OWNER’S MANUAL
MP7
ENTERTAINMENT SYSTEM
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DESCRIPTION
CONTENTS
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Input/Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Input/Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Transition/Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Standard installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Block diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Congratulations!
You will find out that purchasing a MP7 Entertainment System was an excellent decision.
The design of the MP7 is based on decades of experience, research and development as well as a steadfast
manufacturer-customer-relationship in the professional audio market. With the MP7 you own a power mixer that offers
a wide range of functionality in a truly compact frame. All the troubling experience with cabling and matching mixers,
amplifiers, FX-units and equalizers now belongs to history. The mixer’s ergonomic layout and clearly structured
controls allow instant access at all times. The MP7 additionally provides the possibility for connecting a litlite to
compensate for poor lighting in a live mixing environment. Recessed carrying handles in both side panels and an
extremely sturdy transport coverlid protecting the controls ensure easy and safe transportation. Besides, if you want
to include your MP7 in a 19" rack system, the only thing you have to do is to exchange the side panels for metal rack
ears. Its powerful 2x300W/4ohms power amp, a huge amount of functions, high dynamic range, low-noise design
and its 18-bit Dual-Stereo FX-section, the MP7 is best equipped for universal use.
The MP7 is going to fulfill all your expectations that you can possibly demand of an Entertainment System.
Use this owner’s manual as a guide when exploring the capabilities of your MP7. The vast amount of integrated
functions is all explained systematically and point-by-point. Moreover, you will find some useful tips on how to
overcome general difficulties during live-performance applications.
Unpacking and Warranty
Open the packaging and carefully take out the MP7. Detach the protective foil covering the FX-unit display. In addition
to this owner’s manual you will find the mains cord and the warranty card. Please make sure that the warranty
registration form is filled out correctly. You will be able to apply for warranty claims only when this form has been
completed. We grant 36 months of warranty, starting with the date of the original purchase. Therefore we ask you to
also keep the original certificate of purchase, stating the date of purchase. Experience has shown that keeping the
original packing as well as carefully storing all documents accompanying the appliance generally increases the price
when reselling the device.
Installation and Connections
Always install the MP7 on an even surface to allow for sufficient airflow during operation. The device is equipped with
an electronically controlled fan to protect the power amplifier section against thermal overload. The ventilation direction
is Front-to-Rear. Fresh, cold air enters the mixer at its front side and warm air leaves the appliance through the
ventilation louvers in the rear panel. Do not cover the frontal or the rear ventilation louvers, since otherwise, the MP7
would automatically enter protect mode, preventing damage through thermal overload. When protect mode is
engaged, the device is not going to be damaged. Nevertheless, regular operation is not possible during this period
of time. In case you have decided to install the MP7 in a 19" rack system, make sure to leave at least 2RU of room
above and at least 1RU of empty space below the appliance. Of course, you can cover the resulting gaps in the rack
system using optionally available blinds with ventilation louvers. Before establishing the mains connection, please
make sure that the appliance matches the voltage and frequency of your local mains supply. Mind the label next to
the mains switch stating the operation voltage your MP7 is factory-preset to. When switching the MP7’s power on,
the internal fan will run for approximately 2 seconds at full speed. This is to provide you with an acoustic signal that
the mixer is ready for operation. Additionally, any dust particles that might have gotten into the enclosure are blown
out. The SPEAKER OUTPUTS on the rear panel of the MP7 are provided through professional standard SPEAKON
high-performance connectors, which offer absolute secure connection. The pin-assignment of these sockets is 1+
(hot) and 1- (cold).
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INPUT/MONO
1. MIC
Electronically balanced XLR-type inputs (identical to the ones found on major studio and
live sound mixing consoles) for connecting low-impedance microphones. The input stage
provides extremely low noise and low hum signal processing at an outstandingly low
distortion rate (<0.002% typically) even in the high frequency range. Generally, any type of
microphone can be connected as long as its pin assignment
is in accordance with the diagram shown aside. Connecting
condenser-type microphones is no problem. In that case the
connected microphone gets its power supply (+24V) directly
from the mixer. So, battery replacement belongs to the past.
Using dynamic and condenser microphones together on these
inputs is generally possible. Nevertheless, please make sure to consider the owner’s
manual of the employed microphones. The MIC-inputs are capable of handling levels in the
range between -60dBu ... + 11dBu; depending on the setting of the corresponding gain
control. Because of their design, which is especially matched for connecting low-impedance
microphones as well as their phantom power capability these XLR-inputs are not suitable
for the connection of additional mixing consoles, FX-units, keyboard instruments, or other
electronic gear. When connecting this kind of equipment, please utilize the LINE-inputs.
2. LINE
Electronically balanced inputs for the connection of electronic instruments, such as
keyboards, drum computers, E-guitars and E-basses with an active output, as well as all
other high level signal sources, like additional mixers, FX units, CD player, etc. The
LINE-inputs have been designed to handle levels in the range between -40dBu … + 30dBu.
Connecting balanced or unbalanced signal sources is equally possible using monaural or
stereo phone plugs, with their pin-assignment matching the diagram. If the device that is
going to be connected is furnished with a balanced output stage, using balanced cables
with stereo phone plugs is certainly preferable. This type of connection is greatly insensitive
to the induction of external noise or HF interference.
Do not connect signal sources to a channel’s MIC and the LINE inputs at the same time,
since the signals cause mutual interference, which results in level reduction.
When connecting signal sources, please make sure that the corresponding channel
faders or at least the master faders are at their minimum settings. This will save
yourself, your audience, and the equipment from extensive wear from unpleasant
plug-in noise.
3. LO CUT 80Hz
TheLOCUT-switchallowsmutingfrequen-
cies below 80 Hz by 18dB per octave.
Especially for microphone applications
using the LO CUT filter is good advice,
since it efficiently suppresses popping so-
unds and rumbling noise as well as low-fre-
quency feedback. Additionally, in most
cases activating the LO CUT filter allows
boosting the bass, without having the un-
wanted “booming”.
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INPUT/MONO
Another welcome side effect is, that the power amplifier and the connected loudspeaker
systems are not “polluted” by low-frequency interference “closing off” the sound system,
which certainly is not in yours or the audience’s interest. Your speaker systems will provide
you with a truly clear, natural, and powerful sound performance when using the Lo CUT
filter.
4. GAIN
Rotary control for adjusting the MIC or LINE inputs’ sensitivity, while optimally matching the
incomingsignalstothemixer’sinternaloperationlevel. Cautiousadjustingoffersthebenefits
of an improved S/N-ration and provides you with the full bandwidth of the MP7’s outstanding
sound capabilities. On the XLR-type connectors an amplification of +10dB is achieved when
the control is set all the way to the left and +60dB when the control is set to its maximum
position to the right. Especially when dealing with very low input levels, like they occur during
vocal recordings or when picking up distant sound sources, the high gain is extremely
profitable. Using the LINE-input, the signal is generally attenuated by -20 dB, while
maintainingthetotaladjustmentrangeof50dB. TheLINE-input’sunitygain-noamplification
(0 dB) - is achieved at the 20dB mark. The following is meant as a short note for your
assistance on how to determine the correct input level.
Note on how to set the input level:
1. Set the gain control and the corresponding channel fader to their minimum setting.
2. Connect the desired sound source (microphone, musical instrument, ...) to the
corresponding MIC or LINE input.
3. Play the sound source at its highest volume setting; respectively, sing or speak as
loud as possible directly into the microphone.
4. While doing so, adjust the input level using the gain control, so that during the loudest
passages the PEAK LED is just not lit, but the SIGNAL-LED lights constantly.
This is the basic channel setting, leaving you with at least 8dB of headroom. Which me-
ans, you have at least a range of 8dB before signal clipping. In case you intend to
make further adjustments to the channel’s EQ setting, you should perform steps 3. and
4. again afterwards, since changes in the sound shaping section also influence the
channel’s overall level.
5. EQ SECTION
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within
different frequency bands. Turning an EQ level control to the right enhances / amplifies the
corresponding frequency range while turning it to the left lowers / attenuates the signal of
that specific frequency band. Before altering to the sound, all EQ controls should be set to
their neutral position; i.e. their markers point straight up (detent position). If possible, do not
set the EQ controls to extreme positions. Usually, minor changes are totally sufficient and
produce the best results in the overall sound. You should use a natural sounding
reproduction as an orientation mark and rely on your musically trained ear, which still is one
of the best instruments for judging the sound quality. Try to avoid excessive enhancement
of the MID band. The moderate use of the MID control is the best remedy to avoid acoustical
feedback. Lowering the frequency
band’s level more or less will provide
you with high amplification rates wi-
thout feedback. Set the LO-EQ in ac-
cordance to your personal taste, for
instance to achieve the desired, volu-
minous vocal sound. Use the HI-EQ to
provide vocals with more crisp.
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INPUT/MONO
6. PAN
The setting of the PAN control defines the input signal’s position within the stereo image.
When set to its center position, the audio signal is fed with equal levels to the left and right
master busses. The PAN section’s design ensures that the overall relative level of an audio
signal is maintained, no matter to what position within the stereo image the PAN control is
set.
7. FX1/2
Using the FX1/2 control lets you route the corresponding input signal to the integrated digital
effects units FX1 or FX2 at variable levels. In this way assigning special effects to musical
instruments or vocals is fairly simple. When establishing an effect-mix, it is good advice to
start with all FX-controls set to their center position. From this point you can increase or
reduce the effect’s intensity, depending on your personal preferences. Please make sure
to carefully monitor the PEAK LED’s in the FX1/2 channels during a performance. The
indicator should only light briefly at the occurrence of peak signals. If the LED lights
constantly, it is strongly recommended to lower the affected channels’ send levels at their
FX1/2 controls. For further information, please refer also to the paragraphs on the FX1/2
units.
8. MUTE
Engaging the MUTE button mutes the audio signal of the corresponding input channel.
9. PFL
Engaging this button assigns a channel’s audio signal to the PFL bus. For monitoring the
PFL bus signal via headphones slide the PHONES MIX fader in the direction “PFL”.
Simultaneously assigning more than one channel to the PFL bus is possible, while the
individual channel’s volume fader setting is not recognized (PRE FADER LISTEN). Once
a PFL button is pressed, the master display automatically enters PFL/PGM mode (yellow
LED below the display lights). The right LED-chain indicates the level of the master audio
signal (PGM), while the left LED-chain indicates the PFL bus signal level. This allows you
setting a signal’s correct level or making special EQ-adjustments without the need of
including it in the main mix.
10. SIGNAL / PEAK indicator
The Signal / Peak indicator provides optical information of a channel’s actual signal level
at all times. As already mentioned in the chapter “setting instructions”, the “signal present”
LED should blink in the rhythm of the incoming signal. If this is not the case, increasing the
input level using the gain control is necessary. On the other hand, if the PEAK LED blinks
frequently or lights constantly, the corresponding channel is likely to enter clipping and you
have to reduce amplification using the gain control. The “signal present” LED lights at levels
30dB below clipping while the peak LED lights at a level of 8dB below the occurrence of
overdrive. To prevent the mixer’s input channels from clipping, which for instance may be
caused by increasing volumes, keeping an eye on these indicators during operation is a
goodidea, too. Ofcourse, engagingachannel’sPFL-buttonallowsmonitoringthatchannel’s
level via the display in the master section. Be sure to only engage the PFL-key of the channel
that you are about to adjust. The channel’s level is displayed in the master display’s left
LED-chain. Here as well, make sure that the red LED (+12dB) lights only briefly during
dynamic peaks.
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INPUT/MONO
11. VOLUME
Thechannelfaderisusedtosetthevolumeofasinglechannelandtoestablishanaccurately
proportioned mix of all input signals. The channel faders should be positioned within the
range of -5dB to 0dB, leaving you with a sufficient degree of control to allow precise matching
of relative big differences in the channel’s level settings. Afterwards the overall volume is
set through the use of the master fader. Even though the channel faders offer an additional
gain of +10dB, it is good advice not to exceed the +5dB position.
12. TALK
TheTALK-keyisspeciallymeantforannouncementsorDJ-likemoderationwithbackground
music programs (talk over). Engaging this key automatically attenuates the signal levels of
the channels 2-7 by about 15dB. Therefore the announcer channel (channel 1) clearly
stands above the rest mix, without need to alter any of the mixer’s level settings. Since the
TALK function is only active as long as the TALK-key is kept pressed down, you have to
engage it for the entire period of time you want to make an announcement. As long as the
TALK-key is not engaged, channel 1 functions like channels 2 and 3.
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INPUT/STEREO
13. STEREO INPUT
A (CD/MD):
Unbalanced stereo inputs for connecting LINE level devices like for example: CD-Players,
MD-Players, Tape Decks, PC Soundcards, etc.
B (phono): only channels 4/5
- stereo inputs with RIAA equalization for the connection of magnetic turntable pickups.
Caution: Make sure to connect magnetic turntable pickup systems only. These inputs
are not suitable for connecting high-level audio signal sources like CD-Players, etc.!
Do not forget to connect the turntable’s ground wire to the PHONO GROUND binding
post. Otherwise it is likely that you are faced with interference noise.
Tip: When using turntables, high acoustic output levels can result in unwanted feedback.
You can avoid this from happening during a performance by rehearsing the latter scenario.
Set the sound system to the desired maximum output level while using a turntable as sound
source. Feedback mostly generates in the low-frequency range, for that the RIAA-equaliza-
tion of the phono inputs amplifies the signal by up to approx. +20dB. Therefore, it is good
advice not to position turntables and mixer gear directly in front of the loudspeaker systems.
Pieces of plastic foam or special shock absorbers may be a remedy. But when using them
make sure not to cover any ventilation louvers of the equipment.
14. INPUT SELECT
Simultaneously connecting audio signal sources to both inputs (A and B) is possible. Using
the INPUT SELECT switch lets you select whether you want to reproduce the signal of
source A (CD/MD) or B (turntable for channels 4/5 or CD/MD for channels 6/7). Before
connecting a sound source, make sure to set the corresponding input’s CHANNEL FADER
(22) to its minimum position. This prevents the connected loudspeaker systems and the
audience from being abused by nasty crackling noise.
15. GAIN
The setting of this control defines a channel’s input sensitivity. It is fairly simple to match
the input level of different audio signal sources by individually adjusting the GAIN controls
of each channel, so that the signal LED “SIG” is constantly lit while the peak LED “PK” lights
briefly during peak levels only. GAIN adjustment should always be carried out with
EQ-controls set to their center position. This leaves enough headroom for later EQ-adjust-
ment without clipping. Using the PFL/PGM Split function of the master display lets you trim
achannel’sinputlevelsettingmoreprecisely. EngageaPFLbuttonandtheyellowPFL/PGM
LED beneath the master display will light while the right LED-chain indicates the level of
the momentarily running master signal (PGM) and the left LED-chain indicates the PFL-bus’
level.
Tip: The correct use of the PFL/PGM Split function during mixing facilitates the matching
of different signal levels to a great extent. Presuming that during playback you have set the
channel faders to their maximum position, pressing the PFL-button of the channel that you
are about to adjust the level for, lets you monitor the different levels on the master display.
The left LED-chain indicates the level of the PFL-channel while the right LED-chain displays
the level of the momentarily played back audio signal. Using the GAIN-controls this allows
optimally matching the two signal levels.
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INPUT/STEREO
16. TONE CONTROL
The mixer’s tone control section allows
very differentiated and effective sha-
ping of the incoming audio signal within
miscellaneous frequency bands. Tur-
ning one of the tone controls to the right
enhances/amplifies the corresponding
frequency range while turning it to the
left lowers/attenuates the signal of the
specific frequency band. Before alte-
ring the sound, all tone controls should
be set to their neutral position; i.e. their
marker points straight up (detent posi-
tion). Please, keep in mind that the
stereo channel EQ’s are so called Kill-
EQ’s. Up to turning them to their -6dB marking the tone controls behave analogue to their
counterparts in the mono-channels. When turning the controls further, the “Kill”-function
becomes active and nearly totally attenuates the corresponding frequency band. The
“Kill”-function is meant to be used as special effect providing you with the opportunity to
produce mixes that are as creative and entertaining as possible. In this way and when using
the MP7 for Karaoke, the MID-control lets you effectively mute the lead vocals of the original
recording.
17. BAL
This control lets you determine the proportion between a stereo-channels left and right audio
levels. During the playback of pre-recorded music leaving the BAL-control as close as
possible to its center position is strongly recommended. Extreme settings for this control
should be left for effect purposes only.
TRANSITION SECTION
The TRANSITION FADER in the master section allows conveniently cross-fading between
two channels. Assigning each stereo channel to one of the two fader-sides “X” or “Y” is
possible via corresponding switches.
18. ASSIGN X/Y
This switch allows assigning the corresponding channel’s audio signal to either side “X” or
“Y” of the TRANSITION FADER. The two LED’s next to the switch indicate the ASSIGN-
status (blue = X, green = Y, off = TRANSITION inactive).
19. TRANSITION
This switch allows assigning the corresponding channel to the TRANSITION FADER.
CAUTION: Whenever you want to listen to a channel’s audio signal via the master
while the corresponding TRANSITION-switch is set to “on”, you have to raise the
channel fader and slide the TRANSITION FADER to the side, which you have
previously selected using the ASSIGN X/Y (18) switch.
20. PFL
Engaging this button assigns a channel’s audio signal to the PFL bus. For monitoring the
PFL bus signal via headphones slide the PHONES MIX fader in the direction “PFL”.
Simultaneously assigning more than one channel to the PFL bus is possible, while the
individual channel’s volume fader setting is not recognized (PRE FADER LISTEN). This
allows you setting a signal’s correct level or making special EQ-adjustments without the
need of including it in the main mix. Once a PFL button is pressed, the master display
automatically enters PFL/PGM mode (yellow LED below the display lights). The right
LED-chain indicates the level of the master audio signal (PGM), while the left LED-chain
indicates the PFL bus signal level.
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INPUT/STEREO
21. SIGNAL / PEAK indicator
The Signal / Peak indicator provides optical information of a channel’s actual signal level
at all times. As already mentioned in the chapter “GAIN”, the “signal present” LED should
blink in the rhythm of the incoming signal. If this is not the case, increasing the input level
using the gain control is necessary. On the other hand, if the PEAK LED lights constantly,
the corresponding channel is likely to enter clipping and you have to reduce amplification
using the gain control. The “signal present” LED lights at levels 30dB below clipping while
the peak LED lights at a level of 8dB below the occurrence of overdrive. To prevent the
mixer’s input channels from clipping, which for instance may be caused by increasing
volumes, keeping an eye on these indicators during operation is a good idea, too. Of course,
engaging a channel’s PFL-button allows monitoring that channel’s level via the display in
the master section. Be sure to only engage the PFL-key of the channel that you are about
to adjust. The channel’s level is displayed in the master display’s left LED-chain. Here as
well, make sure that the red LED (+12dB) lights only briefly during dynamic peaks.
22. CHANNEL FADER
Stereo Fader for setting the volume of a stereo channel.
Different from the fader function of the MIC input channels, here, the audio signal is not
amplified when a channel fader is set to its maximum position. To be sure to use the mixer’s
entire dynamic capacity, set the CHANNEL FADER during playback to its maximum
position.
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EFFECT 1/2
FX1/FX2
The MP7 employs two completely independent 18-bit stereo effect units - FX1 and
FX2. The setting of the mono input channels’ individual FX-controls determines the
audio signal that is fed to these two units. Identically configured, each unit provides
99 stereo program presets, which can be selected through the use of the UP/DOWN
buttons. The 99 preset programs are sorted by algorithm and effect type into different
groups, as indicated on a printed label. The programs within each preset group are
sorted in ascending order where higher numbers provide the same FX type with
increased intensity. The presets 1 - 20 offer high quality reverberation effects that
are equally suited for being used during live performances, in the recording studio or
in your home recording environment. The program numbers 21 - 40 provide mixed
effect types of echo/reverb and chorus/reverb while the numbers 41 - 60 offer different
delay effects. The last group from 61 - 99 provides different flanger, chorus, and
doubling presets as well as special delay and reverb programs. During the initializa-
tion of the FX-units, when turning the MP7’s power on, the preset 05 (Large Hall 3
Bright) is selected for the FX1 while the FX2 unit is set to preset 55 (Delay Mono
250ms). These two effect programs are equally suitable for live performances and
recording applications, plus that they are especially useful complementing each other
when using both FX-units at the same time. For a more detailed description and for
selecting or testing effect presets, please, also refer to the supplementary information
form “EFFECT PRESETS”, which lists all preset names together with the correspon-
ding program profiles, their individual characteristics, and a description of how and
in which combination they are best used. Take your time to test all presets and select
the ones that are best suited for your specific needs. Program number “0" is a Slap
Back Echo effect, which is mainly meant for service and testing purposes. That is the
reason why it is not included in the effects listing on the front panel.
FX1/FX2
1.......10
11.......20 21.......30 31.......40 41.......50 51.......60 61.......99
REVERB REVERB ECHO
HALLS PLATES REVERB REVERB STEREO
CHORUS DELAY
DELAY
MONO
SPECIAL
PROGRAMS
23. DISPLAY
The display always indicates the actually selected program number for the corre-
sponding FX-unit.
24. UP/DOWN
The UP/DOWN-keys let you step through the effect programs one by one in
increasing or declining order. Keeping either one button pressed for a longer period
of time allows scrolling the effect program numbers with increased tempo.
25. FX ON
Engaging this switch turns the power of the corresponding internal FX-unit on and
the green LED lights. For intelligibility reasons switching the FX-units off during
announcements is recommended.
Pushing down the TALK-button while making an announcement from the MIC1-input
channel automatically reduces the audio signal’s effects portion.
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EFFECT 1/2
26. PEAK LED
These indicators signal if the input stages of the internal FX-units are driven into
clipping. To achieve an adequate S/N-ratio, please adjust the FX units’ input level as
follows.
Note on how to adjust the FX input signal:
1. Establish a “dry” mix - without effect settings - according to the previous
descriptions.
2. Set the FX-return control (27) of the corresponding effect channel to its
center position.
3. Use the UP/DOWN-buttons to select the desired FX-program preset.
4. Press the FX ON-switch.
5. Play the sound source of the desired input channel and adjust the desired
amount of the FX-signal, using the FX-controls of the input channel until the
resulting effect mix meets your requirements. Repeat this procedure for all
input channels that you would like to include in the effect mix.
6. Please make sure that the PEAK LED only lights frequently at highly dynamic
signal peaks.
7. Now, using the FX-return controls lets you alter the percentage of the effect
signal in the main mix.
It is good advice to keep an eye on the peak indicators when operating your MP7
to be able to quickly interact when the signal levels exceed the normal range and
enter clipping.
27. EFFECT RETURN FX1 / FX2
The setting of these stereo controls determines the amount of the effect signal getting
added to the main mix.
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TRANSITION / PHONES
28. X/Y LED
These LED’s indicate whether an input channel has been
assigned to either side of the TRANSITION FADER (29).
When these LED’s are dimmed, the transition function has
not been activated for either input channel and the TRANSI-
TION FADER is inactive.
29. ASSIGNABLE TRANSITION
This assignable fader allows comfortably cross-fading be-
tween the audio signals of two selected input channels.
Please refer to the paragraph TRANSITION SECTION in the
chapter INPUT STEREO.
30. PHONES
This control lets you adjust the headphones’ volume.
Caution: Depending on the type of headphones connec-
ted to the phones jack, the MP7 is capable of producing
very high output levels via the phones output. Therefore,
make sure to turn the control all the way to the left
(minimum setting) before connecting the headphones.
Be aware of the fact that listening to loud sound pressure
levels over a longer period of time leads to hearing-da-
mage!
31. PHONES MIX
This fader lets you cross-fade the PFL (audio signal sum of
all channels with engaged PFL-function) and PGM (the actual
master signal) audio signals via headphones.
The fader lets you pre-listen the function of the TRANSITION
FADER via headphones.
32. PHONES
STEREO phones jack for the connection of headphones with
an impedance of 32 - 600 ohms. Two phones connectors are
available: one on the controls panel and one on the mixer’s
front panel.
33. LAMP
XLR-socket for connecting a gooseneck litlite (12VDC / 2.4W
max.). Please be sure to painstakingly mind the specificati-
ons on the power consumption and pin-assignment of the
used lamp. Overload or short-circuit can result in serious
damage or failure of the output. If possible, only use the
gooseneck litlite (112700), which is available from the DY-
NACORD accessory assortment. If in doubt, please consult
your local dealer.
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MASTER
34. MASTER B
This control allows setting the output level of the MASTER B, which is a
second universal stereo output carrying the stereo-sum audio signal iden-
tical to the MASTER A. It is extremely useful in accomplishing sound
reinforcement in a neighboring room or monitoring purposes using a second
power amplifier. For more details, please refer to the CONFIGURATION
EXAMPLES.
35. STEREO/MONO
The MASTER B outputs carry a stereo signal if this switch is set to the
STEREO position (not engaged).
When set to MONO (engaged), the MASTER B outputs the sum of the left
and right channels.
36. PRE/POST
Setting this switch to PRE (not engaged) lets you control the MASTER B
level independent from the level of the MASTER A. When set to POST
(engaged), the MASTER B signal is post the MASTER A fader. Changing
the level of MASTER A also alters the MASTER B level.
37. MONO OUT
This control lets you set the output level of the MONO OUT connector (40).
The MONO OUT outputs the summed audio signal of the left and right
channels independent from the setting of the MASTER A Fader (pre fader).
The MONO OUT is mostly used for connecting the monitor system or a
light control desk.
38. SUB OUT
The SUB OUT represents an output that is especially implemented for
connecting a subwoofer via an external power amplifier. The SUB OUT
audio signal relates to the MASTER A fader’s setting (post fader). It employs
an internal 12dB/oct, 100Hz low-pass filter. The SUB OUT control lets you
set the proportion between subwoofer and general output levels of the
system.
CAUTION: In case you would like to connect an active subwoofer to
the SUB OUT connector, make sure that it does not incorporate an
integrated frequency crossover or if so, that it is deactivated! If this is
not possible, you are left with the options of choosing the Mono OUT
or MASTER B outputs to accomplish the task.
The SUB OUT audio signal is output via the SUB OUT connector (41).
39. RECORD SEND
These RCA-type connectors carry the MASTER A pre-fader audio signal,
which means that the setting of the master fader doesn’t affect the level of
the audio signal that is present at the RECORD SEND connectors, which
let you connect a CD/MD recorder or TAPE/DAT deck. The nominal level
of -10dBV at this output is suitable for professional use as well as for home
recording purposes.
40. - 43. OUTPUT CONNECTORS
Impedance-balanced outputs for the connection of external gear. The
outputs are carried out as stereo phone-type jacks. Whenever possible use
balancedcables. Balancedcablingisthebestmethodforavoidingproblems
with interference and humming (see chapter: Configuration of a standard
PA-system)
44. POWER AMP INPUT
Electronically balanced input of the internal power amplifier with signal-split
function. Connecting a phone-type plug interrupts the signal path between
MASTER A and internal power amp. You can now feed the internal power
amplifier from the POWER AMP INPUT. The MASTER A audio signal is
still output via the MASTER A OUTPUTS.
36
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MASTER
45. STATUS INDICATORS
These LED’s provide information about the actual operational status
of the MP7’s internal power amplifiers.
POWER ON lights whenever the MP7’s power is set to ON. If, after
switching the MP7 on, the LED does not light, the first thing to do is
to make sure that the mains plug is plugged in correctly. If that is the
case and the LED still stays dimmed, please contact your dealer.
The LIMIT indicator signals that the MP7’s internal power amplifiers
are actually operated at their limits. Frequent blinking of the LED is
acceptable, since the amplifiers’ incorporated limiters prevent the
occurrence of distortion. Continuous lighting indicates that degrada-
tion in the outputted sound is likely to happen. In that case, reducing
the master level is recommended.
The PROTECT indicator lights when one of the power amplifiers’
extensive protection functions - against thermal overload, HF-induc-
tion, DC at the outputs, and SOAR-protection - is activated. When
the MP7 is in protect mode, the speaker outputs are muted and the
inputs of the power amplifier are short-circuited to prevent the
amplifiers from being damaged. In this case you should first check if
the frontal and/or rear ventilation louvers are blocked. Another cause
for the activation of the protect functions might be, that you have
connected more than three 8ohms speaker systems per power
output. Please also disconnect the SPEAKON connectors and check
the speaker cables for short circuit. During the power-on operation,
the PROTECT LED always lights for about two seconds. This is
normal. It indicates that the MP7’s protection circuitry is operational.
46. 7-BAND EQUALIZER
The MP7’s integrated, switchable 7-Band Stereo Graphic Equalizer
is located in the L/R master channel section. The seven frequency
bands - each providing ±10dB amplification/attenuation - offer the
possibility to optimally match the overall sound to the acoustic
conditions of different locations or shape it according to your personal
taste.
37
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MASTER
The frequency ranges as well as the characteristics of the EQ-faders
are designed to meet your day-in-day-out requirements. In case you
intend to have a clear and highly intelligible sound, you might want
to increase the level setting of the 8kHz or 16kHz band a bit. If the
mid-range sounds a bit nasal, try attenuating the mid-band by some
decibels. If you like to provide your sound with more bass, you have
to boost the low frequency range, using the 80Hz or the 250Hz
controls. On the other hand, if the overall sound is undefined with
too much bass, lowering the levels of these two frequency bands
will solve the problem. Especially when using the equalizer, being
aware of the fact that in most cases less can be more is good advice.
47. EQ ON/OFF
This switch activates or deactivates (ON / OFF) the integrated
7-BAND-EQUALIZER.
48. MASTER DISPLAY
The MASTER DISPLAY offers two modes. The PFL/PGM LED (49)
indicates which one is actually selected:
a) MASTER A Level: LED (49) is dimmed. The two LED-chains
indicate the audio level that is output via the MASTER A
OUTPUTS L and R in dBu.
b) PFL/PGM Split: LED (49) lights. This mode is automatically
activated when pressing a PFL-button. The left LED-chain
indicates the PFL-bus level while the right LED-chain indicates
the audio level of the master sum. (please also refer to the
chapter INPUT STEREO)
49. PFL/PGM SPLIT LED
Indicates the master display mode.
50. BAL
This control is for determine the ration of the levels of the left and
right MASTER A output channels. During music playback, it is
recommended to leave the BAL-control at its center position when-
ever possible. In most cases, extreme settings are only useful for
effect purposes.
51. MASTER A FADER
Stereo fader for adjusting the overall volume as well as the output
level of the internal power amplifiers and the MASTER A OUTPUTS.
Please, make sure to close the fader of the corresponding input
channel or at least the MASTER controls before connecting any
audiosignalsources. Thiswillsaveyourself, youraudience, and
your equipment from unnecessary stress resulting from plug-in
noise.
38
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REAR PANEL
SPEAKER OUTPUTS RIGHT / LEFT
The MP7 provides professional SPEAKON-type high-perfor-
manceconnectors, whichoffermechanicallyandelectricsecu-
re connection that complies with any safety standards.
Additionally, SPEAKON-type connectors allow utilizing high-
performance loudspeaker cables with diameters of up to 4 x
2
2.5mm .
Single plugs and jacks as well as high-performance speaker
cables are available from the DYNACORD accessory assort-
ment.
POWER
Mains switch for switching the MP7’s power ON or OFF. The
appliance is operational when the POWER ON-LED lights and
the power relays have switched the power amplifier output
signal to the speaker outputs.
Before switching the mixer’s power on, make sure to set
the master faders to their minimum position. This will save
yourself, your audience, and your equipment from unne-
cessary stress resulting from switching or feedback noi-
se.
When switching your audio system on with additional power
amplifiers or other electronic equipment, like for example
CD-Players, MD-Recorders, etc. connected, please proceed
in the following sequence:
1. switch the CD-Player’s power on
2. switch the MP7’s power on
3. switch the additionally connected gear (power
amps) on
Please proceed in the opposite sequence when switching the
audio system off.
PHONO GROUND
Facility for connecting the chassis ground of a turntable. Make
sure to connect the chassis ground to the PHONO GROUND
screw. Otherwise you might be facing hum and interference
noise.
39
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STANDARD INSTALLATION
CABLING
The mains cord is supplied with your MP7. The quality of all other cables is left to your responsibility. Carefully chosen
high quality cables are the best precaution to prevent problems from occurring during the later operation. In the
following we would like to provide you with some recommendations for the trouble-free operation of your setup.
SPEAKER CABLES
Our experience as a manufacturer of loudspeaker systems has taught us that flexible cables with a rubber jacket and
2
a diameter of 2.5mm per conductor, used in combination with SPEAKON plugs and sockets, are the best choice to
guarantee the optimal connection of loudspeaker systems. The connection of the SPEAKON plugs to the
corresponding connectors on the MP7’s rear panel has to be in accordance to the corresponding diagram below. We
recommend the use 4-wire cables where also the pins 2+ and 2- are connected through. This provides you with the
possibility to use these cables in an active 2-way system configuration, as well. DYNACORD speaker cables with
SPEAKON connectors and all other cables, plugs, and sockets are available at your professional audio dealer.
LF-CABLES – BALANCED OR UNBALANCED?
For LF-cabling – all the low current wiring – your best choice are balanced cables (2 signal conductors + ground
shielding) with XLR-type connectors or stereo phone jacks and plugs. The cables should be step proof, shielded,
and never longer than absolutely necessary. Too many too long cables mostly lead to confusion and generate
unnecessary problems.
Of course, you can also connect unbalanced cables with monaural phone plugs to the MP7’s in- and outputs and
because of its superb grounding managing system, in most cases no interference will occur. Still, there is a minimal
risk that problems could arise. Generally spoken, if you have the choice, balanced LF-cables are always the better
solution and they should be preferred. Today’s modern audio equipment – like amplifiers, equalizers, FX units, mixing
consoles, and even some keyboards – offers balanced in- and outputs. In a balanced signal path, the cable screen
provides a gapless connection of all metal parts, offering efficient shielding against the induction of external noise.
The balanced cabling in conjunction with the common-mode rejection of the MP7’s input stage effectively eliminates
even existing artifacts of interference. All inputs of the MP7 provide balanced audio connections and high
common-mode rejection. The mixing stage outputs – MASTER B, MOMO OUT, etc. – are laid out in GND-SENSING
technology – a special, impedance-balanced pin assignment of the output jacks, offering all advantages of the
balanced signal transmission, but lets you also connect monaural phone plugs, without a problem. Nevertheless –
as mentioned above – when longer cables are involved, using stereo phone plugs and balanced cables are the better
alternative. The diagrams below show the pin assignments of plugs and cables like they can be used with the MP7.
balanced connecti-
MIC INPUT of the MP7
on of microphones
unbalanced
external equipment
with XLR-connectors
for in- and output
All phone jack-type
in/outputs of the MP7
balanced
unbalanced
external equipment with
jack-type connector for
inputs and outputs
All phone jack-type
in/outputs of the MP7
balanced
40
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STANDARD INSTALLATION
In the following we will explain how to set up a standard PA-system with monitoring facility using the MP7.
The equipment list includes:
1
2
2
2
2
2
1
1
MP7
Hi-range speaker system cabinets, e.g. CP 12-2
Bass speaker system cabinets e.g. CP 12-1
Loudspeaker pole-mount stands or 2 intermediate poles
Speakon cables, 8m
Speakon cables, 2m
AM12 active monitor system
LF-cable with stereo phone plugs
Setting up
— Look for the most suitable location to set up the loudspeaker systems. Whenever possible, place the bass
cabinets on the floor and the Hi-range cabinets directly on top. However, in doing so, make sure that the
hi-range cabinets’ lower edge is in the same height of the audience’s heads or above. You can either use
intermediate poles between the bass and Hi-range cabinets or, if this does not provide enough elevation for
the speaker systems or there are no bass cabinets included, use appropriate speaker pole-mount stands.
— Compact overall sound is achieved by placing the left and right loudspeakers as far apart from each other as
necessary but as close together as possible.
— Make sure that the main speakers are not behind you. Otherwise you will be facing feedback whenever your
system set-up includes microphones or turntables.
— Use SPEAKON-type cables to establish connections between the loudspeaker systems and the MP7. Follow
the instructions as shown in figure1. Make sure not to inadvertently reverse connect the left and right channels.
The short SPEAKON-type cables are used to parallel connect Hi-range and Bass cabinets.
(Fig. 1)
41
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STANDARD INSTALLATION
— Place the needed sound source devices (e.g. CD-Player, turntable) or microphones on a secure even location
and, if necessary, establish mains connections
— Connect all the gear to the MP7 (Fig. 2).
(Fig. 2)
— Employ cables with stereo phone-type plugs to connect the AM12 to the MONO OUT of the MP7. Set the
LINE IN-control on the AM12 at its center position. This lets you control the AM12’s volume setting from the
MONO OUT-control on the MP7.
— Set all faders on the MP7 at their minimum position and turn all output controls (e.g. MONO OUT)
counterclockwise as far as possible. Switch on the power of all included components in the following sequence:
1. Sound source equipment, e.g. CD-Player, turntable, etc.
2. MP7
3. AM12 active monitors
Following this order when switching on your system prevents unpleasant power-on noise and feedback.
— Your PA-system is now ready for operation!
42
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STANDARD INSTALLATION
When operating the MP7 be sure to mind the following notes:
1. A red LED next to the meter instruments that is constantly lit signals that the corresponding channel is on the
verge of clipping! Use the Gain-control of the corresponding channel to reduce the audio signal level until the
red LED lights only during program peaks.
2. Avoid extreme output levels. The MP7 is no “HiFi-toy”!
Employing high-quality, high-performance PA-speaker systems, like the CP12-1 and CP12-2, allows sound
reproduction at extreme high sound pressure levels, which bares the risk of resulting hearing damage. The
same is true for the headphones output. Do not expose your ears to high sound pressure levels over an
extended period of time. The use of closed DJ-type headphones provides improved shielding against outer
noise and is therefore strongly recommended. Using these types of headphones automatically leads to reducing
the sound level settings.
3. The Master-EQ is primarily aimed for making minor corrections in the overall sound only. Employing high-quality
loudspeaker systems is the best guarantee for a perfect sound, even with the Master-EQ being deactivated.
4. Make sure to carefully test all components of the entire system prior to a live-performance. Test the system
set to the output level, which you are going to use during the later performance.
This is the only way to ensure that you are not facing feedback or other problems with the connected gear
resulting from vibration, shock or other sources during the later performance.
5. However, it is good advice to check the system’s overall sound quality as well as the volume setting during a
performance and make corrections, if necessary.
Example 1: Extending your system with an add-on subwoofer for more bass pressure is displayed in fig. 1.
Ask your local dealer before extending your system!
Example 2: In Fig. 3 you can see how to control larger PA-Systems with your MP7. Simply connect the MASTER A
outputs with the external system amplifier and the MASTER B outputs with the POWER AMP INPUTS of the MP7.
The volume of the Main-PA is controlled by the master fader, like before. MASTER B drives the internal amplifiers
and provides a full-stereo monitoring via two additional monitor cabinets.
(Fig. 3)
43
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SPECIFICATIONS
Technical Specifications MP7 Mixing desk in rated condition. Unity Gain (MIC Gain 20 dB), all faders position 0 dB, all pots in
mid position, master fader + 6dB, amplifier rated output power into 8 ohms, one channel driven, unless otherwise specified.
Maximum Midband Output Power, 1 kHz, THD = 1 %
into 4 ohms
into 8 ohms
2 x 340 W
2 x 200 W
Rated Output Power, 20Hz… 20 kHz, THD =0.2%
into 4 ohms
into 8 ohms
2 x 300 W
2 x 150 W
43 Vrms
Maximum Output Voltage of the power amplifier, no load
THD @ 1 kHz, MBW=80kHz
MIC input to Main L/R output, +16 dBu
Power amplifier input to speaker L/R output
DIM 30, power amplifier
IMD-SMPTE, power amplifier, 60Hz, 7 kHz
Frequency Response, -3dB ref. 1 kHz
Any input to any mixer output
Any input to speaker output L/R
Crosstalk, 1 kHz
< 0.006%
< 0.08%
< 0.03%
< 0.2%
15Hz… 60kHz
30Hz... 40kHz
Fader attenuation
Channel seperation
> 90 dB
> 70 dB
Input Sensitivity, all level controls in max. position
MIC input
Line Input (Mono)
CD/MD Line Input (Stereo)
Phone Input (Stereo)
Power Amplifier Input
-74 dBu (155µV)
-54 dBu (1.55 mV)
-24 dBu (49 mV)
-61.5 dBu (652 µV)
+6 dBu (1.55 V)
Maximum Level, mixing desk
MIC inputs
Line inputs
All other inputs
Record Send output
+11 dBu
+30 dBu
+20 dBu
+14 dBu
+20 dBu
All other outputs
Input Impedances
MIC
1.8 kohms
All other inputs
> 10 kohms
Output Impedances
Record Send
Phones
All other outputs
Equivalent Input Noise, MIC Input, A-weighted 150 ohms
Noise, Channel inputs to Main L/R outputs, A-weighted
Master fader down
Master fader 0 dB, Channel fader down
Master fader 0 dB, Channel fader 0 dB, Channel gain unity
Signal/Noise-Ratio, power amplifier, A-weighted
Equalization STEREO
1 kohms
47 ohms
75 ohms
-130 dBu
-104 dBu
-91 dBu
-84 dBu
105 dB
LO Shelving
MID Peaking
HI Shelving
+9/-30 dB / 60 Hz
+9/-30 dB / 2.4 kHz
+9/-30 dB / 12 kHz
Equalization MIC
LO Shelving
MID Peaking
HI Shelving
Master EQ, 2x7-band, Stereo
Phantom Power, all MIC Inputs
Lamp
±15 dB / 60 Hz
±12 dB / 2.4 kHz
±15 dB / 12 kHz
±10 dB
+24V dc
+12V dc
Power Requirements, factory preset, 50Hz....60Hz
Power Consumption at 1/8 maximum output power 4 ohms
Dimensions, (WxHxD), mm
Weight, including lid
100V/120V/230V/240V
450 W
455,5 x 175,8 x 340.6
13 kg
Optional
Rack-Mount-Kit MP7 (NRS 90259)
Wall-Mount-Kit MP7 (NRS 90242)
Transition Fader MP7 (NRS 90261)
112 844
112 742
112 853
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BLOCK DIAGRAM
65
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ABMESSUNGEN / DIMENSIONS
Abmessungen/Dimensions (in mm)
66
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GARANTIE
WARRANTY
GARANTIE
Das Werk leistet Garantie für alle The manufacturer’s warranty co- La garantie constructeur couvre
nachweisbaren Material- und Ferti- vers all substantial defects in mate- tous les défauts matériels et de
gungsfehler für die Dauer von 36 rials and workmanship for a period main d’œuvre pour une période de
Monaten ab Verkauf.
Garantieleistungen werden nur purchase.
of 36 months from the date of 36 mois à compter de la date
d’achat. La garantie ne sera recon-
dann anerkannt, wenn gültige, d.h. Liability claims are accepted solely, nue que si la Carte de Garantie,
vollständig ausgefüllte Garantieun- when a valid – correctly and comple- correctement et complètement rem-
terlagen vorliegen.
tely filled out – Warranty Registrati- plie, est présentée par l’acheteur
Von der Garantie ausgenommen on form is presented by the original d’origine du produit. Les dommages
sind alle Schäden, die durch falsche owner of the product. The warranty dus à un mauvais maniement de
oder unsachgemäße Bedienung does not cover damage that results l’appareil, à un traitement ou une
verursacht werden. Bei Fremdein- from improper or inadequate treat- maintenance incorrects ou ina-
griffen oder eigenmächtigen Ände- ment or maintenance. In case of déquats ne sont pas garantis. Toute
rungen erlischt jeder Garantie- alteration or unauthorized repairs, modification ou intervention effec-
anspruch.
the warranty is automatically termi- tuée par une personne non qualifiée
nated.
entraîne la résiliation automatique
de la garantie.
GmbH • Hirschberger Ring 45 • 94315 Straubing •Telefon (09421) 706-0 •Telefax (09421) 706-265
Änderungen vorbehalten. Subject to change without prior notice. Printed in Germany 14. 06. 2001 / 360468
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