MP10DS - Active speaker YORKVILLE - Free user manual and instructions

USER MANUAL MP10DS YORKVILLE

OWNER'S MANUAL MANUEL DE L'UTILISATEUR

MP10DS

2 x 160 Watt Stereo 10 Channel Powered Mixer

IMPORTANT SAFETY INSTRUCTIONS

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

CAUTION:

TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

Read Instructions:

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.

Warning:

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, tripod, bracket or table. The product may fall, causing serious personal injury and serious damage to the product. Use only with cart, stand, tripod, bracket, or table recommended by the manufacturer or sold with the product. Follow the manufacturer's 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 filled with liquids should be placed on the apparatus.

Terminals marked with the "lightning bolt" 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.

Power Cord:

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.

Service:

The unit should be serviced only by qualified service personnel.

INSTRUCTIONS RELATIVES AU RISQUE DE FEU, CHOC ÉLECTRIQUE, OU BLESSURES AUX PERSONNES.

AVIS:

AFIN DE REDUIRE LES RISQUE DE CHOC ELECTRIQUE, N'ENLEVEZ PAS LE COUVERT (OU LE PANNEAU ARRIERÉ). NE CONTIENT AUCUNE PIECE REPARABLE PAR L'UTILISATEUR.

CONSULTEZ UN TECHNICIEN QUALIFIE POUR L'ENTRETIENT.

We have coupled our extensive experience in the development and production of powered mixers, (with state of the art, computer assisted design technology) to create the smallest, lightest, and most powerful combination mixer/amplifiers available. We at Yorkville Sound are confident that you will find your new MP10DS to be an efficient and versatile solution to your mixer needs. This manual contains information to help you get the maximum performance from your MP10DS. We hope you'll take the time to read it.

STEREO POWER AMPLIFIER

The MP10DS features a high-performance stereo power amplifier, which has been designed to operate safely into low overall speaker impedances. Thanks to a dedicated, sonically transparent, limiter circuit that adjusts the output power level to keep the circuitry cool. Multiple speakers may be connected to the amplifier without the amplifier overheating or shutting down. It will simply reduce output power to a safe level. Just make sure the total load does not fall below 4-Ohms.

INPUT CHANNELS

1. MICROPHONE & LINE INPUTS

The MP10DS features standard XLR type Low-impedance MIC IN connectors on the first 6 channels. These microphone inputs are electronically balanced for maximum noise suppression and have characteristics matching all low impedance dynamic microphones. Condenser microphones may also be connected with 24 Volt DC phantom power activated via the back-panel PHANTOM push-button. (Note: condenser and dynamic mics may be used together with the PHANTOM power activated. It will not affect the performance of the dynamic mics). Additionally, there are high-impedance 1/4'' BAL LINE IN jacks on all channels. These are electronically balanced line-level inputs, but will accept either balanced or unbalanced input cables from high impedance microphones, guitars, amplifier Line outputs, synthesizers, electric pianos, etc. (Note: when connecting a balanced signal, employ balanced patch cables with a ring/tip/sleeve (stereo) 1/4'' plug on the mixer end). Channels 7/8 and 9/10 have Left & Right 1/4'' BAL LINE IN jacks plus Left & Right TAPE/CD/LINE RCA type inputs. Either the 1/4'' or RCA type input (not both) may be used to connect a stereo tape deck, CD player or outboard mixer to these channels. A phono preamplifier must be connected to the MP10DS inputs for optimum turntable performance.

Do not connect signals to both types of inputs on any one channel (e.g. the MIC and LINE IN's on channels 1 to 6 or the 1/4 and RCA type TAPE/CD/LINE IN's on channels 7/8 and 9/10). To do so will cause improper operation of the input circuit. (Note: you may connect a stereo source to channels 1 through 6 but you must use two channels, one for left and one for right).

2. CHANNEL GAIN CONTROLS & CLIP LEDs

The GAIN control has a range of 40dB. This adjustment determines both the input sensitivity of the channel and the signal level sent to the MAIN mixing bus*. (The MP10DS channel circuitry does not require separate gain and level controls). The CLIP LED is set to illuminate when the channel's overall signal level is 3dB below the onset of actual clipping distortion. As a result, small amounts of LED activity are acceptable, however frequent or continuous activity indicates the need to turn down the GAIN 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 MP10DS has three buses, MAIN, MONITOR and EFFECTS.

3. CHANNEL LOW, MID, & HIGH EQUALIZATION

The MP10DS, LOW, MID & HIGH EQ controls independently adjust the bass, middle and treble frequencies for each channel. Center frequencies have been carefully selected for optimum sonic adjustments and the gain range for each control is plus or minus (+/-) 15dB to provide versatile equalization consistent with the clean simplicity of the MP10DS' design.

As with all equalizers, boosts at one or more frequencies increase the channel's signal level. If the channel is already at a fairly high operating level, this may cause clipping, in which case the CLIP LED will light. Reduce the GAIN setting and/or the EQ boosts if CLIP activity is excessive. (Note: center position reflects a neutral or flat EQ control setting, however lower EQ control settings may be effectively employed to reduce feedback and/or distortion).

4. CHANNEL MON CONTROL

Each channel has a MON (monitor send) control which varies the amount of channel signal being tapped off and sent to the monitor bus in the MP10DS. The MON signal is pre-fader and pre-EQ, in other words it is taken before the GAIN and EQ controls so that the monitor

EFX

HIGH

MID

LOW

MON

PAN

GAIN

mix can be independent of the main mix. As a result, channel EQ settings do not affect the sound of the monitor signals, nor do the channel GAIN controls regulate their volume. (Note: with an independent monitor mix, it may be beneficial to connect a graphic equalizer to the MONITOR output for feedback control).

5. CHANNEL EFX CONTROL

Each channel has an EFX (effects send) control which adjusts the level of the channel signal being tapped off and sent to the MP10DS, effects bus. This signal is post-fader and post-EQ, in other words it is affected by both the channel EQ controls and the channel GAIN control. Normally, the output signal from the effects bus is internally routed to the DIGITAL EFFECTS PROCESSOR. In this situation, the EFX control would regulate the intensity of the built-in effects on that channel's sound through the main PA system and the RECORD OUT jacks. In standard operating mode with the built-in effects working, you would connect a regular on-off footswitch (e.g. Yorkville model IFS-1A) to the EFX FOOTSWITCH/SEND jack to turn the internal effects on and off. See the section EFX FOOTSWITCH/SEND later in this manual for more information. Alternatively, this signal can be connected to the input of an external 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 other amp/speaker system via the EFX FOOTSWITCH/SEND jack using a standard shielded patch cord. In this case, the EFX controls would act as send controls to achieve a semi-separate mix. (Remember that the channel GAIN controls will also affect this signal).

6. CHANNEL PAN & BALANCE 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 BALANCE control in channels 7/8 and 9/10. Turning this control counterclockwise towards the L will increase the signal level in the left channel while also reduc

ing the level in the right channel. 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. For stereo PA applications, you would leave the PAN and BALANCE controls at center position. This ensures that all audience members throughout the venue hear the same mix of instruments and voices. However, if you are using the MP10DS strictly for recording purposes, you may employ the PAN or BALANCE controls to send channels or stereo-recorded music tracks to the left or right tape tracks by turning them all the way to L or R.

MASTER SECTION

1. MAIN MASTER CONTROL & CLIP LED

The MAIN MASTER control adjusts the overall level of the main mix and the PA volume. Beside this control is a CLIP LED, which indicates high signal levels within the main mixing bus. Reduce the MAIN MASTER or the channel GAIN controls if the MAIN CLIP LED is more than slightly active. (Note: to ensure maximum signal headroom and clarity, operate the mixer with the MAIN MASTER set at 7 or so. This way, you will be running the channel GAIN controls at lower settings, which helps to ensure that the channels do not clip).

2. MONITOR MASTER CONTROL

The overall level of the monitor mix is adjusted with the MONITOR MASTER control. Beside it is a CLIP LED, which indicates high signal levels within this bus. Reduce the MONITOR MASTER or the channel MON levels if the MONITOR CLIP LED is more than slightly active. (Note: as with the MAIN MASTER, keep the MONITOR MASTER at a relatively high setting to ensure maximum clarity).

3. MAIN EFFECTS MASTER CONTROL

The MAIN EFX master control regulates the amount of signal going from the output of the internal DIGITAL EFFECTS PROCESSOR to the MAIN mixing bus where it is mixed with the dry signals direct from the channels. It controls overall effects intensity on the L and R MAIN output signals and RECORD OUT signals and through the main PA speakers.

4. MONITOR EFFECTS MASTER CONTROL

The MONITOR EFX master control regulates the amount of signal going from the output of the internal DIGITAL EFFECTS PROCESSOR to the MONITOR mixing bus where it is mixed with the dry signals directly from the channel MON send controls. It controls the overall effects intensity of the MONITOR LINE OUT signal.

5. MAIN LINE OUT & AMP IN JACKS

These jacks can serve a variety of patching and routing purposes. They are positioned in the signal path after the MP10DS, main graphic equalizer and are therefore regulated by it (i.e. they are post-EQ).

The main bus signals are available at line level (not speaker level, use the SPEAKER outputs on the back panel to drive speakers) from the L & R MAIN output jacks. Taking a signal from these jacks has no effect on the operation of the MP10DS, built-in power amplifier. It is there-

fore possible to feed an external power amplifier or even several, interconnected power amps, with the MAIN output signals while the internal power amplifier is also functioning (although it is not necessary to have speakers connected - e.g. if you want 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 jack. Mono operation of this jack is converted to left channel stereo operation as soon as a jack is inserted in the R MAIN output jack.

The AMP A IN and AMP B IN jacks are direct inputs to the built-in power amplifier. They are referred to as A and B rather than left and right simply because, with the MP10DS, versatile design, it is possible to power main PA speakers with one amplifier channel, and monitors with the other. This can be accomplished by running a shielded patch cord from the L-MONO MAIN output to the AMP A IN jack, then another patch cord from the MONITOR output to the AMP B IN jack. An alternative use for the AMP A & B IN jacks is as patching inputs. Because they are switching jacks, when you plug into one, or both of them, you interrupt the internal flow of signals going from the outputs of the Main mixing bus to the inputs of the built-in power amp. This allows you to insert stereo signal control devices such as an elite processor, an additional

equalizer, or a compressor/limiter into the Main stereo signal path. This is accomplished by connecting two cables from the L & R MAIN outputs to the device's input jacks and two more cables from the device's output jacks to the MP10DS, AMP A & B IN jacks.

It is even possible to connect another mixer to the MP10DS, power amplifier via the AMP A & B IN jacks. This slaves the amplifier to that mixer's signals (i.e. it no longer receives the built-in mixer's signals), which means that you could use the built-in mixer to do another, totally separate mixing job. For example, you could patch the MP10DS, L & R MAIN outputs to two inputs on another mixer connected to amps driving a PA speaker system while using the A and B amps to power control room speakers.

6. RECORD OUT JACKS

These phono connectors carry the Left & Right pre-EQ (not affected by the MAIN EQ) main mix signals. RECORD OUT signal levels are regulated by the MAIN master. Using phono-to-phonopatch cords, connect the RECORD OUT jacks to the Aux. (line-level) inputs on the tape deck. Actual recording levels would now be adjusted using the tape deck's record level control/s.

Best results for recording will be achieved with the MAIN master and channel levels set fair-

ly high. If you need to record while the MP10DS is operating in a PA situation and set at lower levels, perhaps in a church, you can have a technician make up two short **padded patch cables as specified below. These would be connected between the L & R MAIN LINE OUT jacks and the AMP A & B IN jacks. They will reduce the amount of signal going to the power amplifier inputs so that the MAIN master and channel levels can be set high enough to provide adequate RECORD OUT signal levels without the PA system being too loud.

**To fashion the -20dB padded patch cables, start with two short, shielded patch cords. On each cord, solder a 10k Ohm resistor in series with the tip of the plug to be inserted in a LINE OUT jack, then solder a 2.2k Ohm resistor across the plug to be inserted in an AMP IN jack. It would then be advisable to identify either the LINE OUT or AMP IN plugs on both cords perhaps with tape or a dab of paint on the plug jacket.

7. MONITOR LINE OUT JACK

The monitor bus output signal is available at line level (not speaker level) from the MON OUT jack and would normally be patched to the input of a mono power amplifier, or one channel of a stereo amp driving monitor speakers. Keeping in mind that there is no internal equalization for the monitor mix, you might want to patch a graphic equalizer between the MONITOR OUT jack and the input of your monitor power amplifier to help regulate feedback (see Note below). As mentioned under MAIN OUT & AMP IN JACKS, the monitor mix signal can also be patched to one channel of the internal amplifier. If a main/monitor amplifier configuration is desired, use the LEFT MONO signal from the MAIN OUT jacks to feed one amplifier. The MON OUT signal could be used to feed the remaining amplifier (this is also covered in the previous section).

Note: Patching something between things, in this case, means connecting the MP10DS 's MONITOR OUT jack to the input of an EQ and the output of the EQ to the input of a monitor power amp

8. EFX FOOTSWITCH/SEND JACK

This jack may be used to connect a standard on/off footswitch for the internal DIGITAL EFFECTS PROCESSOR or alternately as an effects send jack to another effects processor. In this latter function, both devices would be sent signal. In that instance, you could connect the external unit's left and right outputs to the L & R inputs on channel 7/8 or channel 9/10 (or any of the other channels. Here you would need to keep the GAIN level of that channel fairly low and make sure that its EFX control is turned off on these channels. As another alternative, the EFX FOOTSWITCH/SEND jack may be used to deliver line-level signal to the input of an auxiliary amp/speaker system or a tape deck. Here, the channel EFX controls would act as secondary level controls. Keep in mind, however, this means that the built-in DIGITAL EFFECTS PROCESSOR will be disabled.

9. POWER LED & THE SWITCH

The POWER LED lets you know that the MP10DS is plugged in and turned on. The AC power on/off switch is on the rear panel of the unit.

10. PHANTOM POWER

The PHANTOM power LED indicates that 24 volts of DC phantom power is present on all the XLR microphone inputs to power condenser microphones. Regular dynamic mics may be connected while the PHANTOM POWER is activated without encountering problems. The PHANTOM POWER push-button is located on the rear panel.

DIGITAL EFFECTS PROCESSOR

1. DIGITAL EFFECTS PROCESSOR SELECT & MODIFY CONTROLS

The SELECT control selects from 16 banks of reverb sounds, delays and other effects. Settings A through G represent single reverbs or echo delays. Settings H through P are combined or combo effects where two or more effects are blended together. Simply rotate the SELECT control to the basic type of effect you prefer. This is a continuous type of control so you may simply rotate it in either direction to reach the desired setting. Lists of effects banks appear in this manual and on the front panel of the MP10DS.

Each bank of effects contains 16 individual effect variations. The MODIFY control selects

each one of these variations. For example, if bank E (Medium Delays), has been selected, position 1 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.

2. EFFECTS CLIP LED

Situated between the SELECT and MODIFY controls, the CLIP LED indicates that the digital processor is receiving an input signal which is too strong, possibly resulting in distortion. For maximum dynamic range, the Clip LED should flash briefly, but only on high-energy transients such as loud snare drum hits. If there is too much CLIP activity, turn down the channel EFX controls.

SINGLE EFFECTS

A ROOMS
B HALLS
C CHAMBERS/PLATES
D SHORT DELAYS
E MEDIUM DELAYS
F LONG DELAYS
G GATES/REVERSE REVERB

3. EFFECTS TABLES

See rear inside cover for effects tables.

COMBO EFFECTS

H ROOMS PLUS THICKENING DELAYS
ROOMS PLUS REGEN DELAYS
J CHAMBERS/PLATES PLUS CHORUS
K ROOMS PLUS REGEN DELAYS
HALLS PLUS REGEN DELAYS
M CHAMBERS/PLATES PLUS CHORUS
N ROOMS/HALLS PLUS CHORUS
O DELAYS PLUS CHORUS
P SPECIAL EFX

BUILT IN 9 BAND GRAPHIC EQUALIZER

General

This, like any graphic equalizer, represents a set of limited-range (+/-12dB) gain controls. In this case there are nine sliders, each one operating over a one-octave portion of the overall band of sound frequencies. Please note that equalizers can have an effect on the gain of the main system as well as its frequency response. Once adjusted, you may need to turn down the MAIN MASTER level if the CLIP LED beside it becomes very active.

There Are 3 Main Functions for the Graphic EQ

i. To adjust the system for feedback reduction, the normal technique is to turn the main system up to the point of feedback and move the EQ sliders, one at a time, to determine which frequency band is causing the feedback. (Remember to push them back up to center position if they don't stop the feedback). When isolated, the offending band is then pushed down about 3 to 6 dB. Usually only 2 or 3 bands can be reduced before the feedback elimination process begins to affect the sound quality.

ii. To adjust for deficiencies in the speaker system's bass response, the most common adjustment is to boost the 63 Hz about 6 dB and the 100 Hz about 3 dB. However, use of the graphic EQ to extend the deep bass frequency response of a speaker cabinet does use up a lot of the available system power, so this technique should be used with caution to avoid distortion and possible speaker damage. On the other hand, in applications where it is appropriate to sacrifice deep bass for higher overall sound output, the 63 Hz slider should be taken down 6 dB below centre. You may now increase the MAIN level for added volume.

iii. The third use of the graphic equalizer is to adjust the sound character for artistic reasons. Each frequency is adjusted until the sound is what the musicians feel sounds best. The best sound system operators, however, usually strive to use a minimum of equalization for this purpose, or for boosting the bass. Instead, they use very minimal sound-shaping adjustments to ensure that the threat of feedback and distortion will also be minimal.

MP1ODS REAR PANEL

1. A & B SPEAKER OUTPUTS & HEATSINKS

Each of the MP10DS, dual power amplifiers has two 1/4'' jacks for speaker connections. You may connect one 8-Ohm speaker cabinet to each jack. Connecting two 8-Ohm speakers (i.e. a 4-ohm load), to either AMP A or AMP B, will not harm the MP10DS, but the output power will be thermally limited. If the amp overheats, perhaps into a 2 Ohm load, the built-in thermal protection will cycle the amplifier on and off until it cools down, usually in a few minutes.

GENERAL OPERATING INSTRUCTIONS

1. Connect the AC power cord to a 120Volt AC grounded power outlet (220 to 240 Volts in export units).
2. Turn the MAIN and MONITOR MASTER controls to 0 for now, 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 (i.e. amplifier line outputs, the output of a mono mixer, an electric instrument, etc.), to the 1/4'' BAL LINE IN jacks on channels 1 to 6. Do not connect more than one signal source to any of these channels, that includes stereo outputs (if you try to connect a stereo source to a mono channel using a Y adapter, you may get distortion).
5. Connect stereo sources (tape deck, CD player, stereo keyboard instrument, etc.) to channels 7/8 and/or 9/10 via the stereo RCA (phono) type inputs. Once again, connect only one signal source per channel, and use shielded patch cords for all pre-amp connections.
6. Using 18-gauge, or heavier, speaker cables (never use shielded patch cords to connect speakers, they cannot handle the high current and will waste power by heating up), connect one or two 8-Ohm main PA speakers to the SPEAKER outputs on the back panel. If you have 4-Ohm speakers, you may connect only one. (Note: to deliver maximum power to a pair of 8-Ohm main PA speakers, connect only one speaker to each amplifier).
7. If you are employing a separate power amplifier for the monitor speakers, connect the main speakers, as in 6, then run a shielded patch cord from the MONITOR OUT jack to the input of the monitor power amp. If you are employing a separate graphic equalizer for the monitors run a shielded patch cord from the MONITOR OUT jack to the input of the EQ. (A good idea: remember there is no channel EQ on the monitor signals and the built-in graphic EQ is only for the main PA sound). Then, another one from the EQ's output to the input of the monitor power amp.
8. Position your main PA speakers at the front of the stage, pointing directly out at the audience. Position your monitor speakers on the stage floor, in front of the mic stands, pointing up at the backs of the mics. (Remember to use cardioid or uni-directional mics to reduce the threat of monitor feedback).
9. During a sound check, with the band playing, or other sources feeding the mixer inputs, make the following control adjustments:

i. Set the channel LOW, MID, and HIGH EQ controls at center. Now, set the channel GAIN, MON, and EFX controls at "0" and the GRAPHIC EQ sliders at center position.
ii. Turn up the MAIN and MONITOR MASTER controls to approximately 8, the MAIN EFX master to around 7 and MONITOR EFX master to 5.
iii. Turn up the channel MON controls until the performers can hear themselves at adequate volume levels without feedback.
iv. Turn up the channel GAIN controls slowly until each channel can be heard at the desired volume level through the main PA speakers.
v. Turn up the EFX controls on those channels requiring reverb. Usually this would be the lead and harmony vocal channels. Reverb may be used on other channels or on recorded music, but at low levels.

1. Feedback during a performance is usually caused by one of the monitors. The main PA is less likely to feed back because the mics are so far away from the main PA speakers. Therefore, if you are using monitors and feedback occurs, try the following procedures:

i. Turn the MONITOR master down until the feedback stops.
ii. If you have a graphic equalizer patched between the MONITOR output and your monitor power amp, pull down one or two (but not more) of the EQ sliders in the frequency range where the sound seems to be occurring.
iii. Now turn the MONITOR master back up. If the feedback reoccurs, push the EQ slider(s) back up to center position and try pulling down one or two others.
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.

MP10DS

2 x 160 Watt Stereo 10 Channel Powered Mixer

FEATURES / SPECIFICATIONS

MIXER

Balanced XLR inputs 6

Balanced 1 / 4 "inputs 10

Unbalanced RCA inputs 2 stereo pairs

Channel Equalization High, Mid, and Low

Channel Effects Send Control YES

Channel Effects Pre-Gain

Pan Controls 6 (Channels 1-6)

Main Out Stereo or Mono

Monitor Out YES

Amp In 2 (A & B)

Effects Send YES

Effects to Main YES

Effects to Monitor YES

Record Out Stereo

Main EQ 9 Band, graphic

MIXER SECTION (input to line out)

Input referred noise -122 dB

Max balanced input gain +56 dB

Balanced input impedance 1200 Ohms

Max balanced input gain

1/4”jacks +40 dB

Balanced input impedance

1/4" jacks 10k Ohms

Unbalanced input impedance

RCA 5k Ohms

Balanced CMRR min. 35dB, typical -50dB

Frequency response 36 dB gain +/-3 dB, 20 Hz to 20 KHz

Signal path distortion less than 0.1% 20Hz-20KHz

Channel Clip LED threshold 5 dB before clipping

Channel EQ adjustment range +/- 15 dB

Graphic EQ adjustment range +/- 12 dB

Phantom Power 24 VDC

AMPLIFIER

Frequency response + / - 3 dB, 20Hz to 20kHz

Gain 24 dB

Input sensitivity 1.4 VRMS

Total Harmonic Distortion (<0.1%) 0.05% at 1KHz

Max power into 8 Ohms <1% THD 215 Watts (1 channel driven)

Max power into 8 Ohms <1% THD 170 Watts (2 channels driven)

Rated Load Power 160 Watts per channel (8-ohms)

typically 140 Watts per channel (4-ohms)

Signal to Noise Ratio 90db

Dimensions (D/W/H) 10^ × 21^ × 11.85^

25cm x 55cm x 30cm

Weight 38 lb. (17.5 kg.)

Power Requirements

120 VAC 260VA 60 Hz

230 VAC 260VA 50 Hz

INTRODUCTION

Niagara Falls, New York

14305 USA

Voice: [phone]

Fax: [phone]