Yorkville Sound PowerMAX16-2 Manuel utilisateur
- Catégorie
- Mélangeurs audio
- Taper
- Manuel utilisateur
OWNER’S MANUAL
MANUEL DE L’UTILISATEUR
Model Type: YS1011
3200 WATT STEREO MIXING CONSOLE
S ERIES TWO
The exclamation point within an equilatereal triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in
the literature accompanying the appliance.
Le point d’exclamation à l’intérieur d’un triangle équilatéral
est prévu pour alerter l’utilisateur de la présence
d’instructions importantes dans la littérature accompag-
nant l’appareil en ce qui concerne l’opération et la
maintenance de cet appareil.
This lightning flash with arrowhead symbol, within
an equilateral triangle, is intended to alert the user to
the presence of uninsulated “dangerous voltage”
within the product’s enclosure that may be of sufficient
magnitude to constitute a risk of electric shock to persons.
Ce symbole d’éclair avec tête de flèche dans un triangle
équilatéral est prévu pour alerter l’utilisateur de la présence d’un
« voltage dangereux » non-isolé à proximité de l’enceinte du
produit qui pourrait être d’ampleur suffisante pour présenter
un risque de choque électrique.
IMPORTANT SAFETY INSTRUCTIONS
safety-4v7 • May 7/2008
CAUTION: TO REDUCE THE RISK OF ELECTRIC
SHOCK, DO NOT REMOVE COVER (OR BACK).
NO USER SERVICEABLE PA RTS INSIDE.
REFER SERVICING TO QUALIFIED
SERVICE PERSONNEL.
FOLLOW ALL INSTRUCTIONS SUIVEZ TOUTES LES INSTRUCTIONS
Instructions pertaining to a risk of fire,
electric shock, or injury to a person
Read Instructions: The Owner’s Manual should be read and understood before operation
of your unit. Please, save these instructions for future reference and heed all warnings.
Clean only with dry cloth.
Packaging: Keep the box and packaging materials, in case the unit needs to be
returned for service.
Warning: To reduce the risk or fire or electric shock, do not expose this apparatus to rain or
moisture. Do not use this apparatus near water!
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. Precau-
tions should be taken so that the grounding scheme on the unit is not defeated. An
apparatus with CLASS I construction shall be connected to a Mains socket outlet with
a protective earthing ground. Where the MAINS plug or an appliance coupler is used
as the disconnect device, the disconnect device shall remain readily operable.
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. Only use
attachments/accessories specified by the manufacturer
Note: Prolonged use of headphones at a high volume may cause
health damage on your ears.
The apparatus should not be exposed to dripping or splashing water; no objects
filled with liquids should be placed on the apparatus.
Te rminals 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.
Ensure that proper ventilation is provided around the appliance. Do not install near
any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
No naked flame sources, such as lighted candles, should be placed on the apparatus.
Power Cord
Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug
has two blades with one wider than the other. A grounding type plug has two blades and a
third grounding prong. The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for replacement of the
obsolete outlet. The AC supply cord should be routed so that it is unlikely that it will be
damaged. Protect the power cord from being walked on or pinched particularly at plugs. If
the AC supply cord is damaged DO NOT OPERATE THE UNIT. To completely disconnect
this apparatus from the AC Mains, disconnect the power supply cord plug from the AC
receptacle. The mains plug of the power supply cord shall remain readily operable.
Unplug this apparatus during lightning storms or when unused for long periods of time.
Service
The unit should be serviced only by 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.
AVIS: AFIN DE REDUIRE LES RISQUE DE CHOC
ELECTRIQUE, N’ENLEVEZ PAS LE COUVERT (OU LE
PANNEAU ARRIERE) NE CONTIENT AUCUNE PIECE
REPARABLE PAR L’UTILISATEUR.
CONSULTEZ UN TECHNICIEN QUALIFIE
POUR L’ENTRETIENT
Instructions relatives au risque de feu,
choc électrique, ou blessures aux personnes
Veuillez Lire le Manuel: Il contient des informations qui devraient êtres comprises avant
l’opération de votre appareil. Conservez. Gardez S.V. P . ces instructions pour consultations
ultérieures et observez tous les avertissements.
Nettoyez seulement avec le tissu sec.
Emballage: Conservez la boite au cas ou l’appareil devait être retourner pour réparation.
Avertissement: Pour réduire le risque de feu ou la décharge électrique, n'exposez pas
cet appareil à la pluie ou à l'humidité. N’utilisez pas cet appareil près de l’eau!
Attention: Lors de l’utilisation de produits électrique, assurez-vous d’adhérer à des
précautions de bases incluant celle qui suivent:
Alimentation
L’ appareil ne doit être branché qu’à une source d’alimentation correspondant au
voltage spécifié dans le manuel ou tel qu’indiqué sur l’appareil. Cet appareil est équipé
d’une prise d’alimentation polarisée. Ne pas utiliser cet appareil avec un cordon de
raccordement à moins qu’il soit possible d’insérer complètement les trois lames. Des
précautions doivent êtres prises afin d’eviter que le système de mise à la terre de
l’appareil ne soit désengagé. Un appareil construit selon les normes de CLASS I
devrait être raccordé à une prise murale d’alimentation avec connexion intacte de mise
à la masse. Lorsqu’une prise de branchement ou un coupleur d'appareils est utilisée
comme dispositif de débranchement, ce dispositif de débranchement devra demeurer
pleinement fonctionnel avec raccordement à la masse.
Risque
Ne pas placer cet appareil sur un chariot, un support, un trépied ou une table instables.
L’appareil pourrait tomber et blesser quelqu’un ou subir des dommages importants.
Utiliser seulement un chariot, un support, un trépied ou une table recommandés par le
fabricant ou vendus avec le produit. Suivre les instructions du fabricant pour installer
l’appareil et utiliser les accessoires recommandés par le fabricant. Utilisez seulement
les attachements/accessoires indiqués par le fabricant
Note: L'utilisation prolongée des écouteurs à un volume élevé peut
avoir des conséquences néfastes sur la santé sur vos oreilles. .
Il convient de ne pas placer sur l’appareil de sources de flammes nues, telles que
des bougies allumées.
L’appeil ne doit pas être exposé à des égouttements d’eau ou des éclaboussures
et qu’aucun objet rempli de liquide tel que des vases ne doit être placé sur l’appareil.
Assurez que lappareil est fourni de la propre ventilation. Ne procédez pas à
l’installation près de source de chaleur tels que radiateurs, registre de chaleur, fours
ou autres appareils (incluant les amplificateurs) qui produisent de la chaleur.
Les dispositifs marqués d’une symbole “d’éclair” sont des parties dangereuses
au toucher et que les câblages extérieurs connectés à ces dispositifs de
connection extérieure doivent être effectivés par un opérateur formé ou en utilisant
des cordons déjà préparés.
Cordon d’Alimentation
Ne pas enlever le dispositif de sécurité sur la prise polarisée ou la prise avec tige de
mise à la masse du cordon d’alimentation. Une prise polarisée dispose de deux lames
dont une plus large que l’autre. Une prise avec tige de mise à la masse dispose de
deux lames en plus d’une troisième tige qui connecte à la masse. La lame plus large ou
la tige de mise à la masse est prévu pour votre sécurité. La prise murale est désuète si
elle n’est pas conçue pour accepter ce type de prise avec dispositif de sécurité. Dans
ce cas, contactez un électricien pour faire remplacer la prise murale. Évitez
d’endommager le cordon d’alimentation. Protégez le cordon d’alimentation. Assurez-
vous qu’on ne marche pas dessus et qu’on ne le pince pas en particulier aux prises.
N’UTILISEZ PA S L’APPAREIL si le cordon d’alimentation est endommagé. Pour
débrancher complètement cet appareil de l’alimentation CA principale, déconnectez le
cordon d’alimentation de la prise d’alimentation murale. Le cordon d’alimentation du
bloc d’alimentation de l’appareil doit demeurer pleinement fonctionnel.
Débranchez cet appareil durant les orages ou si inutilisé pendant de longues périodes.
Service
Consultez un technicien qualifié pour l’entretien de votre appareil. L'entretien est
nécessaire quand l'appareil a été endommagé de quelque façon que se soit. Par exemple
si le cordon d’alimentation ou la prise du cordon sont endommagés, si il y a eu du liquide
qui a été renversé à l’intérieur ou des objets sont tombés dans l'appareil, si l'appareil a été
exposé à la pluie ou à l'humidité, si il ne fonctionne pas normalement, ou a été échappé.
S2125A
1
Introduction
Welcome to PowerMAX, possibly the most advanced, most powerful, mixer/amplifier in
the world. Comprehensive audio mixing and advanced features including...
• Two onboard digital effects processors with 16 presets and parameter adjust on each)
• A speaker processor
• Four built-in power amplifiers with over 3200 Watts in total
• Three graphic EQ’s, channel EQ with sweepable mids
• Channel input overload protection
• Solo and mute functions and much more…
This manual outlines the various functions and how they interact. Realizing that some
PowerMAX users may be unfamiliar with certain features, we include user tips and addi-
tional information, which appears separately in the applicable sections.
For general information about mixing and other facets of sound-reinforcement check
out our P.A. User Guide available on the internet... (http://www.yorkville.com).
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Modify
+
-
Modify
+
-
Room Reverb
Hall Reverb
Hall Reverb - V o cals
Hall Reverb w/Echo
Plate Reverb
Plate Reverb - Vocals
Pl ate Re ve r b w /Ec ho
Gated Reverb
decay
decay
decay
decay
ModifyEffect
decay
gain
pitch
delay
rate
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Fast Echo
Short Decay Echo
Long Decay Echo
Chorus
Flanger
Rotary Speaker
Distortion
Harmonizer
ModifyEffect
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Post-Fader Cha nn el EQPre-Fader
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
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1
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2
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EFX
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1
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2
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EFX
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Aux
EFX
1
2
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1
Mon
2
P a n
AuxEFX
1
EFX
2
Se n d
Se n d
Au x
Optimum Level
For Recording
is ‘0 db’ on
Master VU
EFX
2
Au x
EFX
2
Mon
1
Mon
2
Bal
Aux
EFX
1
EFX
2
Mon
1
Mon
2
Mon
1
Mon
2
Main
Mon
1
Mon 1
Mon 1
Mon 2
Mon 2
Internal
EFX Defeat
Mon
2
Main
Mon
1
Mon
2
Main
Bal
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Record
Out
Lamp
Foo t sw.
Returns
AMPLIFIER Inputs
LINE LEVEL Outputs
EFX 1 EFX 2
63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K
63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K
Main EQ
S TATUS
Monitor 1 EQ
Monitor 2 EQ
63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K
Speaker
Processor
Solo Mode
Active
Solo
Active
Solo
PFL
PFL
Channel
Set
AFL
clip
Enable
Slope
50 Hz
80 Hz
clip
clip
clip
Phones
Aux
Send
Mon 2
Send
Mon 1
Send
RETURN Levels
VU Meter
Solo
EFX 2AUX
Power Phantom
A
BC
D
ABCD
Amplifier Full-Power
Solo
clip /
defeat
EFX 1
Solo
defeat
Sends
EFX
1
EFX
2
clip
clip
Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
Insert Insert Insert Insert Insert
Tip: SEND
Ring: RETURN
Insert
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
2-TRK 2-TRK
Bal Line Bal Line
Channel 1 - 6 Overload Protection
Defeat
Protect Protect Protect Protect Protect Protect
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
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15/16
Low 80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Hi Mid
Gain
Low
80Hz
250Hz 250Hz
2.5KHz 2.5KHz
High
Gain
12KHz
Hi Mid
Lo Mid Lo Mid
Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo
1 1 1 21234567891 0
Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute
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MAIN
clip
clip
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dB
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
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line
+2 0
-2 0
0
-6
+1 0
2 4
1 2
6
0
0
3
2 4
dB
1 2
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6
-
+
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2 4
dB
1 2
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6
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1 2
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6
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dB
1 2
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6
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dB
1 2
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6
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dB
1 2
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6
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1 2
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10
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3
3200 WATT STEREO MIXING CONSOLE
SERIES TWO
2
Input Channel Features
1. Channel Overload Protection
Mono input channels 1 to
6 in the PowerMAX 16 (1
to 12 in the PowerMAX
22) feature Channel
Overload Protection - a
sonically transparent lim-
iting function suitable for
percussive sources such as
bass guitar (either direct,
mic'ed or a direct line
from the amplifier), pop-
prone and feedback prone
microphones. (e.g. kick-
drum, flat top guitar, and
other troublesome sources).
Each channel features a Protect LED to indicate when the overload protection is working.
A single Defeat switch activates this feature on a group of six channels simultaneously.
2. Insert Jacks
The mono channels with-
out Channel Overload
Protection feature Insert
jacks. These are 1/4-inch
Tip-Ring-Sleeve (TRS) con-
nectors, which combine
send and return functions
for patching outboard sig-
nal processing directly into
a channel. A suitable patch
cable for this function (e.g.
Yorkville model PC-6iSPH)
would consist of a single
TRS (stereo) 1/4-inch plug and two lengths of shielded cable with a common ground
branching to two regular (mono) 1/4-inch plugs. The TRS wiring is tip/send, ring/return
and sleeve/ground. Since the PC-6iSPH comes with the leads marked Tip and Ring, con-
nect the Tip plug to the input of the signal processor (EQ, compressor, echo, etc.); con-
nect the Ring plug to the processor’s output. The TRS plug would go into the Insert jack.
The send function is post-Gain and post-HPF (high-pass-filter).
Alternately, the Insert jack may be used to send an audio signal from that channel to
a powered monitor (some people want to hear only themselves). Simply use an unbal-
anced shielded patch cable – in this one case, a balanced cable will not work. Be sure
to Insert the plug only to the first “click” when using the Insert as a channel send, oth-
erwise the signal will be interrupted and the channel will not work. If this happens, you
have Inserted the plug too far. Simply pull the plug out gently to the first stop.
3. Mic Inputs
The PowerMAX active input circuitry will accept microphones with impedances ranging
from 50 ohms through 10,000* ohms. All low impedance microphones are compatible.
Phantom power (covered in the section 4, Phantom Power Switch and LED, below) is
available on all Mic inputs when activated. This feature is meant for condenser micro-
phones but dynamic microphones may also be connected with no ill effects.
* Although it would be customary to plug high impedance microphones into the Bal
Line jacks, most of them will also work in the Mic inputs, provided the microphone’s
built-in XLR connections are pin 1 and pin 2 and pin 3 is connected to pin 1.
123456
Bal Bal Bal Bal Bal Bal
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Channel 1 - 6 Overload Protection
Defeat
Protect Protect Protect Protect Protect Protect
789101112
Bal Bal Bal Bal Bal Bal
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Insert Insert Insert Insert Insert
Tip: SEND
Ring: RETURN
Insert
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
3
4. Phantom Power Switch and LED
Phantom Power is available for condenser microphones. It may be applied to channels
with regular dynamic microphones connected with no problems. When connecting micro-
phones it is safest to turn off phantom power to avoid loud pops. The Phantom Power
On/Off button is located on the front of the mixer, beside the Headphone jack and the
Phantom Power LED is in the upper right area of the control panel.
48 Volt Phantom Power is available on channels 1 through 12 (1 through 18 on the
PowerMAX-22).
5. Balanced Line Inputs
Mono line-level sources, such as amplifier line outputs and high-impedance micro-
phones, can be connected to the mono or stereo channels through these jacks (use the
L/Mono jacks on the stereo channels). Stereo audio sources such as digital audio play-
ers, CD-player, and tape decks may be connected to the Bal Line inputs on the stereo
channels. RCA connectors are used to simplify this operation. It is possible to connect
stereo sources to the mono channels, however you will need to plug the L&R signals into
separate channels to avoid the risk of inter-modulation distortion (do not combines the
signals using a “Y” connector into a single Bal Line jack).
The balanced connector references are:
Tip (or XLR pin 2) = hot, in phase;
Ring (or XLR pin 3) = hot, reverse phase;
Sleeve (or XLR pin 1) = ground
You can connect an unbalanced source to the Bal Line inputs with a standard unbal-
anced shielded patch cable without any adverse affects.
A slight modification to a balanced patch cable will help achieve noise cancellation
when connecting PowerMAX to an unbalanced unit. Simply undo one end of a bal-
anced patch cord and de-solder the wire from the ring tab, then resolder the wire to
the shield tab making sure that it does not touch anything else. Now re-assemble the
plug and mark it with some tape for future reference. This will be the end that you
plug into the unbalanced unit (this will also work with an RCA connector).
The L&R Bal Line inputs on the Stereo channels are wired together internally so that
a single (mono) signal connected to the L/Mono input will also be patched over to the R
input (as long as nothing is plugged into the R jack). This simplifies connecting a mono
source should the need arise (perhaps all the mono channels are taken).
In addition to being able to connect either a stereo or mono source to these jacks, you
may alternately connect two different mono sources to them and use the Bal control to
regulate their relative volumes. As an example, a guitar amp line-output and a keyboard
amp line-output could be connected and mixed this way. However, now you must also con-
vert the PowerMAX to mono operation, otherwise one instrument will only come out the left
speakers and the other only through the right speakers. Mono conversion is accomplished
simply by plugging a “Y” patch cable from the L/Mono (left Main) Line Level Output to the
Amp A & B Amplifier Inputs. Now both main power amps will be receiving identical signals.
See under Pan Control for another user tip regarding mono operation.
6. 2-Trk Inputs (Stereo Channels Only)
These RCA jacks are included for convenience since many audio sources such as digital audio
players, CD-player, and tape decks have RCA outputs. Media players that use 1/8-inch (3 mm)
jacks may be connected using an RCA to 1/8-inch (3 mm) TRS adapter cable. Because it is
primarily a live audio mixer, PowerMAX does not feature RIAA phono input circuitry.
As a rule you would connect a tape deck or CD-player to either the 2-Trk inputs or the
1/4-inch Bal Line inputs, but not both. However, connecting sources to both sets – say,
a media player to the 2-Trk inputs and a CD-player to the Bal Line inputs on the same
channel – will work. Naturally there will not be any separate level control for one or the
other, so the source with the stronger signal (or higher output impedance) will be louder.
If you are not running both sources at once, this won’t be a problem. In any case there
will be no loading distortion or other ill effects.
15 16
2-TRK
Bal Line
1/4-inch Phone Plug
1/4-inch T.R.S. Phone Plug
XLR Plug
Phantom
On
Phones
4
7. HPF Button
Situated at the top of the mono channel strips, this switch activates a High-Pass Filter
(a bass roll-off of 18 dB per octave below 80 Hz). The stereo channels do not have this
feature, as they are normally used for pre-recorded material.
The HPF (High-Pass Filter) is useful for controlling unwanted low-frequency spillover
picked up by microphones located too close to the bass drum, bass amp or the key-
board amp. It is also effective in regulating acoustic guitar pickups that are sounding
too boomy (the lowest note on a concert-tuned guitar is 81.2 Hz, so you aren’t losing
anything by rolling off the input response below 80 Hz). Additionally, the HPF works
to reduce pops and thumps from vocal microphones. Any microphone, or pickup, which
reflects a source that does not go below 80 Hz should have the HPF activated. This
includes most wind instruments, most male voices, nearly all female voices and all drum
microphones except for the kick-drum.
Why roll off the bass on these channels? …because you will obtain better clarity and
improve the system’s gain before feedback.
8. Gain Control
PowerMAX features active input circuitry with exceptionally high headroom. The Gain
control regulates the channel gain level to match it with the input signal strength. There
are two gradation circles, the outer one (-20 dB to +56 dB) for the Mic input, the inner
one (-36 dB to +40 dB) for the Bal Line input. Since this control has a range of 70 dB, it
presents the user with considerable variability given the slightest amount of movement.
A quick way to ensure that the Gain is adjusted correctly is to turn it up during a
sound check until the Clip LED begins to flash (keep the channel fader at a safe, low set-
ting during this process), then turn the Gain down slightly. PowerMAX’s Clip LED drive cir-
cuits are preset to fire at 6 dB below the onset of actual clipping so you need not worry
about seeing some activity on the lights. You will find that this or any system performs
more cleanly and quietly with the Gain controls all set properly. Also, you may use PFL
(Pre-Fade Listen) and the VU meter to set 0 dB.
9. Channel EQ
The mono channels feature 3-band Equalization with control of +/-15dB. Mids are swept
from 80 Hz to 8 kHz (2.5 kHz highlighted in the graphics as (our) standard mid frequen-
cy). The High EQ is shelving at 12 kHz and Low EQ shelves at 80 Hz. The stereo channel
EQ is 4-band (+/-15dB) with fixed mids at 250 Hz and 2.5 kHz. The Low EQ control (+/-
15dB) are the same as the mono channels.
Setting the channel EQ, like setting the Gain, is best done during a sound check. In
this case however, the less you vary things above or below “0,” the better. +/-15dB rep-
resents considerable level change. If you need to turn down the High EQ on a channel,
perhaps due to a persistent feedback problem with that microphone, you may need to re-
adjust the level fader. In any case, big boosts are probably best avoided.
One cure for a bad feedback problem is to Insert (see Insert Jack) a graphic or
parametric EQ into the problem channel and adjust it to attenuate only the feedback
frequency. That way, fewer innocent frequencies will be affected. However, the chan-
nel EQ’s Mid Sweep control can often be used quite effectively to perform a similar
function. Simply set the Mid at about -6 dB then rotate the Sweep control until the
feedback stops. Now turn the Mid up slightly to normalize the frequency response as
much as possible without feedback.
10. Mon 1 and Mon 2 Sends
These are pre-fade, post-EQ sends. Internal routing is…
1. to the Mon masters and Solo buttons
2. to the Mon 1 and 2 EQs
3. to the Mon 1 and 2 Line Level Outputs
4. through the cutoff switches in the Amp C and D Amplifier Inputs
5. to the built-in, 800-Watt amplifiers C&D and finally
6. to the Mon 1 and 2 Power Amplifier Outputs.
Post-Fader Channel EQPre-Fader
EFX
Aux
EFX
1
2
Mon
1
Mon
2
Pa n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
Pa n
HPF
80Hz
HPF
80Hz
Act
Clip
Act
Clip
Low 80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Solo Solo
12
Mute Mute
12
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
dB
mic
+20
+30
-20 +56
0
+10
-10
+50
-36+40
line
+20
-20
0
-6
+10
dB
mic
+20
+30
-20 +56
0
+10
-10
+50
-36+40
line
+20
-20
0
-6
+10
0
5
28
7
6
4
3
91
10
0
5
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7
6
4
3
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10
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5
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7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
80 8K
5K
2.5K
1.5K
200
100
Hz
1K
80 8K
5K
2.5K
1.5K
200
100
Hz
1K
24
12
6
0
0
3
24
dB
12
6
6
-
+
0
3
0
0
3
24
12
6
0
0
3
24
dB
12
6
6
-
+
0
3
0
0
3
5
Dual monitor systems permit setting up two zones of coverage. Certain channels may
be isolated through one system or at least mixed louder through it. As an example, the
vocalists might want to hear themselves predominantly through their monitors. The other
system might carry a more generalized mix for the rest of the band’s monitors. Remember
that the channel Mon 1 and 2 send controls are affected by the channel EQ, but NOT the
fader. When feedback sets in, it’s often the monitors, not the mains, although it comes
through both systems so it’s hard to tell. When it happens, turn down the suspect chan-
nel’s MON sends. You’ll probably kill the feedback and that channel’s level through the
main P.A. can remain unchanged. Now you can adjust the Mon 1 or Mon 2 EQ then turn
that channel’s Mon send back up (carefully, you may still have some EQ-ing to do).
11. AUX Send
The channel Aux send is post-EQ and post-fader. Internal routing is
1. to the Aux Send master and Clip LED, and
2. to the Aux Send jack.
Since the Aux sends are post-fader, any changes to the channel fader levels will result
in changes to the Aux send levels. Therefore the Aux sends are useful for adding exter-
nal effects (there are also stereo Aux Returns), and for mono recording purposes such as
speeches, a demo record rhythm track, etc.; which do not require effects or graphic -EQ
(this is a pre-effects, pre-EQ dry signal).
12. Efx 1 and 2 Sends
Like the Aux send, these are post-fader and post-EQ. The EFX1 send is internally routed…
1. to the Efx 1 Send master fader,
2. to the internal digital effects 1 system,
3. to the Efx 1 Return masters.
The Efx 2 send is internally routed…
1. to the Efx 2 Send master fader,
2. to the internal digital effects to system, and (simultaneously) to the Efx 2 Send jack,
3. to the Efx 2 Return masters.
The PowerMAX effects processors operate independently as two discreet stereo
effects systems with sixteen presets and a parameter control each. You can, for
example, have reverb on the Efx 1 system and a special effect on Efx 2. These would
be mixed together on the main and monitor signals by the Efx Return to L&R and
Mon 1 and 2 masters.
To get started, figure out which channels you want effects on (e.g. vocals, lead guitar,
horns and keyboards - most likely not on the drums or the bass). During a sound check,
turn up the Efx 1 send controls on those channels about halfway at first and push up
the channel level faders also about halfway. Now dial in the desired effect using the Efx
1 Select and Parameter controls – the menu of presets with the parameter adjusted by
the parameter pot appears below the dials. Next, turn up the Efx 1 L&R (main system)
Return Levels master about halfway. Now push up the L&R main master faders to a mod-
erate listening level, as well as the Efx 1 send master. Finally, re-adjust the channel Efx
1 send levels to add or subtract the effect’s intensity in the main mix. Alternatively, you
may preview the effects through headphones using the Solo buttons covered later on. To
preview the effects on the monitor mixes, plug in headphones (jack located at front of
mixer) depress the Mon 1 and/or Mon 2 Solo buttons, set the Solo Mode to PFL and turn
up the Headphone master.
The channel Efx 1 send controls are exclusively for the internal effects system.
The channel Efx 2 send controls allow you to add external or internal effects. With no
external effects units connected between the Efx 2 Send jack and L/R Return jacks, the
internal Efx 2 system will be available to the mains and monitors. Simply set the Efx 2
Aux
EFX
1
EFX
2
Mon
1
Mon
2
Bal
Act
Clip
15/16
Low 80Hz
250Hz
2.5KHz
High
Gain
12KHz
Hi Mid
Lo Mid
Solo
Mute
15/16
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
dB
-36+40
line
+20
-20
0
-6
+10
24
12
6
0
0
3
24
dB
12
6
6
-
+
0
3
0
0
3
6
Select and Parameter controls for the desired effect in the same manner as Efx 1, then
adjust the Efx 2 Send and Return masters to blend in the effect with the dry signals. Use
headphones and the Mon 1 and/or Mon 2 Solo buttons to listen to the effects mix in the
monitor system. The Monitor Solo works the same with the AFL (After-Fader-Listen) and
the PFL (Pre-Fader-Listen).
The Efx 2 send signal is available at the Efx 2 Send jack and is regulated by the Efx 2
Send master fader. You may connect external effects between the Send and Return jacks,
or you may alternately use the Send jack to supply mono recording or broadcast signals
not requiring effects (like the Aux signal, Efx 2 is dry and post-channel fader).
When using an external effects processor, connect the Efx Send jack to the input of
the unit and the Efx Return jacks to its outputs. It is possible to use both an external
effect unit and the internal unit if the external returns are connected to one stereo or
two mono channels. If it's not a stereo effect, connect its output using a ‘Y’ cable to
both the L&R Efx 2 Return jacks. The effect processor’s output may be cued through
headphones with the Efx 2 Solo button depressed and the Solo Mode button in PFL
position. AFL gives you Efx 2 to Main Return level.
13. Pan Control (Mono Channels)
This controls the post-fader channel signal routing to the L&R main faders. Signal levels
are compensated at the L&R rotation extremes so that panning during a performance will
result in minimal SPL losses in the center-field audience areas.
In a stereo setup, the Pan controls would normally be set at, or near, center so audi-
ence members on both sides can hear everything properly. However if stereo is not
an essential part of your P.A. sound, you might opt to convert PowerMAX to mono
operation. To accomplish this, simply patch the L/Mono (left main/mono) Line Level
Output into both the Amp A and Amp B Amplifier Inputs with a standard “Y” cable.
Now, both main power amps are receiving a mono mix. This will enable you to use
the Pan controls to set up two submaster groups – for example you could pan all the
drum channels left and all the rest right. Now the L&R master faders become group
masters. These master faders are placed close together, so it is easy to move them
both at once when making main system level changes.
14. Balance Control (Stereo Channels)
This controls both the channel output routing to the L&R main faders and the compara-
tive levels of the stereo signals within the channel. If you have patched for mono opera-
tion (see number 13. Pan control, above) it is possible to connect two different mono
line-level sources to a stereo channel and use the Bal control to regulate their relative
volumes. For more on this, see under Bal Line Inputs.
15. Clip/Mute LED
The Clip LED is triggered at 6 dB below the channel’s actual clipping level. When the
Mute button is depressed, the Clip light will illuminate at half–brightness and will still
flicker to indicate clipping. With the Clip light threshold set below actual clipping level,
it is possible to allow a certain amount of light activity without worrying about distor-
tion. As a result, you may use the Clip light to help you adjust the Gain control. See
under 8. Gain Control for more about this.
16. Mute Switch
The Mute switch shuts off the specific channel and all sends except PFL. Mute is a timesav-
ing feature that enables you to put channels, which you have adjusted during the sound
check, on hold until they're needed. It's important to do this since every open microphone
connected to a mixer reduces the system’s gain before feedback (by several decibels).
17. Solo Active LED
This LED flashes with channel activity and stays illuminated to indicate Solo activation.
It will still pulse slightly with channel activity in Solo mode.
Just a reminder to take channels off Solo when you are through listening to them
through the headphones and/or checking their audio level on the VU-Meter.
7
18. Solo Switch
The Solo switch is pre-Mute or post-Fader and introduces no attenuation. Routing is,
1. to the AFL/PFL Solo Mode selector
2. to the VU-Meter plus the Headphone level and amplifier.
The Solo feature allows you to isolate a channel or master buss through the head-
phones and on the VU-Meter. Because it is pre-Mute in the PFL mode, you can still Solo
a channel on Mute – a convenience for digital audio players, CD-player, and tape decks
on the stereo channels, or listening in on the mono channels for problems such as feed-
back or a distorted microphone. Also with the Solo Mode master button set for PFL, you
can solo each channel during the sound check and adjust the channel Gain so that the
VU-Meter averages around 0 dB.
The Clip LED is another way to help set the Gain control. The above method is more
precise, but the Clip lights can all be seen with a quick look, hence they are better for
making Gain adjustments later on. Look under 8. Gain control for more on this.
Soloing the effects busses lets you hear only effects through headphones, with no dry
signal mixed in. This aids in selecting and adjusting the effects. Then, to preview the
final main P.A. mix with dry and effects signals, switch off all the Solos. Only the main
stereo mix will now be on the headphones.
During a sound check, use the Solo button/s to help you set Gain Level/s, one channel
at a time as follows:
1. Depress the Solo button on a channel you wish to adjust, making sure that all other
channel and master Solos are off.
2. Set the SOLO MODE button so that the PFL light flashes.
3. Turn up the channel’s Gain control until the VU-Meter peaks at “0”.
4. Adjust the level fader and EQ as desired.
5. Re-adjust the GAIN if needed for 0dB readings on the VU-Meter
19. Level Fader
All Level Fader gradations have 0 dB reference. This relates to 0 dB on VU-Meter when
one channel is in operation on PFL Solo with continuous signal at the input and the
channel Gain is adjusted for that reading. Switch to AFL with the channel and main fad-
ers at 0dB and the VU level reading should remain approximately 0 dB with one channel
in operation (reduce main levels as you add channels to the mix to maintain 0dB read-
ings in the AFL mode).
Level fader taper is expanded in the upper mid-slide area for precise adjustments and
condensed at the extremes for fast off or max. Signal routing goes simultaneously to the
Efx 1, the Efx 2 and Aux sends and Pan control.
8
Master Section
20. Record Outputs
These unbalanced RCA outputs are pre-EQ, pre-Speaker Processor and post-faders (L&R),
as well as post-effects.
The Record output signal consists of the L&R level (including effects) from the L&R
masters. The signal is pre-graphic-EQ and speaker processor. This way, you can
EQ the speaker system without those EQ adjustments being present on the Record
output signals. As the panel artwork indicates, optimum level for recording is 0 dB
(average) on the VU-Meters. For more information on setting gain levels for 0 dB, see
under 18. Solo Switch.
21. Efx 2 and Aux Send Jacks
These jacks carry the dry, mono output of the Efx 2 and Aux summing stages and are con-
trolled by their Send masters (and are TRS balanced).
You can connect either or both of these outputs to the inputs of an external effects
processors. Alternately, either may be used as an audio output, perhaps to another
P.A. system, recording (mono) or broadcast mixer. Just remember that the channel
Efx 2 and Aux send controls are post-fader, in other words their send signal levels are
affected by the channel faders.
The Efx 2 and Aux Send jack signals are dry; they are not affected by the L/R graphic-
EQ and have no internal effects. They are balanced connectors, but will work with either
balanced or unbalanced cables. However, for optimum quiet performance, use balanced
patch cords whenever possible.
22. Mon 1 and 2, Efx 1 and 2, Aux Send Masters, Solos and Clip LEDs
Each master regulates the output levels of its gain stage. Each stage also has a Clip
LED and, with the exception of the Efx 1, Efx 2 and Aux busses, a Solo button and LED.
Output signals are available at the applicable Send jacks except for Efx 1, which is inter-
nally routed to the input of built-in effects processor.
Adjust these sends for maximum level at the input of the connected (or internal) units
without clipping. If clipping is indicated on a Send LED, reduce that master’s level. The
same action should be taken if clipping is indicated on the input of anything connected
to the Send jacks or on the Efx 1 Return Levels channel.
The Solo features allow you to listen (to each Master Send) through headphones.
The LED indicates that the signal is being summed into the solo (AFL and PFL busses).
Remember to turn Solos off when you are done listening to them.
23. Efx 2 and Aux Return Jacks
These are the inputs to the Efx 2 and Aux Return master sections. The L/Mono Aux Return
jacks are patched internally to the Right Return jacks which are switching jacks that
interrupt the patch when a jack is Inserted. Both returns are TRS balanced.
Aux
Optimum Level
For Recording
is ‘0 db’ on
Master VU
EFX
2
Aux
EFX
2
Mon 1 Mon 2
Internal
EFX Defeat
Record
Out
Lamp
Footsw.
Returns
AMPLIFIER Inputs
LINE LEVEL Outputs
ABCD
Sends
9
The output/s of mono or stereo effects processors would be connected here. If an effects
processor is mono, plug its output into the L/Mono Aux Return jack or use a ‘Y’ cable to the
Efx 2 Return jacks. If it's stereo, use both jacks. Signals coming into the Efx 2 and/or Aux
Return jacks are routed to the Efx 2 and Aux Return masters so that their mix levels to both
Mon 1 and Mon 2 channels and the L/R main P.A. channel can be regulated precisely.
These jacks may alternately be used to connect another audio source, e.g. digital
audio players, CD-player, tape decks, instrument amp line out, keyboard or even
another mixer. The Efx 2 and Aux Return Masters regulate their mix levels to the main
and monitor systems. The EFX2 and Aux Return jacks are balanced, but will work
with either balanced or unbalanced cables. For optimum, quiet performance, use bal-
anced patch cords whenever possible.
24. Return Levels Masters, Solos and Clip LEDs
Efx 1 is the internal effects processor bus. The Efx 1 Return masters are between its
output and the internal inputs to the Mon 1, Mon 2 and L/R (main) busses. The Efx
2 and Aux Return masters are between their respective Return jacks and the internal
inputs to the Mon 1, Mon 2 and L/R (main) busses. Solos can be PFL or AFL as per the
Solo Mode button setting. In mono effects mode Efx 2 gets signal from intenal-Efx 2.
Efx 1 Return features a Defeat LED to indicate that the effect has been muted by the
Internal Efx Defeat Footswitch.
These Masters permit mixing internal and/or external effects or other input signals to
the Mon 1 and Mon 2 monitor channels and the L/R main channel. The Solo buttons let
you preview through headphones whatever signals are coming into each Return Levels
channel before turning up these masters (Solo Mode button set for PFL) or after they
are turned up (Solo Mode at AFL). The Solo LED stays on to indicate that Solo is active.
Remember to depress the button again when you are finished soloing.
Aux Clip and Efx 2 Clip/Defeat indicate excessive signal levels coming in via the Aux
Return. This can mean that the Efx 2 Send fader or the Aux Master Send levels are set
too high causing the effects units to put out too much signal. Turn them down. Trying to
reduce clipping at this stage by turning down the Return Levels masters will not work.
Clipping is more likely to
happen when a high-output
audio source, possibly
another mixer or an instru-
ment amp’s line output, has
been connected to one or
both of the Return jacks. In
this case lower that mixer’s
(or whatever’s) master level
or other volume controls
until the Clip LED goes out.
Again, do not try to rem-
edy the problem by turning
down the Return levels. Efx
2 Clip/Defeat LED indicates
that the effect has been
muted by the Internal Efx
Defeat Footswitch. This
footswitch mutes only the
internal effects. An external
device should have its own
footswitch.
Mon
1
Mon
2
Main
Mon
1
Mon
2
Main
Mon
1
Mon
2
Main
clip
RETURN Levels
Solo
EFX 2AUX
Solo
clip /
defeat
EFX 1
Solo
defeat
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
10
Master Sends
Section
25. Mon 1 and
2 Send Masters,
Clip LEDs and Solo
Switches
Mon 1 and 2 Master Sends,
Clip LEDs and Solo switches
are between the summed
channel send signals and
its designated EQ and Send
jack. The Solos and the Clip
LEDs are post-master. Once
again, the main L/R buss is
on Solo when all the other
solos are off.
The Clip LEDs indi-
cate near-overload
conditions. Reduce
the appropriate mas-
ter Mon Send setting
or the channel Mon
send settings to avoid
distortion.
Because the monitor
buss Solo is post-master,
you hear the final mix
through headphones with
the Solo Mode in either AFL
or PFL. Final monitor mix
levels will therefore appear
on the VU-Meter in either
AFL or PFL.
26. Aux Send Master and Clip LED
The Aux Send master is an attenuator between the summed channel Aux sends and the
Aux Send jack. The Clip LED is post-master.
If the Aux Clip LED becomes active, reduce the Aux Send master setting or the chan-
nel Aux send levels to reduce the risk of distortion. Otherwise, set the Aux master as
required for the application - high enough to deliver ample signal strength but not too
high for the connected unit’s input headroom (check the unit’s input clip indicator).
27. Efx 1 and 2 Send Masters and Clip LEDs
These faders are between the channel Efx sends and either the internal effects processor
(Efx 1) or the Efx 2 Send jack (Efx 2). The Clip LEDs are post-fader.
See under Input Channel Features – Efx 1 and 2 Sends for tips about setting up effects.
28. Internal Efx Defeat Footswitch Jack
This regulates internal Efx, Efx 1 and Efx 2. Connect a standard footswitch here (e.g.
Yorkville model IFS-1A) to switch the internal effects on and off.
Aux
Mon
1
Mon
2
Active
Solo
Active
Solo
clip
clip
clip
Aux
Send
Mon 2
Send
Mon 1
Send
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
11
29. L&R (Main) Master Send Faders and Clip LEDs
The left and right main summing buss receives signals directly from the channel faders, as
well as the three L&R Return Levels controls. Clip LEDs fire 6 dB lower than actual clip-
ping so some activity is allowable. Signal routing goes from the master faders (to Stereo
EQ)… and to the Speaker Processor. Then, to both the L&R Line Level Outputs and the
normally closed switching lugs on the Amp A&B Input jacks – thereafter to amps A&B.
(At the same time, the post-master signal goes directly to the Record outputs, bypassing
the EQ, processor, etc.)
The Clip LEDs are unlikely to fire as this stage of the mixer has a large amount of
headroom. However, if one, or both LEDs become very active (small amounts of
activity are OK), check the Return Levels Clip LEDs and reduce the settings of any
L&R Return Master/s in channels showing clipping.
The L&R Masters regulate the level of the main stereo mix available at the Record
Outputs (no main EQ). and the L&R Line Level Outputs. They also regulate the ampli-
fier A&B power output levels (unless another mixer has been patched into the Amp A&B
Inputs in which case its masters will determine power output).
30. Speaker Processor Curve and Enable Buttons
The PowerMAX features a choice of two low-frequency boost curves centred at 50 Hz and
80 Hz and selectable via the Curve button. The 50 Hz curve has a high Q-factor for sub-
woofers while the 80 Hz curve is slightly broader and better suited for full range cabinets.
An Enable, On/Off switch is also provided.
It is advisable to use this feature judiciously. For example you would probably not want
to boost the main L/R EQ’s low frequencies while it is enabled. On the other hand, it can
add valuable depth to the speaker
system. Experiment with it during a
sound check. In case of low-frequency
feedback, simply put the Enable button
to the Off position.
31. L/R Main EQ
This is a stereo 9-band EQ on the output of
the main bus. Range is +/-12 dB with centers
at one-octave intervals from 63 Hz to 16 kHz.
The main EQ would most often be set
during a sound check and used to careful-
ly adjust main speaker response (no radi-
cal boosts). It is also useful for curbing
feedback tendancies, but remember that
monitors most often cause your feedback
problems. Naturally, monitor feedback
comes out the main P.A. too which, when
you are out front at the mixer station,
leads to the illusion that the main sys-
tem needs EQing. See under Mon 1 and
Mon 2 EQ’s for more about this.
When setting the main EQ, do not
automatically go to a smiling curve
as with a home stereo – this will cost
your system both headroom and
gain before feedback. Initially, keep
the EQ curve as close to flat (all slid-
ers at center) as possible, then make
necessary adjustments as required
during the sound check to cut feed-
back frequencies.
+12
+6
0
-6
-12
+12
+6
0
-6
-12
+12
+6
0
-6
-12
+12
+6
0
-6
-12
63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K
63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K
Monitor 1 EQ
Monitor 2 EQ
+12
+6
0
-6
-12
+12
+6
0
-6
-12
Main EQ
63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K
Speaker
Processor
Enable
Slope
50 Hz
80 Hz
12
32. Mon 1 and Mon 2 EQs
These are 9-band mono EQ’s with +/-12 dB on the same centers as the L/R Main EQ. They
are Inserted between the monitor busses and the # 3 & 4 power amps, also the Mon 1
and 2 Line Level Outputs.
These EQ’s should be set flat (all sliders at center) then adjusted for minimal moni-
tor feedback during a sound check. If feedback does set in during the job, you will be
tempted to blame the mains because that’s what you hear from the mixing station out
front. Don’t be misled. As a rule it’s one or more of the monitors, but of course the
noise comes out the mains too. Use your channel Mute buttons to mute each channel
briefly and see if the noise stops. You may also use the Clip LEDs to hunt for feed-
back channels. If the channel Gains are set high enough per instructions, feedback
channels will have increased Clip light activity. If only one or two channels are caus-
ing feedback, the best solution is to adjust the channel EQ or, better still, connect
monitor-feedback-prone microphoness to the channels with Overload Protection. If,
on the other hand, a larger percentage of the monitors are having feedback problems,
use one or both of the Monitor EQs to cut monitor level at the feedback frequencies.
33. VU-Meter, Solo Mode Button, AFL and PFL LEDs
The VU-Meter reflects either the post-EQ, post-Speaker
Processor main buss output levels, or the Solo buss levels.
Flashing of the yellow LEDs at +2 and +4 should coincide with
flashing of the Amp A and/or Amp B Amplifier Full-Power
LEDs. The red +7 and +10 LEDs indicate that the main mixing
buss is overloaded.
The Solo Mode button allows you to switch between AFL
and PFL. AFL mode allows you to view post fader levels in the
channels, effects to L&R in the Efx returns, and the Mon 1/
Mon 2 mix levels. PFL mode allows you to view pre-fader lev-
els in the channels (even muted channels), effects input in
the Efx returns, and the Mon 1/Mon 2 mix.
The AFL and PFL LEDs indicate which solo mode is cur-
rently in effect.
To view the main system levels, release all the Solo but-
tons so that neither the PFL nor the AFL LED flashes.
To check Solo levels, press for PFL. Occasional peaks
between +7 and +10 will not reflect actual clipping, how-
ever if such peaking becomes continuous, reduce either
the channel fader levels if you are in AFL mode (or the
input level of the Solo source if you are in PFL). – Look
for the illuminated Solo LED and turn that master down.
+10
+7
+4
+2
0
-2
-4
-7
-10
-20
-30
-38
Solo Mode
PFL
PFL
Channel
Set
AFL
Phones
VU Meter
0
5
28
7
6
4
3
91
10
13
Output Section
34. Headphones Level Control and Output Jack
The level control regulates the output of the headphone amplifier. The headphone output
jack is located on the front of the mixer beside the Phantom Power switch. The head-
phone program originates from the main L/R buss unless a solo is active in which case it
originates from the Solo bus.
35. Amplifier AMP A, B, C and D Inputs
Each Amplifier Input uses a switching jack that cuts off internal signals routed to the
power amp when a jack is Inserted.
The Amplifier Inputs have a few possible uses. For example, they enable you to access,
and isolate the main power built-in amps so that they may be used in conjunction with
an electronic crossover (used to bi-amp subwoofers and full-range speakers.) In this case
you would patch as follows,
i. PowerMAX L/Mono Line Level Output to the crossover’s input (if it is a stereo cross-
over, pick one channel and use its input).
ii. From the crossover’s low frequency, or subwoofer output to the PowerMAX Amp A
Input.
iii. From the crossover’s high frequency output to Amp B Input.
iv. Now, connect the subwoofers to the Amp A Speaker output/s and the full-range cabi-
nets to the Amp B Speaker output/s.
Two 8 ohm full-range speakers, and two 8 ohm subwoofers can be powered this way.
Actually, if you have a 3-way crossover or processor and only need one monitor power
amp, you can tri-amp by using Amp A for subs, Amp B for woofers and Amp D for horns
and/or tweeters.
Alternately, the Amplifier Inputs can be used to slave one or more of the power amps
– perhaps if the mixer is connected to a rack of amps and now the built-in amps are
free to be used for other things. In another case, you might be using the PowerMAX
L&R Line Level Outputs, also Mon 1 and 2, patched into four of another mixer’s input
channels. Now you may want to amplify the full mix coming out of that other board
including whatever it’s doing (possibly you’re jamming with another group and you
need extra channels). You would simply patch its main and monitor outputs into the
appropriate Amplifier Inputs and now the two mixers are linked and the PowerMAX
amps are ready to power up main and monitor speakers.
36. Amplifier Full Power LEDs
The Amplifier Full-Power LEDs are located in the upper right
panel area just above the main EQ. They indicate that one or
more power amp limiters (all non-defeatable) are working.
Limiting begins 10 dB down from the onset of clipping and
tends to be sonically transparent unless these LEDs are work-
ing constantly. If an LED is lit continuously, it indicates that
you have run out of limiter room on that amplifier and are
approaching the point where the mixer will begin to clip.
C = 1+/1–
D = 1+/1–
A = 1+/1–
C = 2+/2–
B = 1+/1–
D = 2+/2–
Mon 1
Mon 2
Circuit
Breaker
SPEAKER Outputs
ACDB
A-Z1162 / 1v0
Phantom
On
Phones
Mon 1 Mon 2
S TATUS
Power Phantom
A
BC
D
Amplifier Full-Power
14
Given the amount of available power, it is unlikely that you will be pushing the sys-
tem hard enough to run completely out of power amp headroom. If that does happen
however, built-in limiting will ensure that no clipped signals endanger your speakers. If
an Amplifier Full-Power LED is on continuously for any particular amp, reduce the master
for that amp. Occasional flashing simply means that the limiter is reacting to peaks and
requires no action on your part.
37. Speaker Connections
Speakon™ and 1/4-inch speaker outputs are located on the back panel and are identi-
fied as Left (A), Right (B), Mon 1 (C) and Mon 2 (D). All connectors, for a given amp,
are wired in parallel. The minimum impedance of 4 ohms per amp is for full power. Loads
below 4 ohms will be tolerated, but may cause reductions in output power.
38. Lamp Connector
Connects a 12 VDC gooseneck lamp with a BNC connector (e.g. Yorkville model GNL600).
– max current 700mA -
39. System Power LED
Located to the left of the Amplifier Full-Power LEDs, this is the AC pilot light.
40. Power Switch and Circuit Breaker
These are located on the back of the mixer by the Speaker connections. The breaker is
rated 15 amps (8 amps for export models)
Basic Operating Instructions
Note A: For in-depth coverage of specific features, hookups, etc., look under the
appropriate feature heading in the main body of the manual.
1. Connect the power cord to a grounded AC outlet.
2. Connect microphones and line-level sources to the mono channels, tape decks or CD
players to the Stereo channels. Do not connect a phono turntable without using a
phono preamp.
3. Set all channel levels and masters at “0” (for now).
Note B: The following should all be done during a sound check
4. With signals coming into the channels and faders off, press Solo and adjust the chan-
nel Gain controls for 0 dB on the VU-Meter (PFL).
5. Connect any external effects to the Efx 2 Send and Return jacks and/or the Aux Send
and Return jacks. Now set the desired Send and Return masters at halfway.
6. Set channel EQs, main and monitor graphic EQs flat (at center). If unsure of Mid-
Sweep, sat at 2.5 kHz.
7. Turn up the desired channels’ Efx 1 and/or Efx 2 and/or Aux sends halfway.
8. Connect main and monitor speakers to their designated outputs on the back panel (2
x 8 ohms or 1 x 4 ohms per amp).
9. Gradually bring up the channel fader levels to achieve the desired channel mix
though the main P.A. Set the Masters for overall level.
10. Bring the main L&R faders up to the “0” reference setting and turn the Mon 1 and/or
2 Master Sends up to 5. Set the Channel/s to “0.”
11. Adjust channel Efx sends and masters as required for the desired effects mix through
the main system.
12. Per instructions from the stage, adjust the Mon 1 and/or Mon 2 channel sends and
the Mon 1 and/or Mon 2 Efx 1 or 2 Return Levels.
13. Adjust the L&R, Mon 1 and 2 EQ’s as needed. See under the feature headings for
more details.
15
ADDENDUM
EQ Sweep Control
Although frequency sweep controls have graced the channel-EQs of recording mixers for
many years, they are only found on the more upscale P.A. mixers. As a result many P.A.
users, even veterans, are unfamiliar with their function. The Sweep control determines the
range of frequencies that are affected by the Mid cut/boost. It moves or sweeps the Mid
control's peak or notch in response up to several thousand Hertz or down to below 100
Hz. As a result it can have quite a noticeable effect on the sound, especially since the
MID cut or boost will be interacting with whatever cuts or boosts you may have set with
the Low or High EQ controls.
For example, if you have set a Low boost, a Mid boost swept all the way down to the
lowest frequency setting will alter the sound of lows and increase their volume. Be care-
ful this doesn't damage your woofers. And watch out for your tweeters/horns if you sweep
the boost up to the higher settings while the High EQ is boosted.
Considering that the Sweep control can alter everything you are accustomed to an
EQ doing, it would be worthwhile to spend some time becoming acquainted with how it
works. As music plays through a channel on the mixer and speakers, adjust that channel's
Mid, first for a boost then for a cut and Sweep them back and forth. (If there is no Mid
cut or boost setting, i.e. if it is set at the centre position, the Sweep will have no effect
at all). Now repeat the process with that channel's Low and High EQ controls at various
settings (but with the volume at a safe level for the speakers).
Hint: The PowerMAX Sweep has a "home base" setting marked with a triangle at the
2.5 kHz mark. This approximately corresponds to the setting of the fixed mid controls on
our other mixers. Set channels not requiring Sweep equalization at 2.5 kHz and the Mid
cuts or boosts will have more standard results.
Together, Mid and Sweep controls can be used to accomplish a variety of tasks from
combating feedback to improving the way things sound through the P.A. or on recording.
Here are some of those tasks and settings:
Note: These are approximate settings only. Use them as a starting point and "tune
around" them.
• Killing feedback? Set Mid at -6 dB and slowly rotate Sweep until the feedback stops.
If needed cut the MID further.
• Bonky sounding snare drum? -6 dB @ 200 Hz (roll off Low EQ -6 dB)
• Boomy bass drum? -6 dB @ 300 Hz (Low EQ @ +6 dB and High EQ @ +3 dB)
• Fwashy sounding cymbals? -9 dB @ 300 Hz (roll off Low EQ -15 dB)
• Excessive hiss from guitar, bass or keyboard amp? +3 dB @ 5 kHz (High EQ rolled off
-9 dB)
• Fading vocal range (notes too low for singer)? +3 dB @ 80 Hz (Low EQ rolled off -6
dB)
• Puffing on harmonica mic? -9 dB @ 80Hz (Low EQ rolled off -12 dB)
• Rack Toms? -3 dB @ 400 Hz
• Floor tom? -6 dB @ 200 Hz Generally speaking, you will probably end up with the
Mid in cut mode for most problem solving uses of the Sweep control. In any case you
will learn to use this feature judiciously. The best P.A. EQ setting is the one with the
least adjustment, but when you need to solve a problem it's good to know how to use
the tools.
16
Introduction
Bienvenue à PowerMax possiblement le mixeur amplifié le plus avancé et le plus puissant au
monde. Il offre de vastes possibilités de mélange audio et des fonctions avancées, y compris...
• Deux unités de traitement numériques incorporés avec avec ajustement de16 pré-
réglages et de paramètre.
• processeur pour haut-parleur
• quatre amplificateurs de puissance incorporés produisant un total de plus de 3200 watts
• trois égalisateurs graphiques, contrôles d’égalisateur sur canal avec balayage de
fréquence pour les médianes
• protection de surcharge de niveau d’entrée
• fonctions “Solo” et ”Mute” et plus encore...
Ce manuel offre un aperçu des fonctions diverses et de leurs interactions. Pour faciliter la
tâche aux utilisateurs qui pourraient ne pas être familier avec certaines caractéristiques
du PowerMax, nous incluons des conseils à l’utilisateur et de l’information additionnel qui
apparaît en texte isolé dans les section applicables.
Pour plus d’information associé au mixage et autres sujets associés à la sonorisation,
referez vous à notre guide de l’utilisateur sur l’Internet (http://www.yorkville.com).
M
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511
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79
8
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1 6
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24
Modify
+
-
Modify
+
-
Room Reverb
Hall Reverb
Hall Reverb - V o cals
Hall Reverb w/Echo
Plate Reverb
Plate Reverb - Vocals
Pl ate Re ve r b w /Ec ho
Gated Reverb
decay
decay
decay
decay
ModifyEffect
decay
gain
pitch
delay
rate
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Fast Echo
Short Decay Echo
Long Decay Echo
Chorus
Flanger
Rotary Speaker
Distortion
Harmonizer
ModifyEffect
+12
+6
0
-6
-12
+12
+6
0
-6
-12
+12
+6
0
-6
-12
+10
+7
+4
+2
0
-2
-4
-7
-10
-20
-30
-38
+12
+6
0
-6
-12
+12
+6
0
-6
-12
+12
+6
0
-6
-12
Post-Fader Cha nn el EQPre-Fader
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
EFX
Aux
EFX
1
2
Mon
1
Mon
2
P a n
AuxEFX
1
EFX
2
Se n d
Se n d
Au x
Optimum Level
For Recording
is ‘0 db’ on
Master VU
EFX
2
Au x
EFX
2
Mon
1
Mon
2
Bal
Aux
EFX
1
EFX
2
Mon
1
Mon
2
Mon
1
Mon
2
Main
Mon
1
Mon 1
Mon 1
Mon 2
Mon 2
Internal
EFX Defeat
Mon
2
Main
Mon
1
Mon
2
Main
Bal
12345678910 11 12 13 1514 16
Record
Out
Lamp
Foo t sw.
Returns
AMPLIFIER Inputs
LINE LEVEL Outputs
EFX 1 EFX 2
63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K
63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K
Main EQ
S TATUS
Monitor 1 EQ
Monitor 2 EQ
63 125 250 500 1.0K 2.0K 4.0K 8.0K 16K
Speaker
Processor
Solo Mode
Active
Solo
Active
Solo
PFL
PFL
Channel
Set
AFL
clip
Enable
Slope
50 Hz
80 Hz
clip
clip
clip
Phones
Aux
Send
Mon 2
Send
Mon 1
Send
RETURN Levels
VU Meter
Solo
EFX 2AUX
Power Phantom
A
BC
D
ABCD
Amplifier Full-Power
Solo
clip /
defeat
EFX 1
Solo
defeat
Sends
EFX
1
EFX
2
clip
clip
Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal Bal
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
HPF
80Hz
Line
Mic
Insert Insert Insert Insert Insert
Tip: SEND
Ring: RETURN
Insert
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
2-TRK 2-TRK
Bal Line Bal Line
Channel 1 - 6 Overload Protection
Defeat
Protect Protect Protect Protect Protect Protect
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
Act
Clip
13/14
15/16
Low 80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Mid
Sweep
Gain
Low
80Hz
High
12KHz
Hi Mid
Gain
Low
80Hz
250Hz 250Hz
2.5KHz 2.5KHz
High
Gain
12KHz
Hi Mid
Lo Mid Lo Mid
Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo Solo
1 1 1 21234567891 0
Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute Mute
123456789101112
13/14 15/16
MAIN
clip
clip
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
-15 +15
0
dB
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
mic
+2 0
+3 0
-2 0 +5 6
0
+1 0
- 1 0
+5 0
-36+40
line
+2 0
-2 0
0
-6
+1 0
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
80 8K
5K
2. 5 K
1. 5 K
20 0
10 0
Hz
1K
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
10
0
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
0
5
28
7
6
4
3
91
10
dB
-36+40
line
+2 0
-2 0
0
-6
+1 0
dB
-36+40
line
+2 0
-2 0
0
-6
+1 0
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
1 2
6
0
0
3
2 4
dB
1 2
6
6
-
+
0
3
0
0
3
2 4
dB
1 2
6
10
-
+
0
3
0
0
3
2 4
1 2
6
10
-
+
0
3
0
0
3
2 4
dB
1 2
6
10
-
+
0
3
0
0
3
2 4
1 2
6
10
-
+
0
3
0
0
3
2 4
dB
1 2
6
10
-
+
0
3
0
0
3
2 4
1 2
6
10
-
+
0
3
0
0
3
dB
2 4
1 2
6
10
-
+
0
3
0
0
3
3200 WATT STEREO MIXING CONSOLE
SERIES TWO
17
Caractéristiques d’Entrée de Canal
1. Protection de Surcharge à l’Entrée
Les canaux d’entrées Mono 1 - 6
du PM16 (1-12 sur le PM22),
offrent une protection de sur-
charge de canal à l’aide d’un
limiteur qui agit de façon trans-
parente. Cette protection convi-
ent à des sources telles guitare
basse (injection direct ou avec
microphone), ou autres sources
ennuyeuses qui sont enclin à
faire des “pop” ou enclin à pro-
voquer le feedback (ex. grosse-
caisse, guitare acoustique).
Chaque canal est doté d’une DEL “protect” qui indique que le système de protection
est activé. Un seul bouton “defeat” sert à activer ou désactiver cette caractéristique sur
de six canaux simultanément.
2. Prises d’Insert
Les autres canaux Mono sans
protection de surcharge sont
dotés d’une prise d’insert.
Ces connecteurs sont du type
Pointe-Bague-Manchon qui
combine les fonctions de rac-
cordement d’envois et de retour
directement à un canal. Un
câble convenable pour cette
application sera doté d’une
prise stéréo 1/4 de pouce à
une extrémité et de deux lon-
gueurs de câbles blindés, avec masse commune, bifurquant sur deux prises Mono 1/4 de
pouce Mono (ex. Le câble PC-6iSPH de Yorkville). Les branchements sont : Pointe = Envoi,
Bague = Retour, Manchon = Masse. L’extrémité double du PC-6iSPH est identifié par les
marques “tip” et “ring”. Branchez la prise 1⁄4 marquée “tip” à l’entrée de l’unité de traite-
ment (ex. compresseur, égalisateur, etc...) et branchez la prise marqué “ring” à la sortie
de l’unité de traitement. L’extrémité simple avec prise stéréo doit être branchée à la prise
“INSERT”. La fonction d’envoi est post-gain et post HPF (filtre passe haute).
La prise d’insert peut aussi être utilisée pour acheminer un signal audio à partir de ce
canal jusqu’à un moniteur amplifié (certaine personne ne veulent que s’entendre). Vous
n’avez qu’à utiliser un câble de raccordement asymétrique – dans ce cas en particulier,
un câble symétrique ne fonctionnera pas. Assurez-vous de n‘insérer la fiche que jusqu’au
premier “click” quand vous utilisez une prise d’insert comme envoi de canal, sinon le sig-
nal sera interrompu et le canal ne fonctionnera pas. Si cela se produit, vous avez inséré
la fiche trop loin. Vous n’avez qu’à tirer soigneusement sur la fiche jusqu’au premier arrêt.
3. Entrées de Microphone
Le circuit d’entrée actif du PowerMax accepte les microphones avec impédance vari-
ant de 50 à 10,000 Ohms. Tous les microphones à basse impédance sont compatibles.
L’alimentation en duplex, se trouvant plus loin dans la section 4 de ce manuel au para-
graphe Commutateur d’Alimentation En Duplex et DEL, est disponible sur toutes les
entrées microphones lorsqu’elle est activée. Bien que cette caractéristique ne s’applique
qu’au microphone à condensateur, les microphones dynamiques peuvent aussi être bran-
chés sans risque d’endommagement lorsque l’alimentation en duplex est activé.
Bien que les microphones à haute impédance sont habituellement branchés à la prise *
“BAL LINE”, la plupart fonctionneront aussi bien branchés à la prise MIC XLR pourvut que
les branchements du câble soient fait au tiges 1 et 2 de la prise XLR. La tige 3 doit de plus
être connecté à la tige 1.
123456
Bal Bal Bal Bal Bal Bal
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Channel 1 - 6 Overload Protection
Defeat
Protect Protect Protect Protect Protect Protect
789101112
Bal Bal Bal Bal Bal Bal
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Line
Mic
Insert Insert Insert Insert Insert
Tip: SEND
Ring: RETURN
Insert
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
Tip: SEND
Ring: RETURN
18
4. Commutateur D’Alimentation en Duplex et DEL
L’alimentation en duplex est disponible pour les microphones à condensateur mais elle
n’endommagera pas un microphone dynamique régulier si celui ci est branché à une prise
avec alimentation activée. Le commutateur on/off pour l’alimentation en duplex est situé
sur le devant, à proximité de la prise pour casque d’écoute. La DEL d’alimentation en
duplex est située sur la partie supérieur droite du panneau avant.
L’alimentation en Duplex de 48 Volts est disponible sur les canaux 1 à 12 (1 à 18 sur
le PowerMAX-22).
5. Entrées Lignes Symétriques
Les sources Mono de niveau ligne, ex. sortie ligne d’amplificateur et microphones à haute
impédance, peuvent être branchées au canaux Mono ou stéréo à l’aide de ces jacks (uti-
lisez le jack de gauche “L” sur les canaux stéréo). Les sources audio stéréo tel que les
lecteurs numériques, lecteurs CD et magnétophones peuvent être branchés aux prises
d’entrée “Bal Line In” sur les canaux stéréo. Des prises RCA sont aussi inclues pour sim-
plifier cette opération. Il est possible de brancher des sources stéréo aux canaux Mono,
toutefois, vous devrez brancher les signaux de gauche et droite sur des canaux différents.
Cela vous permettra d’éluder les risques de distorsion d’inter modulation. (N’utilisez pas
d’adaptateur en Y pour combiner des signaux à une prise Bal Line).
Les normes de branchement pour connecteur symétrique sont:
pointe (tige 2 sur prise XLR) : porteur, en phase;
bague (tige 3 sur prise XLR) : porteur, phase renversée;
manchon (tige 1 sur prise XLR) : masse
Vous pouvez brancher une source asymétrique aux entrés Bal Line avec un câble
blindé standard asymétrique sans effets néfastes.
Une simple modification d’un câble symétrique vous permettra d’obtenir de meilleurs
résultats du point de vue réduction de bruit lorsque vous branchez votre PowerMax à
un appareil asymétrique. Il suffit de défaire une extrémité d’un câble de raccordement
symétrique de dessouder le fil à partir de l’onglet anneau, puis ressouder le fil à
l’onglet bouclier en s’assurant qu’il ne touche à rien d’autre. Ré-assembler la prise et
marquez-la avec un ruban pour référence future. Ce sera l’extrémité que l’on branche
dans l’unité asymétrique (Cela fonctionne également avec un connecteur RCA).
Les entrées ligne de gauche et droite sur les canaux stéréo sont branchées intérieure-
ment en parallèle. De cette façon, si vous branchez un signal Mono à la prise gauche
le signal sera aussi acheminé intérieurement vers la prise de droite pourvu qu’il n’y ait
rien de connecté à la prise de droite. Cela simplifie le branchement d’une source Mono si
nécessaire (ex. si tous les canaux Mono sont déjà utilisés).
En plus d’être capable de brancher des sources stéréo ou Mono à ces jacks, vous pou-
vez aussi connecter deux sources Mono différentes et utiliser le contrôle “BALANCE” pour
ajuster leur volume respectif. Par exemple, le “line out” d’un amplificateur pour guitare
et le “line out” d’un amplificateur pour clavier branché et mélangé de cette façon. Vous
devez toutefois convertir votre PowerMax en mode d’opération Mono, sinon un instru-
ment jouera sur le H.P. de gauche et l’autre instrument sur le H.P. de droite. La conver-
sion Mono est accomplit à l’aide d’un câble de branchement en “Y” inséré à la prise
“LEFT (Mono)” de la section “Line Level Output” et acheminé au jack AMP A et AMP B
de la section Amplifier Input. Les deux amplificateurs de puissance principaux recevront
Maintenant des signaux identiques. Voir la section “contrôle panoramique” pour un autre
“conseil à l’utilisateur” à propos de l’opération Mono.
6. Entrée 2-Trk (Canaux Stéréo Seulement)
Ces prises RCA sont inclus pour faciliter le branchement de sources audio telles que des
lecteurs audio numériques, lecteur CD, et magnétophones qui sont souvent équipés de
prises de sorties RCA. Les lecteurs multimédias qui utilisent des prises 1/8e pouce (3
mm) peuvent êtres raccordés avec un câble adaptateur RCA à 1/8e pouce (3 mm) TRS. le
PowerMax a été conçu principalement pour application “live”, il n’est pas équipé de cir-
cuit d’entrée phono pour platine.
15 16
2-TRK
Bal Line
1/4-inch Phone Plug
1/4-inch T.R.S. Phone Plug
XLR Plug
Phantom
On
Phones
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Yorkville Sound PowerMAX16-2 Manuel utilisateur
- Catégorie
- Mélangeurs audio
- Taper
- Manuel utilisateur
dans d''autres langues
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