Operating Instruction Manual
TOA POWERED MIXER
Model MCX-106
TOA ELECTRIC CO., LTD.
KOBE, JAPAN
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General Description
The MCX-106 is a compact self-powered mixer with a Microprocessor controlled stereo
cassette deck, designed to allow recording a live demo tape, performing to pre-recorded
program material, recording sound on sound with an external tape source, and
simultaneously performing as a six-channel "powered" main sound system and a six-
channel independent monitor mixer.
The MCX-106 features: six input channels, a 300 watt power am plifier, 9-band graphic
equalizer, automatic compressor, reverb effect, fluorescent bargraph meter, power
amplifier protection circuitry, and a complete patch bay.
Each input channel features: input trim control with LED peak indicator, pre-EQ foldback
send, 3-band EQ, post-EQ recording level and pan controls, post-reverb/effects send, Lo-
Z balanced XLR input and Hi-Z unbalanced 1/4" input.
The built-in cassette deck features: full logic cassette mechanism control, dbx noise
reduction system, zero return and cue functions, automatic tape selector.
All these unique functions are integrated into a ruggedly construct and portable package,
offering unlimited applications for school, church, band, performing group, etc.
The MCX-106 is a "first of its kind" product, providing such a wide variety of versatility.
Features
1. Built-in Stereo Cassette Recorder with micro-
processor control
Each Channel
1. Input Trim Control with LED peak indicator
2. Pre-EQ foldback send
2. Six Input Channels
3. 3-Band EQ
3. 300 watt Power Amplifier
4. Post-EQ recording level and pan controls
5. Post reverb/effects send
6. Lo-Z Balanced XLR Input
7. Hi-Z Unbalanced 1/4" Input
4. 9-band Graphic Equalizer with Bypass Switch
5. Auto-Comp™ Compression Circuitry with LED
indicator
6. Reverberation Effect with 2-band dedicated EQ
7. Fluorescent Bargraph Metering— assignable
8. Power Amp Protection Circuitry with indicator
9. Complete patch Bay with Buss-Link™
Stereo Cassette Recorder
1. Full Logic Cassette Mechanism Control
2. dbx® Noise Reduction System
10. Aux. Input with Stereo Balance and Level
Controls — assignable to PGM, FB, and Rec L & R
Busses
3. Automatic Tape Selector with Indicator (normal,
CrO2 Metal)
11. Headphone Monitoring/Cueing System
12. Independent Stage Monitor (FB) Mix
4. Headphone Output with Level Control
5. Tape Transport Remote Control (start/stop)
6. Tape Pitch Control ( 10%)
7. Zero Return with Automatic Cue
8. 3-Digit Tape Counter
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— 2 —
Front Panel, Input Section
Peak Indicator (PEAK)
The peak indicator lights when
the pre or post EQ signal level
reaches 3dB below clipping,
giving
a
visual reference for
Foldback Control (FB)
The Foldback control deter-
mines the level of signal assign-
ed to the foldback mixing buss,
thus setting the level of t h a t
channel in the on-stage monitor
mix.
Input Trim Control (TRIM)
The input trim adjusts the gain
of the head-amp stage of the as-
sociated channel, providing 39
dB of gain control. When the
trim control is set to the "10"
position, the nominal input
levels of the low-Z and high-Z
inputs are —55dB and —35dB re-
spectively. At the "0" position
the levels are -16dB and +4dB.
The trim of each channel should
be adjusted so that the peak LED
just begins to light, or only
flashes occasionally. This will
ensure lowest distortion levels
and optimum signal to noise
ratio.
optimum setting of the trim con-
trol.
High Equalizer Control
(HIGH EQ)
The high EQ control alters the
high frequency response of the
input channel, providing 13dB
at 10kHz, and 15dBat 20kHz of
continuously variable active
shelving equalization. The "0"
detented position provides flat
audio response.
Recording pan Pot
(REC PAN)
This control assigns the record-
ing signal from each channel to
Middle Equalizer Control
(MID EQ)
The mid EQ control provides
15dB of continuously variable
active peaking equalization at
the recording
L
and
R
mixing
busses. At the center position,
the pan pot routes the signal
equally to the
L
and
R
mixing
busses. Panning from one side to
the other gradually assigns the
input signal to either the record-
ing L or R mixing bus exclusive-
ly!
2kHz. and has
a
flat audio re-
sponse when set to the "0"
detented position.
Low Equalizer Control
(LOW EQ)
Recording Level JControl
(REC LEVEL)
The low EQ control provides
13dB at l00Hz and 15dB at
50Hz (of continuously variable
active shelving equalization.
The "0" detented position pro-
vides flat audio response.
This control adjusts the level of
signal assigned to the tape deck
via the recording pan pot and
stereo L and R recording busses.
Rotating the control clockwise
increases the amount of signal
assigned to the recording L and R
busses and thus the level of that
input in the "recording mix."
Reverb/Effects Control
(REV/EFF)
This control determines t h e ?
level of signal assigned to the re-
verb effects buss. Rotating the
control clockwise increases the
amount of reverb effect in t h a t
channel.
Input Level Control
(INPUT LEVEL)
The level control provides con-
t i n u o u s l y variable adjustment
of the channel o u t p u t to the
program mixing buss, thus de-
termining the level of that
channel in the main sound
system mix. Since the reverb/
e f f e c t s signal is "post" this con-
trol, an increase in the level of the
channel's o u t p u t will also result
High Impedance Connectors
(HIGH Z)
These connectors are unbalanc-
ed, standard 1/4" phone jacks
with an input impedance? of 50k
ohms, and an i n p u t level of
—35dB when the trim control is
set to "10". When a plug is insert-
ed i n t o the high —Z i n p u t , the cor-
responding XLR connector is
a u t o m a t i c a l l y switched out of
the input circuitry.
Low Impedance Connectors
(LOW Z)
The XLR connectors are low im-
pedance, electronically balanced
inputs with an input impedance
of 1k ohms.
in
a
corresponding increase in
he reverb effect of that channel.
The nominal level of the input
level control is at the "10" posi-
tion.
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— 3 —
Front Panel, Output Section
Aux Recording Balance
(AUX REC BAL)
This control adjusts the level
balance of the aux in, L and R
Reverberation High Equalizer —
Control
(REV HIGH EQ)
The high EQ control alters the
high frequency response? of the
reverberation signal. The "0" de-
t e n t e d position provides f l a t
audio response.
- Reverberation Low Equalizer
Control
(REV LOW EQ)
The low EQ control alters the
low frequency response of the
reverberation signal. The "0" de-
t e n t e d position provides f l a t
audio response.
Foldback Master Control (FB)
The FB master control adjusts
the overall combined signal
level of the six independent
channel foldback sends, and
thus the level of the entire on-
stage monitor mix.
signals routed to the
mixing busses.
L
and
R
At the center position, the bal-
ance control routes the signal
equally to the
busses.
L
and
R
mixing
Program Master Control (PGM)
The PGM control adjusts the
overall combined signal level of
the six independent channel
level controls, and thus the l evel
of the main sound system.
Recordig Level Control
(EFF REC LEVEL)
This control sets the level of
reverb (or external e f f e c t s ) in
the recording mix, via the effects
return pan pot.
- Playback to Program Control
(TAPE TO PGM)
This control a d j u s t s the level of
playback signal routed to the
program mixing buss, and thus
the level of the internal tape?
source in the main mix.
Auxiliary Input Recording
Level Control
(AUX REC LEVEL)
This control sets the level of
stereo
L
and
R
signal (from an
Graphic Equalizer
(EQUALIZATION)
external source connected to the
AUX INPUT) assigned to the re-
cording busses, via the AUX
REC BAL control.
Effect Recording Pan Control
(EFF REC PAN)
This control assigns the reverb
Playback to Foldback Control
(TAPE TO FB)
This control adjusts the level of
playback signal to the foldback
mixing buss, and thus the level
of the internal tape in the on-
stage monitor mix.
The graphic equalizer is 1/1
octave with 9 independent active
bands (filters), providing 12dB
of boost or cut at each center fre-
quency. The "0" detented posi-
tion provides flat audio re-
sponse.
or external effects signal to the
recording
L
and R mixing bus-
ses. In the center "detended"
position, the signal is assigned
equally to L and R; panning the
control gradually assigns the
effect to either bus exclusively.
Auxiliary Input to
Foldback Control
((AUX TO FB)
This control sets the level of aux
input signal assigned to the fold-
back mixing bus, and thus the
level of the external aux source
in the on-stage monitor mix.
Graphic Equalizer In/Out
Switch (IN/OUT)
The in/out switch enables com-
parison between
a
flat response
( o u t ) and the equalized response
(in). The "out" position com-
pletely removes the equalizer
from the MCX-106 circuitry.
NOTE: If the aux source is
a
stereo L and R signal (for
example, a stereo casset-
te player) the
L
and
R
will be combined into
one mono signal before
assignment to either the
FB or PGM mixing bus-
ses.
Phones Level Control
(PHONES)
The
phones
level control
adjusts both the recording
L
and R signals fed to the phones
o u t p u t and permits recording
and playback monitoring.
Auxiliary Input to Program
Control
(AUX TO PGM)
This control sets the level of aux
input signal assigned to the
program mixing bus, and thus
the level of the external aux
source in the main mix.
Headphone Jack
The headphone jack will accept
any stereo headphone with
ohms impedance, or higher.
8
Tape Deck Remote Control
(TAPE REMOTE)
This jack remotely operates the
tape PAUSE function during
recording or playback by means
Buss Link Jack (BUSS LINK)
Effect to Foldback Control
(EFF TO FB)
Patching Jack (PATCH BAY/OUT)
Patching Jack (PATCH BAY/IN)
This control determines the
level of reverb/effects return
signal assigned to the foldback
mixing buss, and thus the
amount of effects in the on-stage
monitor mix.
of
a
foot switch.
-Aux Input L and R
(AUX IN, L, R)
Power Amp Protection
Indicator (PROTECT)
The aux
L
and
R
1/4" phone
Playback Output Pin Jack
(TAPE OUT)
jacks are unbalanced and a c c e p t
low and high impedance sources
at nominal —20 dB level. The
jacks are wired w i t h the cor-
responding L and R pin jacks in
parallel. When a plug is inserted
in the phone jack, the pin jack is
automatically switched out of
the aux i n p u t circuitry. The aux
input is intended primarily for
external music sources such as
cassette tape players, radio
receivers, or record players.
The indicator LED lights if the
power amplifier o u t p u t is short-
ed, if the temperature of the unit
rises above acceptable levels, or
if DG is drifted to the speaker
outputs. If the LED should light,
speaker wiring and ambient
temperature of the MCX-106
should be checked. If the LED
remains lighted, the unit should
be referred to qualified service
personnel for repair.
Reverb/Effects to Program-
Control
The playback
o
u
t
pin jack
obtains its signal from the
internal tape deck. Nominal
o u t p u t level is 0dB dB w i t h an
impedance o f 1k ohms.
(EFF TO PGM)
This control adjusts the amount
of reverb/effects signal t h a t is
returned to the program buss
and thus the level of reverb/
effects contained in the main
sound system.
Power Amp Compression-
Indicator (COMP)
The comp LED lights when the
internal compressor is a c t i v a t -
ed. The compressor is provided
to protect speaker systems by
compressing t h e i nput signal
level of the power a m p l i f i e r
when clipping occurs in the out-
put stage. Frequent flashing of
t h e LED is not reason for alarm.
Reverb/Effects Send Control
(REV/EFF SEND)
Note:
NOTE: A
phonograph
w i t h
The MCX-106 protection cir-
c u i t r y will (1) detect 'faulty con-
ditions' w i t h i n the power amp-
l i f i e r , (2) give a visual indication,
and (3) a u t o m a t i c a l l y shut down
This control adjusts the overall
signal level of the effects mix
t h a t is delivered to the internal
reverberation u n i t , or to an
external effects device through
the effects o u t p u t . The send con-
trol works in conjunction with
the REV/EFF to PGM and the
REV/EFF to FB controls to set
the overall level of reverb/
effects in the main and monitor
sound systems.
magneticcartridgere-
quires the use of a pre-
amp with RIAA equali-
zation.
u n t i l
alleviated. This special circuitry
e n s u r e s maximum reliability
the;
fault
condition is
However.
a
c o n s t a n t or steady
Recording Output Pin Jack-
(REC OUT)
light indicates t h a t the MCX-106
is b e i n g overdriven and t h a t t h e
internal power a m p l i f i e r is pos-
sibly "under powered" (or t h a t
application. The o u t p u t l e v e l of
the; MCX-106 should be; decreas-
ed u n t i l the LED only flashes
i n t e r m i t t e n t l y .
The REC out pin jack derives its
signal from t h e recording L and
R mixing busses, and is intended
for connection to external r e -
cording equipment. N o m i n a l
o u t p u t level is —10 dB w i t h an
impedance o f 1k ohms.
and virtually eliminates equip-
ment damage due to unsafe or
f a u l t conditions. Please refer t o
f a u l t protection table on page
for f u l l explanation of this
i m p o r t a n t feature.
9
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— 4
—
Front Panel Stereo Cassette Deck Section
Counter Reset Button
Resets the tape couter to "000".
Cue Indicator
Remains l i t during operation of
the Cue f u n c t i o n .
DBX Button
Pressing this b u t t o n a l t e r n a t e l y
enables or disenables the inter-
nal dbx noise reduction feature
in
either the playback or
Tape Counter
Indicates how far the tape has
travelled.
DBX Indicator
Lights when the dbx noise;
reduction c i r c u i t r y is activated.
recording modes.
Cue Button
Tape Indicator
Indicates the type of tape used.
(The deck automatically selects
the type of tape. NORMAL,
CrO2, METAL)
Pressing this b u t t o n and the
FAST FORWARD or REWIND
b u t t o n will rewind the tape to
the next "muted" or unrecorded
section (tape silence of four
seconds or more), where the
deck will automatically stop.
Zero Return Switch
This switch selects the zero
return function. In the "on"
position the tape will rewind
and stop at any point on the tape
t h a t you designate as "zero".
Cassette Receptacle
Level Meter Selector Switch
The left position monitors the
PGM and FB o u t p u t levels; the
Eject Button (EJECT)
Ejects the tape.
right
position monitors the
internal tape playback and
recording levels.
Pitch Control
(PITCH CONTROL)
Varies the tape transport speed
during playback by 10%.
Mute Button
Pressing and holding the mute
button during tape travel (while
in the recording mode) will
provide a "silent" section on the
tape for use with the cuing
function; releasing the b u t t o n
will restore selected recording
levels. It is essential that the
"muted" section continue for at
least four seconds to enable the
cue function to operate cor-
rectly.
Fluorescent Bargraph Meter
The high i n t e n s i t y meters enable
visual monitoring of the o u t p u t
signals selected with the Level
Meter Selector Switch.
Recording Level Sliders
Sets the overall signal level of
t h e stereo
L
and
R
recording
busses during the recording
process; this includes the level
assigned to the; REC OUT jacks
as well as the; internal tape deck.
Pause Button
This b u t t o n is used to stop the
tape travel temporarily during
recording or playback.
Rewind Button
Fast Forward Button
Rewinds the tape at high speed.
Advances the; tape at highspeed.
Recording Button
Pressing both the PLAY and this
b u t t o n puts unit in the recording
mode.
Playback Button
This b u t t o n is used to playback
t h e tape;.
Stop Button
Stops the t a p e motion.
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— 5 —
Front Panel, Patch Bay & Buss Link
Graphic Equalizer Input Jack
(GEQ)
Effects Return Jack (EFT/RET)
The EFF/RET jack is provided to
connect an external effects
Power Amplifier Input Jack
(PWR)
The PWR Amp i n p u t jack allows
the internal power amplifier to
be used w i t h e x t e r n a l equip-
The GEQ i n p u t jack allows t h e
graphic equalizer to be used in-
dependently of the MCX-106
w i t h other external e q u i p m e n t ,
or the i n t e r n a l power a m p l i f i e r
and the graphic equalizer w i t h
device to the MCX-106. When a
plug is inserted t h e internal
reverberation u n i t is a u t o m a t i -
cally switched out of the MCX-
106 circuitry, being replaced by
the external u n i t . This jack
should be connected to the out-
put of the external effects u n i t .
Nominal input level is —20dB
with an impedance of 50k ohms.
ment. When
a
plug is inserted,
the power amp is a u t o m a t i c a l l y
disconnected from the MCX-106
mixer section. The nominal in-
p u t level is +4dB w i t h an i n p u t
impedance of 10k ohms.
external equipment. When
plug is inserted, the main mix
a
from the program buss is discon-
nected from the graphic equal-
izer and the power amplifier.
The nominal in p u t level is —4dB
w i t h an input impedance of 50k
ohms.
Program Buss Link Jack
(PGM) (+4dB22k
)
Fold Back Buss Link (FB)
(+4dB 22k
)
Effects Output Jack (EFF)
The EFF Out jack used in con-
j u n c t i o n with the EFF/RET Jack
allows use of an external effects
device in place of the internal
reverberation u n i t . The effects
out jack should be connected to
the input of the external effect
u n i t . Nominal o u t p u t level is
—l0dB with an impedance of 600
ohms.
Reverb/Effects Buss Link Jack
(EFF) (+4dB 22k
Buss Link Jacks
)
The buss link provides direct
access to the PGM, FB, and ef-
fects mixing busses, and is pro-
vided for easy input expansion
w i t h additional MCX-106 units
or other auxiliary equipment.
All jacks have an input level of
+4dB with an impedance of 22k
ohms.
Program Output Jack -
(PGM)
- Foldback Output Jack (FB)
This jack is for connection to
external power amplifiers and/
or equalizers for the on-stage
monitoring system. Nominal
o u t p u t level is +4dB with an
impedance of 600 ohms. If the
internal power amp and equal-
izer are to be used for the on-
stage monitor system, the FB
o u t p u t should be connected to
the GEQ input jack.
- Graphic Equalizer Output Jack
(GEQ)
The PGM Out jack is provided
for connection to external equal-
izers and/or power amps, deriv-
ing its signal prior to the internal
GEQ and power amp. Nominal
o u t p u t level is +4dB with an
impedance of 600 ohms.
This jack allows the MCX-106
and the internal graphic equal-
izer to be used with an external
power amplifier, or in conjunc-
tion with the GEQ in jack, to be
used independently of all other
MCX-106 circuitry. Nominal
o u t p u t level is +4dB with an
impedance of 600 ohms
Rear Panel
Power Switch (POWER) -
Cord Wrap
The power switch is
a
three-
The cord wrap is provided for
convenient storage of the power
cord when the MCX-106 is not in
use.
position type w i t h the middle
position being the "off" position.
The MCX-106 should be operat-
ed in the switch position which
produces the lowest amount of
system hum.
Caution - The power cord should
always be completely removed
from the cord wrap prior to
operation of the u n i t . This will
insure maximum cooling of the
MCX-106. For the same reason,
adequate clearance should be
maintained between the rear
panel and any other surface (4-6
inches should do). The vents on
t h e b o t t o m and top of the MCX-
106 are also provided for convec-
t i o n cooling. These vents should
be kept clear and open. Failure to
do so may cause thermal shut-
down of the u n i t .
Speaker Jacks (SPEAKERS) -
The speaker o u t p u t s are stand-
ard 1/4" phone jacks wired in
parallel. Speaker cables (recom-
mend at least #18 gauge wire)
should be connected between
the MCX-106 and the speaker
systems prior to applying power
to the u n i t .
Caution - The MCX-106 should
never be operated i n t o less t h a n
a 2 ohm speaker load.
Earth Terminal (GND)
AC Fuse
AC Power Cord
The power cord is t h e three-wire
type w i t h proper grounding faci-
l i t i e s .
Caution - The ground pin should u t i l i z e d . Operation of the MCX-
not be removed under any cir- 106 w i t h proper grounding
Warning
e q u i p m e n t damage and or per-
sonnel i n j u r y , t h e f u s e should
always be replaced w i t h same repeatedly f a i l s , the u n i t should
t y p e and r a t i n g . Using improper
fuses will also void the warran-
-
To avoid possible
t y . The MCX-106 should always
be disconnected f r o m AC o u t l e t
prior to changing fuses. If fuse
cumstances. If the MCX-106
must be used w i t h o u t proper system noise and g r e a t l y reduc-
grounding f a c i l i t i e s , s u i t a b l e ed shock hazard.
grounding adapter should be
techniques will result in less
a
be referred to q u a l i f i e d service
personnel lor repair.
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— 6 —
Connection Examples
Low Z input should be connected
with low impedance (50 ohm ~ 600 ohm)
microphones
SUB MIXER (MCX-106)
Built in Power
Amplifier for
Foldback
From Speaker Jack
on Rear Panel
MAIN MIXER (MCX-106)
WIRELESS TUNER
SUCH AS WT-02,
WT-06
From Speaker Jack
on Rear Panel
HEAD PHONES
KEYBOARD
TAPE DECK
REMOTE CONTROL
FOOTSWITCH
MUSICAL INSTRUMENT
MAIN SPEAKER SYSTEM
SPEAKER SYSTEM
for foldback
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_
_
— 7 —
Input Connections
Generally speaking, there are two rules to follow when connecting equipment outputs
to the inputs of other equipment.
1. Properly match the impedances of the outputs and inputs.
2. Connect low impedance outputs to high impedance inputs.
It goes without saying that not only input and output impedance matching but also
level matching should be taken into consideration. Each input channel of the MCX-
106 is provided with an input TRIM control, so the usable signal level range is very
wide. Input impedances and levels are shown in the following table.
INPUT SPECIFICATIONS
TRIM
POSI-
TION
SENSITIVITY
(PGM OUTPUT
LEVEL +4dB)
MAX BEFORE
CLIP INPUT
LEVEL
ACTUAL
LOAD
FOR USE
WITH
CONNECTION
INPUT
LOW Z
HIGH Z
CONNECTOR
XLR TYPE NC3F
PHONE JACK
IMPEDANCE
NOMINAL
10
0
-55dBm (1.38mV)
-16dBm (123mV)
-34dBm (15mV)
+1.7dB (0.94V)
-14dBm (150mV)
+20dB (7.75V)
OPEN
MICRO-
PHONES
CH1
CH6
10
0
-35dBm (13.8mV)
+4dBm (1.23mV)
LOWER IMP
LINES
PHONE JACK
AUX (L & R)
EFF/RET
GEQ
LOWER IMP,
LINES
-l0dBm (245mV)
-20dBm (77.5mV)
+4dBm (1.23V)
+4dBm (1.23V)
+8dBm (1.9V)
-2dBm (0.61V)
——
——
RCA PIN JACK
LOWER IMP,
LINES
PHONE JACK
PHONE JACK
PHONE JACK
——
——
LOWER IMP,
LINES
PWR
BUSS LINK
(PGM, FB, EFF)
+4dBm (1.23V)
+20 dBm (7.75V)
PHONE JACK
——
LOWER IMP
LINES
*Sensitivity is the level required to produce a program out level of +4dBm.
*0dBm is referenced to 0.775V RMS.
All XLR Type connectors are electronically balanced (transformer less). Phone jack is
unbalanced.
If the line going from one piece of equipment to another is long (more than 5m), we
recommend that balanced outputs be connected to balanced inputs.
As is described in the beginning of the Operating Instructions Manual, the connectors
of the MCX-106 are wired as follows: Pin 1 is ground (shield). Pin 2 is cold (low,
minus). Pin 3 is hot (high, plus).
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— 8 —
How to get a good mix
Before connecting other equipment to the Powered mixer,
check the impedance and level of both. If the impedances
and levels do not match, mixing will be very difficult and
the S/N ratio will also be adversely affected.
If the trim control is set as shown in the left figure, the
input level controls can be set to the same position.
The input level controls are used in general between 6 and
8.
Each input channel of the MCX-106 is provided with a
TRIM control. Thorough understanding of the function of
a TRIM control will make mixing easier.
The peak indicator LED illuminates if the head amplifier
or equalizer is clipping. The gain of the head-amplifier
must be decreased by turning the trim control counter-
clockwise.
The function of the TRIM control is to control the negative
feedback volume of the head-amp so that the gain of the
head-amp can also be changed. Because of this, enough
dynamic range, even for high level signals is ensured.
Also, the S/N ratio will be better by decreasing the gain of
the head-amp.
For example, a keyboard, a musical instrument and a
dynamic microphone with output levels of —l0dBm,
-20dBm and -40dBm respectively are connected to the
MCX-106.
Key Board in
—l0dBm level
Musical Instrument in
—20dBm level
Dynamic
Microphone in
-40dBm level
Fault Protection Table
Fault
Protection
Indication
Action
Restoration
Excessive current due to
overloads.
Current limiter activates at
less than 1 ohm.
Compressor
LED illuminates.
Remove excessive lords.
Minimum speaker loads 2-
ohm.
Automatic restoration
after normal loads are
obtained.
Short circuits
(less than 0.4-ohm)
Current limiter activates,
input signal is lowered,
unit shuts down.
Amp protection
LED illuminates.
Check speaker
lines/systems for shorts.
Turn off power switch.
Turn on into operational
loads.
Temperature rise of heat
sink
Input signal is lowered.
Unit shuts down.
Amp protection
LED illuminates.
Check for adequate
ventilation.
Automatic restoration
after temperature
(more than 105°C)
lowers (to 75° - 95°C)
Input signal is lowered.
Unit shuts down.
Amp protection
LED illuminates.
Refer to qualified service
personnel.
Automatic restoration
after normal bias is
regained.
DC drift
Recording Level Setting
an "encode/decode" process, meaning that any tape
that is recorded with dbx must also be played back
with dbx, to obtain satisfactory results. If the
recording must be played on other equipment
without dbx circuitry, we recommend that the dbx
feature not be used.
The following procedures are recommended for an
accurate and high-quality recording.
1. Place the level meter selection switch in the "Tape"
position.
2. Engage the noise reduction circuitry by pressing the
dbx switch.
3. Press the record b u t t o n to place the deck in "record
pause" mode.
4. Adjust the L and R master recording level sliders to
a level j u s t below the "red" in the bargraph meters.
5. Press PLAY b u t t o n to begin recording.
NOTE:
Using the internal dbx circuitry will provide higher
quality recordings with excellent "signal-to-noise"
characteristics. You will notice a drastic reduction
in audible "tape hiss" and a significant increase in
dynamic range. However, the dbx noise reduction is
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— 9 —
Types of Cassette Tape
Types of cassette tape
micron: 1/1000mm
openings with adhesive tape if you desire to erase or
record the tape at a later date.
C-60
C-90
C-120
Type
C-30
C-46
Tape t r a v e l hour 30 min.
Tape thickness 18 micron
46 min
6Omin.
90 min.
12 micron
120 min.
Hints on Cassette Tape Handling
1. Tape Slack can cause the tape to twist or break.
When necessary, always take up slack by inserting
18 micron
9
micron
18 micron
CAUTION:
a
pencil or similar object into the reel hub and
A C-120 tape is so thin that it can be easily stretched,
causing tape slack and possible entanglement around
the pinch roller and capstan. We do not recommend the
use of C-120 cassette tapes.
turning.
2. Winding the tape too tightly on the reel may cause
the tape to rotate unevenly; in worst case, the tape
may bind and not wind from reel to reel.
NOTE:
Before using a tape again after continuous playback
or recording, lightly tap the cassette housing or both
sides, and ifnecessary, rewind thetapeineitherthe
fast-forward or re-wind mode.
The MCX detects the type of tape (Normal, CrO
,
2
Metal) when the cassette is inserted and the door is
latched, automatically selects the proper EQ and bias
settings, and gives a visual indication on the front
panel.
Storing Tapes
Always store cassette tapes in their cases with a
protective insert over the exposed portion of the tape;
ifnot available, attach a "stopper" made from paper as
For highest quality recordings and extended dynamic
range, we recommend the use of metal tape whenever
possible.
SAVING YOUR RECORDINGS
Cassette tapes are provided with two break-out tabs
as shown in figure. To prevent accidental erasure or
shown in the illustration. To prevent damage or
degradation of recordings, always store tapes in
locations free from direct sunlight, high temperature
or humidity, and m agnetic effects from other electrical
equipment, speaker systems, etc.
overtaping, break the tabs with a screw-driver or
similar tool and remove. You may cover the tab
Maintenance of Stereo Cassette Mechanism
Cleaning the tape heads
NOTE:
We recommend removal ofthecassettereceptacledoor
prior to the cleaning operation; this will facilitate easy
access to all the inner workings of the tape transport
assembly.
1. The cassette door opens when the EJECT button is
3. Clean the rubber parts of the transport assembly
pushed. After opening, press the door downward
(see illustration) to disconnect the "top mounted
with cleaning fluid, or alcohol, and wipe dry with a
clean, soft cloth.
NOTE:
If a transport "Lubricant" of any kind is used on the
metal parts, take care to avoid contact with rubber
parts.
CAUTION:
The tape heads and guides are carefully adjusted to
ensure smooth and accurate tape travel during both
recording and play back; DO NOT USE EXCES-
SIVE FORCE when cleaning: misalignment may
result.
detents" which hold the door to the chassis. Now
pull outward and away from the main assembly.
Place the door aside in a safe location for later
cleaning.
We recommend through cleaning of the tape transport
assembly after every four to six hours of use to ensure
optimum recording and play back performance.
CAUTION:
To prevent damage to the transport and head
assembly, use only cotton swabs or a soft cloth for
the cleaning procedure.
Demagnetizing the tape heads
The recording head will become "magnetized" after
prolonged use. This residual magnetism will degrade
and possibly destroy your valuable recordings by
adding unwanted noise and distortion, so it is
necessary to frequently "demagnetize" the heads.
There are many inexpensive head demagnetizers
available; follow the manufacturer's directions for use.
2. Using any good grade of commercially available
tape cleaning fluid (or an acceptable substitute such
as alcohol), thoroughly clean the tape heads, tape
guides, and all other metal parts in the tape path.
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— 10 —
Block and Level Diagrams
BLOCK DIAGRAMS
LEVEL DIAGRAM
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— 11 —
Specifications
MIXER SECTION
Maximum Voltage Gain
INPUT to PGM out
INPUT to EFF out
INPUT to FB out
Frequency Response
59dB
45dB
59dB
45dB
59dB
14dB
24dB
+0, -3dB 30Hz~20kHz (HIGH Z input TRIM at "0" positio
Total Harmonic Distortion
INPUT to REC out
INPUT to GEQ out
AUX to PGM out
0.05% +4dBm at 1kHz.
Hum and Noise (Open)
EFF/RET to PGM out
Equivalent Input Noise
Equivalent Input Noise
All level Controls Minimum
PGM Master at MAX and all
input level controls minimum -93dBm (IHF A)
PGM Master at MAX and one
input level control at MAX -72dBm (IHF A)
-130dBm (20Hz~20kHz
-133dBm (IHF A)
-102dBm (IHF A)
Equalization
63Hz 12dB Peaking
125Hz 12dB Peaking
250kHz 12dB Peaking
500Hz 12dB Peaking
1kHz 12dB Peaking
2kHz 12dB Peaking
4kHz 12dB Peaking
8kHz 12dB Peaking
16kHz 12dB Peaking
Peak Indicators
Red LED on each input channel LED's turn on at 3dB below
clipping.
INPUT SPECIFICATIONS
TRIM
POSI-
TION
SENSITIVITY
(PGM OUTPUT
LEVEL +4dB)
MAX BEFORE
CLIP INPUT
LEVEL
ACTUAL
LOAD
IMPEDANCE
FOR USE
CONNECTOR
INPUT
WITH
CONNECTION
NOMINAL
10
-55dBm (1.38mV)
-34dBm (15mV)
+1.7dB (0.94V)
-14dBm (150mV)
+20dB (7.75V)
XLR TYPE NC3F
LOW Z
OPEN
MICRO-
CH1
0
-16dBm (123mV)
PHONES
10
0
-35dBm(13.8mV)
+4dBm (1.23mV)
PHONE JACK
CH6
HIGH Z
LOWER IMP
LINES
PHONE JACK
RCA PIN JACK
-l0dBm (245mV)
-20dBm (77.5mV)
+4dBm (1.23V)
+4dBm (1.23V)
+4dBm (1.23V)
+8dBm (1.9V)
-2dBm (0.61V)
AUX (L
&
R)
LOWER IMP,
LINES
EFF/RET
GEQ
LOWER IMP,
LINES
PHONE JACK
PHONE JACK
PHONEJACK
PHONE JACK
LOWER IMP,
LINES
PWR
LOWER IMP
LINES
BUSS LINK
(PGM, FB, EFF)
+20 dBm (7.75V)
LOWER IMP
LINES
OUTPUT SPECIFICATIONS
OUTPUT LEVEL
MAX. BEFORE
CLIP
ACTUAL LOAD
IMPEDANCE
FOR USE WITH
NOMINAL
CONNECTOR
CONNECTION
NOMINAL
+4dB (1.23V)
+10dB (245V)
+4dB (1.23V)
+4dB (1.23V)
-l0dB (7.75V)
0dB (0.775V)
+20dB (7.75V)
+8dB (1.9V)
PHONE JACK
PHONE JACK
PHONE JACK
PHONE JACK
RCA PIN JACK
RCA PIN JACK
PGM
EFF
GEQ
FB
IMP. LINES
IMP. LINES
IMP. LINES
IMP. LINES
IMP. LINES
IMP. LINES
+20dB (7.75V)
+20dB (7.75V)
+8dB (1.9V)
REC
L
&
R
+20dB (7.75V)
TAPE L & R
POWER AMPLIFIER SECTION
Frequency Response
Damping Factor
Greater than 200 (1kHz
Input Sensitivity
+4dBm (1.23V)
Input Impedance
+0, -1dB 5Hz to 40kHz (200W RMS
Rated Power & Load
300W RMS
200W RMS
120W RMS
Power Output at Clipping
Output Connector
1% THD, 1kHz
Phone Jack X2
348W RMS
238W RMS
140W RMS
Power Requirement
600 W 120V AC 50/60Hz
Dimensions (WXHXD)
605X371X356mm (23.8X14.6 X14.0) inch
Weight
Total Harmonic Distortion
Less than 0.1% (200mW~200W RMS, 20H z~20kHz)
Typically below 0.05%
Compressor Dynamic Range
Greater than 26dB
Hum and Noise
27.2 kg (60 Ibs)
At least 110dB S/N ratio, 20Hz~20kHz
At least 113dB S/N ratio IHF-A weighted
*0dBm is referenced to 0.775V RMS.
Specifications are subject to change without notice.
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— 12 —
Specifications
STEREO CASSETTE DECK SECTION
Mechanism
1 Motor 3 Solenoid Mechanism
Control
Motor
Electronically Governor
Frequency Response
4 Bit Micro Computer
Tape
Compact Cassette C-30, C-46, C-60 or C90
Track Format
40 Hz to 12.5 kHz (Metal) (Overall Record/Playback)
Noise Reduction
*DBX type II (IN/OUT Switchable)
Signal to Noise Ratio
4-Track, 2-Channel (Stereo)
Heads
2 Channel Stereo Recording/Play Back (Permalloy)
Erase (Ferrite Double Gap)
Tape Speed
1-7/8 ips (4.75 cm/s) l%
Pitch Control
70dB *DBX IN 20 Hz~20 kHz
90 dB *DBX IN IHF-A Weighted
Total Harmonic Distortion
Less Than 3% at 1kHz 0dB
Bias Frequency
85kHz
Erasure
10% of normal Tape Speed (Play Back Only)
Wow & Flutter
70 dB at 1kHz
Less Than 0.08% RMS NAB Weighted
Fast Wind Time
*DBX is the registered trademark of DBX incorporated.
**Specifications are subject to change without notice.
Less Than 100 seconds (C-60 Tape)
Characteristics Diagrams
CASSETTE DECK PLAYBACK
RECORDING PLAYBACK
NORMAL TAPE
NORMAL TAPE
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— 13 —
Characteristics Diagrams
HIGH Z IN. TRIM/MIN. & INPUT EQ
GEQ
POWER AMP POWER BAND WIDTH
POWER AMP TOTAL HARMONIC DISTORTION
POWER AMP COMPRESSOR
REVERBERATION FREQUENCY RESPONSE
Appearance
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— 14 —
TOA ELECTRIC CO., LTD.
KOBE, JAPAN
Printed in Japan
133-02-690-80
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