFX controls would act as secondary level controls.

The Power LED lets you know that the M810/M1610 is plugged in, turned on and all sys- tems are normal. The Clip/Protect LEDs normally indicate clipping in the amplifiers. They will remain illuminated and the power LED will turn off in the unlikely event that the amplifiers overheat or if DC voltage is detected on the output. The AC power on/off switch is on the rear panel of the M810/M1610.

The Phantom Power LED indicates that 48 volts of DC phantom power is present on the XLR microphone inputs for powering condenser microphones. Regular dynamic mics may also be used while the Phantom Power is on. Connecting a microphone of either type with phantom power on and the channel LEVEL up will create a Large transient, result- ing in a Loud, potentially damaging pop. When setting up, either turn off the AC power, the phantom power, or set all channel levels to zero. The Phantom Power push-button is located on the rear panel between the speaker output jacks.

Left and right RCA inputs are provided to connect a CD player, cassette player or other ste- reo source to the mixer. These inputs are routed directly to the main bus, the Tape/CD con- trol adjusts the amount of signal.

The M810/M1610 includes a feature that enables users to instantly mute channels 1-8. Depressing the Mute 1-8 switch will mute channels 1-8 signals being sent to the Left, Right, Mon and EFX busses (the signals from these channels will still be sent to the record bus and will not be muted. Channel 9/10 will remain active, Leaving this channel open for allowing a microphone or CD player, cassette player or other stereo source to be heard over the Left, Right, Mon and EFX busses. This feature Lets you MER mute the mics and instruments on stage and still allows you to make announcements or play music during breaks. When the band returns to perform, simply deactivate.

Note: The Tape/CD input in the master section also remains active. While muted, the Mute LED

flashes at a slow rate (long on/short off) and the | EFX EFX clip LEDs of all the muted channels alternate long off/short on. + ve 14. Amp Assign Switch Mon; SX, Mon; SX, The MAIN controls determine the Level of the signal 2 js 2 js routed through the Amp Assign switch: ST SR

i. In the Left/Right position, the Amp Assign switch directs the Left and right MAIN master signals through Equalizer À and Equalizer B. The signal goes to the Left and right inputs of the buiïlt-in power amplifier (Amp A and Amp B) and to the left and right post-EQ OUT jacks. à

äi. In the Main/Mon position, the Amp Assign switch 5 à 78 sums the left and right MAIN signals into a single, mono signal while directing it to the input of Equalizer À, the output of which goes to both the Amp A power amp channel and to the Post-EQ MAIN OUT jack. Additionally, the signal from the MON masters output is routed through Equalizer B and then to both the Amp B power amp channel and to the MON Out jack.

1. Select & MODIFY EFX Controls

The Select control selects from 16 banks of digital reverbs, delays and other effects. Simply rotate the Select control to the basic type of effect vou prefer. This control rotates continu- ously so you can rotate in either clockwise or counter-clockwise to select the desired effect. Lists of effects banks appear later in this manual and on the front panel of the M810/ M1610. (The variations for the specific effects banks are listed Later in this manual.)

Each bank of effects contains 16 effect variations. The MODIFY EFX control selects one of these variations. For example, if bank M (Medium Delays) has been selected, position 1 on the MODIFY EFX control will give you 200 milliseconds of delay, and positions 2 through 16 will give you progressively longer delays up to 375 milliseconds. Bank P is the exception to this rule. It consists of sixteen different special effects such as pitch shift up or down, detune, flanger etc.

Note: The signal sent from the internal Digital Effects Processor to the MON mix is independent from the MON send controls on the channel strips. When a channel's EFX control is sending signal to the internal Pen

Effects processor and the MON control, for GED

that channel, is turned off, that channel's wet effects will be heard in the MON bus if the EFX to Monitor return is turned up.

2. Effects CLIP LED Situated to the right of the MODIFY EFX control, the CLIP LED indicates that the digital processor is

receiving an input signal that's too strong, resulting À Ken À em ocue in distortion. For optimum performance, the CLIP 5 tom Rene 1 Chambers Regen Delays LED should never flash. If there is clipping activity, € mais M Medium Delays ‘ F HallseThickening Delays N Long Delays turn down the channel EFX controls appropriately. 6 Halls-Regen Delays © Delays+Chorus H Gates/Reverse Reverb P Speclal Effects

3. EFFECTS TABLES See rear inside cover for effects tables.

Built in 9-Band Graphic Equalizer & Shelving EQs

Each EQ consists of a set of +/-15dB range type controls. In the M810/M1610 there are nine sliders for each channel, each one operating over a 2/3-octave portion of the midrange band of sound frequencies, as well as rotary shelving Bass and Treble controls.

Note: Equalizers have an effect on the gain of the main system as well as its frequency response. Once adjusted, you may need to adjust the MAIN master level if the clip LEDs become too active.

EQUALIZER A EQUALIZER B

160 250 400 630 1.0K 1.6K 2.5K 4.0K 6.3K There Are 3 Main Functions for the Graphic EQ & Shelving Equalizers

i. To adjust the system to help reduce feedback, à normal technique is to turn the main system up to the point of feedback and then adjust the EQ sliders individually to deter- mine which frequency band will reduce the potential of feedback. When the specific frequency band is isolated, set it to about -3 to -5 dB. Usually only 2 or 3 bands can be reduced before the feedback reduction process begins to affect the sound quality.

ä. To adjust for deficiencies in the speaker system's high frequency and bass response, the M810/M1610 also has a 2-band rotary shelving equalizer. These work in conjunction with the 9-band graphic. Yorkville engineers have developed this technique to provide you with greater tone shaping capability. This allows the graphic equalizer bands frequencies to be spaced at closer intervals, which mean better selectivity for feedback reduction and sound shaping. You may want to turn up the Lo and Hi controls to give the system a more Hifi sound when you're playing at Lower volumes. At higher volume levels, you may need to turn these controls down, this will help maximize the volume and tighten up the sound. The third use of the graphic equalizer is to adjust the sound character for artistic rea- sons. The frequencies are adjusted until the sound feels best to the musicians.

M810/M1610 Rear Panel

Each of the M810/M1610 dual power amplifiers has two 44-inch jacks and 1 Speakon jack for speaker connections. The power amplifiers are designed to provide full power into a 4- ohm load. Connecting two 4-ohm speakers (2-ohm load) to either AMP A or AMP B will not harm the M810/M1610 but the maximum power output may be reduced.

WARNING: Do not obstruct the flow of air around the vents on the rear of the M810/ M1610, this may cause the power amplifier to overheat. The amplifier will start to reduce its power output in order to keep running. In extreme cases it may be forced to shut down. lfthe clip LEDs are illuminated continuously and the Power LED is off, this will indicate shutdown. After the M810/M1610 cools down, operation will be restored automatically This condition should not occur if adequate ventilation is provided at the back of the unit.

2. Power Switch and Breaker

The Power switch and circuit breaker are located on the rear panel. If the circuit breaker trips during use, wait a few minutes (to cool), then push in to reset. The circuit breaker can trip if the amplifier is too heavily Loaded with long periods of continuous tones (such as feedback). If the circuit breaker trips immediately after being reset, take the unit to your Yorkville dealer for service.

St POWER Keep the Main Speakers between mics and audience to minimize feedback

DO NOT place Main Speakers in back of the stagel!

1. For all input connectiv-

ity use shielded wire only. Cables with a foil shield or a high-density braïd are better.

2. When changing input connections, turn down the level controls on the mixer to eliminate pops and thumps out of the loudspeakers as the cable contacts the mixer.

8. Keep input connection cables as short as possible to minimize noise and hum.

General Operating Instructions

1. Connect the AC power cord to a 120 Volt AC grounded power outlet (220 to 240 Volts in export units).

2. Turn the MAIN and MON master controls to O initially, then switch on the Power.

3. You can connect low-impedance microphones to the 3-pin XLR type MIC inputs.

4. Connect high-impedance mics or mono line-level signal sources (mixer line outputs, keyboards etc.), to the %-inch balanced LINE IN jacks on channels 1-4, 7/8 and 9/10. Connecting more than one signal source to both XLR and 4%4-inch inputs is not recommended; this includes stereo sources (if you try to connect a stereo source to a mono channel using a Y-adapter, you may get distortion). The %-inch channels 5 and 6 are optimized for musical instruments and are not balanced.

5. Connect stereo sources (CD players, tape decks, stereo keyboards etc.) to channels 7/8 or 9/10 via the stereo 44-inch balanced LINE IN type inputs. Once again, connect only one signal source per channel, and use shielded patch cords for all pre-amp connections. If a monitor send or EFX send is not required use the Tape/CD input for your stereo source.

. Use 18-gauge (or heavier) speaker cables, using shielded patch cords to connect speak- ers will waste power by heating up. Connect one or two 8-ohm PA speakers to the SPEAKER outputs on the rear panel.

Note: To deliver maximum power to a pair of 4-ohm PA speakers, connect only one speaker to each amplifier.

6b. If you are using a separate power amplifier for the stage monitor speakers, connect the main speakers (as in #6, above) and run a shielded patch cord from the Pre-EQ or Post- EQ Out jack to the input of the monitor power amp. If you are using a separate graphic equalizer for the monitors run a shielded patch cord from the Pre-EQ or Post-EQ Out OUT jack to the input of the EQ. Then, another one from the EQ's output to the input of the monitor power amp.

7. Position your main PA speakers at the front of the stage, pointing directly at the audience. Position your monitor speakers on the stage floor; preferably to one side of the mic stands, pointing up at the performer. Try to use cardioïd or uni-directional mics to help reduce the threat of feedback through the monitors (avoid having the back of the mic pointing directly at the speakers).

8. During a sound check and with the band playing, make the following control adjustments: î. On mono channels, you need to set the TRIM appropriately. To set the TRIM, first turn

the channel LEVEL control down, with a normal signal (present at the input) adjust the TRIM control until the green LED flashes only during the peaks in signal. Now you can use the LEVEL control to set the channel volume level.

di. Set the channel Lo, Mid, and Hi EQ controls at center. Set the channel LEVEL, MON, and EFX controls to seven. The Graphic EQ sliders and rotary shelving controls should be set at the center position at this point as well.

iii. Turn the MAIN and MON Master controls up to give the desired volume, the MAIN EFX return to around 7. Effects in the monitors tend to increase the possibility of feedback so if the band insists, set the MON EFX return to 5.

iv. Adjust the channel MON control/s to give each performer the desired volume levels. Use the MON master control to adjust the overall monitor Level.

v. Use the channel LEVEL control/s to balance each channel's volume level through the main PA speakers.

vi. Turn up the EFX controls on those channels requiring the selected Digital Effect. Typically, the lead and harmony vocal channels would be good candidates for effects. Reverb can be used on other channels or on recorded music, but should be used sparingly.

9. Feedback during a performance is usually caused by one of the stage monitors. The main PA is Less likely to feedback because the mics are usually a good distance from the main PA speakers. Therefore, if you're using monitors, and feedback occurs, try the following procedures:

i. Turn the MON Master down until the feedback stops.

i. If a graphic equalizer is patched between the MON output and your monitor power amp, adjust the EQ sliders individually to determine which frequency band will reduce the potential of feedback.

Now turn the MON Master back up. If the feedback returns, reset the sliders to their

original positions and retry using different sliders.

iv. In the rare case of main system feedback, follow the above type of procedure, but use the MAIN Master and the built in Graphic EQ.

Vä-inch TRS. Phone Plug

Mono Channel EQ Stereo Channel EQ Channel Effects

Effects Return to Main

Effects Return to Monitor

Reverb | Effects Footswitch

Max Gain to Line Out -Mic Input (dB) Max Gain to Line Out -Line Input (dB) Master EQ 1 (type {Channels /Range - dB) Monitor EQ 1 (type /Channels /Range - dB) Main Outputs (Line Level)

Mixer - Frequency Response (Tone and EQ Flat,+/-2dB) Mixer - Input Referred Noise to line out, @ 150 Ohms (dv)

Mixer THD (Main out wi 0dB input) Amp À - Power Output @ 8 Ohms (0%1"THD, 1kHz) Amp À - Power Output @ 4 Ohms

Amp À - Power Output -other

Amp B - Power Output @ 8 Ohms (0%1"THD, 1kHz) Amp B - Power Output @ 4 Ohms

THD - 20Hz-20kHz (dB)

Hum and Noise (un / Aweight -dB)

Typical crosstalk 1 kHz (dB)

Input Impedance - Bal/Unbal (Ohms)

Chassis Construction Rackmount

Other Features Dimensions (DWH, inches) Dimensions (DWH, cm) Weight (Ibs/kg)

10 Low, Mid, High Low, Mid, High Al Channels Yes

Grey and Black Powder Coat Steel and Aluminum

2. Channel 1-6 Trim Controls

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