Dynacord Music Mixer PowerMate 1600 User Manual

OWNER‘S MANUAL  
PowerMate 1000/1600  
Power Mixer  
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IMPORTANT SAFETY INSTRUCTIONS  
The 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.  
The exclamation point within an equilateral triangle  
is intended to alert the user to the presence of  
important operating and maintance (servicing)  
instructions in the literature accompanying the  
appliance.  
1.  
2.  
3.  
4.  
5.  
6.  
7.  
8.  
Read these instructions.  
Keep these instructions.  
Heed all warnings.  
Follow all instructions.  
Do not use this apparatus near water.  
Clean only with a dry cloth.  
Do not cover any ventilation openings. Install in accordance with the manufacture’s instructions.  
Do not install near heat sources such as radiators, heat registers, stoves, or other apparatus  
(including amplifiers) that produce heat.  
9.  
Do not defeat the safety purpose of the polarized or the 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  
electrican for replacement of the obsolete outlet.  
10.  
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles,  
and the point where they exit from the apparatus.  
11.  
12.  
13.  
Only use attachments/accessories specified by the manufacturer.  
Unplug this apparatus during lightning storms or when unused for a long period of time.  
Refer all servicing to 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.  
Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids, such as vases,  
are placed on the equipment.  
14.  
15.  
16.  
To completely disconnect this equipment from the AC Mains, disconnect the power plug from the AC receptacle.  
The mains plug of the power supply cord shall remain readily operable.  
IMPORTANT SERVICE INSTRUCTIONS  
CAUTION:  
These servicing instructions are for use by qualified personnel only.To reduce the risk of  
electric shock, do not perform any servicing other than that contained in the Operating  
Instructions unless you are qualified to do so. Refer all servicing to qualified service personnel.  
1.  
2.  
Security regulations as stated in the EN 60065 (VDE 0860 / IEC 65) and the CSA E65 - 94 have to be obeyed when  
servicing the appliance.  
Use of a mains separator transformer is mandatory during maintenance while the appliance is opened, needs to be  
operated and is connected to the mains.  
3.  
4.  
Switch off the power before retrofitting any extensions, changing the mains voltage or the output voltage.  
The minimum distance between parts carrying mains voltage and any accessible metal piece (metal enclosure),  
respectively between the mains poles has to be 3 mm and needs to be minded at all times. The minimum distance  
between parts carrying mains voltage and any switches or breakers that are not connected to the mains (secondary  
parts) has to be 6 mm and needs to be minded at all times.  
5.  
Replacing special components that are marked in the circuit diagram using the security symbol (Note) is only  
permissible when using original parts.  
6.  
7.  
Altering the circuitry without prior consent or advice is not legitimate.  
Any work security regulations that are applicable at the location where the appliance is being serviced have to be  
strictly obeyed. This applies also to any regulations about the work place itself.  
All instructions concerning the handling of MOS - circuits have to be observed.  
8.  
NOTE:  
SAFETY COMPONENT ( MUST BE REPLACED BY ORIGINAL PART )  
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DESCRIPTION  
First of all, we would like to thank you and congratulate you to your purchase of a DYNACORD power  
mixer.  
The PowerMate compact power mixers incorporate profound know-how, based on our research, development and  
inter-communication with our customers in the professional audio market, for decades.With a PowerMate you own a  
power mixer that offers a wide range of functionality in a very compact frame. Forget about the troubling experiences  
with cabling and matching mixers, amplifiers, FX units, and equalizers.You now own a device with optimally matched  
components. The mixer’s ergonomic console shape and clearly structured controls provide perfect overview for  
instant access at all times. A gooseneck litlight can be easily plugged into the provided socket to compensate  
for insufficient lighting conditions. Also during the transport you will quickly learn to appreciate the PowerMate’s  
superiority: recessed handles on the sides, compact dimensions and low weight, plus the sturdy cover that protects  
the controls from being damaged. However, if you would rather like to install your PowerMate 1000 in a 19” rack shelf,  
no problem. The only thing you have to do is to replace the plastic side panels by a pair of metal rack mount ears.  
Through its multiple functions, its high dynamic capacity, and extremely low-noise design in combination with its 24-  
bit Dual-Stereo effect unit and the high-performance power amplifier, the PowerMate is best equipped for universal  
use. No matter, whether on-stage, in a home recording environment or in a permanent installation, your PowerMate  
is the ideal partner to meet your expectations of a professional audio device – effective and reliable. Of course, you  
want to install and operate your new PowerMate as quickly as possible. Nevertheless, please take the time to do  
this by means of this user’s manual. Starting with input channels, effects and master areas up to the power amp,  
every section is explained systematically and in detail within this owner’s manual. Through the careful perception  
of the manual you will learn about all functions and find some useful and practical tips for the daily operation of the  
PowerMate. Even more important, you will find some adjustment guidelines that should be painstakingly carried  
out; plus the description of a typical sound reinforcement installation, a block diagram, specifications, connection  
guidelines, etc.… So, take your time and keep on reading.  
Unpacking and Warranty  
Open the packaging and take out the PowerMate. Remove the FX unit displays’ protective foil. In addition to this  
owner’s manual you will find the mains supply cord and the warranty card. Please check, if the warranty registration  
form is filled out correctly. Only when this form is completed, you will be able to apply for warranty claims.  
DYNACORD grants 36 months of warranty, starting with the date when you received the appliance from your local  
dealer.Therefore, we would like to ask you to also keep the original certificate of purchase together with the warranty  
certificate.  
Keeping all papers and the original packaging of the device is generally recommendable, since they come in  
handy re-selling an appliance.  
Installation and Connections  
Do not cover the ventilation louvers in the bottom plate of the appliance. Always place the PowerMate on an even  
surface to allow for sufficient airflow during the operation. The device is equipped with electronically controlled  
ventilators to protect the power amplifier against thermal overload.The direction of the airflow is front-to-rear. Fresh,  
cold air enters the mixer at its lower front side and warm air leaves the device through the ventilation louvers in the  
rear panel. Do not cover the frontal or the rear ventilation louvers. Otherwise the PowerMate automatically enters  
protect mode to prevent thermal overload. While the protect mode prevents that the device is being damaged,  
regular operation is impossible during the period of time it is activated. In case the PowerMate is installed in a 19”  
rack system (vertically), you have to allow at least 2 HU of free space above and 1 HU below the mixer. Of course  
you can cover the empty space with special blind plates that also have ventilation louvers. Before establishing the  
mains supply connection, please make sure that the device matches the voltage and frequency of your local mains  
supply. Check the label next to the mains switch. When switching the power on, the internal fans will run for about 2  
seconds at full speed to give you an acoustical signal that the PowerMate is ready to be operated. In addition dust  
particles that might have gotten into the device get blown out. For a secure connection the SPEAKER OUTPUTS  
on the rear panel of the PowerMate are provided through professional standard high-performance SPEAKON  
connectors. 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 for the connection of low impedance microphones like  
the ones featured in major studio and live mixing consoles. This type of input stage provides  
extraordinary low noise signal conversion at an extremely low distortion rate (typical <0.002%)  
even in the high frequency range. Generally, any type of microphone can be connected as  
long as its pin assignment is in accordance to the diagram shown below. When condenser  
microphones are connected, you have to press the PHANTOM POWER (MIC 1-6) button,  
which is located in the input section. The microphone gets its operating voltage (+48Vdc)  
through the mixer and you can forget about battery replacement times.  
CAUTION: Always connect the microphones before turning on the phantom power or switching  
the PowerMate on with phantom power being activated. This is the only way to prevent  
your microphones from being damaged. Also make sure to engage the STANDBY button  
in the master section to prevent yourself and your environment from nasty power-on noise.  
Simultaneous connection of condenser type microphones and dynamic microphone models  
is generally possible with phantom power being activated. Before you do so, please consult  
the manual of the concerned microphone. The MIC input accepts levels between –60dBu  
… +21dBu – depending on the setting of the corresponding gain control. Because of their  
low impedance design and the phantom power these XLR-type inputs are not suitable for  
cascading other mixing consoles or the connection of FX units, keyboards or other electronic  
equipment. When connecting this kind of equipment, please use the LINE level inputs.  
2. LINE  
Electronically balanced inputs for the connection of electronic instruments, such as keyboards,  
drum machines, E-guitars and E-basses with an active output, as well as all other high level  
signal sources, like additional mixers, FX units, CD players, etc. The LINE input accepts levels  
between –40dBu … +41dBu. The connection of balanced or unbalanced signal sources is  
established through monaural or stereo phone plugs, assigned according to the diagram below.  
If the device that you want to connect has a balanced output stage, the use of balanced cables  
with stereo phone plugs is preferable. This type of connection is greatly insensitive to the  
induction of external noise or HF interference.  
Do not connect identical signal sources to LINE and MIC inputs at the same time, since the  
signals would interfere with each other, resulting in level reduction.  
One more note: Please, do not connect E-guitars or E-basses with passive, high impedance  
outputs directly to a LINE input.The LINE inputs of the PowerMate – like the Line level inputs of  
mixers from other manufacturers – are designed for the connection of the relatively low source  
impedance of electronic instruments. The reproduction of the instrument’s original sound  
characteristics will be unsatisfactory. Connect those instruments using a special transformer  
or pre-amplifier with very high input impedance. Musical instruments with an active electronic  
output (battery-powered) can be connected without any problems.  
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INPUT MONO  
When connecting signal sources, please make sure to set the corresponding channel  
faders or at least the master faders to their minimum positions or engage the STANDBY  
button.This will save you, your audience, and the equipment from extensive wear from  
unpleasant pops.  
3. INSERT  
Stereo phone jack with breaker function. The low impedance output is assigned to the tip (send)  
and the high impedance input (return) is assigned to the ring. This jack allows the connection  
of external compressors, limiters, EQs, de-noisers, etc. into the corresponding channel’s signal  
path. The insertion point is post gain controls, Lo-Cut filters, and voicing stage and pre sound  
shaping section and channel faders.You have to use a stereo phone plug – according to the  
diagram aside – in case you intend to use this jack as a true insert bus.  
When using the insert socket as a DIRECT OUT (Pre EQ), the stereo phone plug’s tip and ring  
have to be short circuited, so that the audio signal is not interrupted. If you are using a monaural  
phone plug instead, you will get a DIRECT OUT with breaker function – the signal flow within the  
channel is interrupted.  
4. GAIN  
Rotary control for adjusting a MIC/LINE input’s sensitivity. These controls let you optimally adjust  
the incoming signals to the mixer’s internal operation level. Cautious adjusting offers the benefits  
of an improved S/N-ratio and provides you with the full bandwidth of the PowerMate’s outstanding  
sound capabilities. On the XLR-type connectors an amplification of 0dB is achieved when the  
control is set all the way to the left and +60dB when the control is set all the way to the right.  
Especially when dealing with very low input levels – during vocal recordings or when the sound  
source is located in a distance – the high gain is extremely profitable. Using the LINE-input, the  
signal is generally attenuated by –20 dB while maintaining the total adjustment range of 60dB.The  
LINE-input’s unity gain – no amplification (0 dB) – is achieved at the 20dB mark. The following is  
meant as a short note for your assistance on how to determine the right input level:  
Setting Instructions:  
1.  
2.  
Set the gain control and the corresponding channel fader to their minimum values.  
Connect the desired sound source (microphone, musical instrument, etc.) to the desired  
MIC or LINE input.  
3.  
4.  
Start the reproduction of the sound source at the highest volume level to be expected  
– respectively sing or speak as loud as possible directly (short distance) into the  
microphone.  
While playing the sound source or singing into the microphone, adjust the input level  
using the gain control, so that during the loudest passages the PEAK LED is just not lit,  
but the SIGNAL present LED lights constantly.  
This is the basic channel setting, leaving you with at least 6 dB of headroom, i.e. you  
have at least a range of 6dB before signal clipping occurs. 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 have an influence on the  
channel’s overall level.  
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INPUT MONO  
5. LO CUT 80 Hz  
+5  
+0  
When the LO CUT switch is engaged, frequencies  
below 80 Hz are attenuated (18 dB octave slope). In  
most cases using the LO CUT filter with microphone  
channels is a good advice, since it efficiently  
suppresses popping sounds, rumbling noise and  
low-frequency feedback. The only exceptions are  
kick drum and acoustic bass. Sometimes it can be  
also very effective to combine the LO CUT filter with  
the voicing filter. For instance to provide vocals with  
more “body”, without getting additional low pitched  
noise. Activating the LO CUT and raising the bass  
-5  
-10  
-15  
-20  
-25  
-30  
-35  
20  
50  
100  
200  
500  
1k  
2k  
5k  
10k  
20k  
Hz  
level (LO EQ) provides you with a richer sound, without additional rumbling or popping noise.  
Another welcome side effect is, that the power amplifier and the connected loudspeakers do not  
get “polluted” with unnecessary low-pitched interference.Your audience will be thankful for the  
use of the LO CUT filter, too, since in this way they can enjoy a truly clear, natural, and powerful  
sound performance.  
6. VOICING FILTER  
+20  
This button activates an asymmetric microphone  
+15  
filter, which can be used in addition to the channel  
EQ. The voicing filter enhances the first harmonic  
+10  
+5  
oscillation and the treble of the human voice while  
slightly attenuating the mid frequency range. This  
voice shaping method provides powerful vocals that  
are clearly emphasized from the rest of the mix. This  
“pre-shaping” is not achievable using ordinary third  
or octave band equalizers. The use of this filter is  
not restricted to vocals only. Horns, woodwinds, and  
other acoustic instruments can profit from the voicing  
+0  
-5  
-10  
-15  
-20  
20  
50  
100  
200  
500  
1k  
2k  
5k  
10k  
20k  
Hz  
filter as well. We leave it entirely up to your creativity and imagination to try the VOICING filter  
with as many different sound sources, as you want. Normally, you do not have to fear any  
problems with the occurrence of feedback.  
7. EQ SECTION  
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within  
miscellaneous frequency bands. Turning one of the EQ level controls 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 you begin to alter the sound, all EQ controls  
should be set to their neutral position, i.e. their marker points straight up (locked in place). Try  
not to 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 the natural reproduction as an  
orientation mark and rely on your musically trained ear. The moderate use of the MID control is  
the best remedy to avoid acoustical feedback. Especially in this frequency range you should try  
to avoid excessive enhancement. Lowering the level more or less in this band will provide you  
with high amplification rates without feedback. Use the LO control according to your pleasing,  
to add more “punch” to the sound of a kick drum or “body” to the vocals. Use the HI control in  
the same way to provide cymbals and the human voice with more treble and a more transparent  
sound. The MID EQ section offers parametric EQ-setting via separate rotary controls for the  
adjustment of level (MID) and frequency band (kHz) in the range between 100 Hz and 8 kHz.  
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INPUT MONO  
+20  
+20  
+15  
+15  
+10  
+5  
+10  
+5  
+0  
+0  
-5  
-5  
-10  
-15  
-10  
-15  
-20  
20  
-20  
20  
50  
100  
200  
500  
1k  
2k  
5k  
10k  
20k  
50  
100  
200  
500  
1k  
2k  
5k  
10k  
20k  
Hz  
Hz  
MID EQ  
Adjustments in the MID frequency range are certainly the most effective way to shape the  
LOW-HI EQ  
sound. As a matter of fact, determining the correct center frequency is not always as easy as  
it seems. Here is one method – amongst others – how to quickly find the right setting of the  
parametric EQ for your application:  
Setting Instructions:  
1. Slightly lower the channel fader to avoid feedback.  
2. Turn the MID rotary control all the way to the right (+15dB).  
3. Play the desired sound source or talk into the microphone.  
4. While doing so turn the frequency rotary control (kHz) slowly from left to right.  
5. Surely and within no time, you will detect the frequency range that is not to your liking or  
causing the feedback.  
6. Leave the frequency control in this position and turn the MID control to the left until the  
sound is natural or to your liking.  
8. AUX / FX 1/2  
The AUX/FX controls allow adjusting individual amounts of the input signals to be routed to the  
integrated FX1 or the FX2 effects units.The signal path is split post volume fader – POST FADER  
– so that the fader setting also influences the amount of the signal that is fed to the FX units.  
Using the AUX/FX controls lets you easily assign an effect for groups of musical instruments or  
vocals. For example, you can assign a short reverb effect of the FX1 unit to the lead vocals and  
a combined effects program – echo, hall, and chorus – via FX2 to the background vocals. To  
determine the desired intensity of each effect, you should start with the controls set at their center  
and make individual adjustments from there on. Please monitor the PEAK LEDs in the FX1/2  
channels. The indicator should only light briefly at the occurrence of high program peaks. If the  
indicator is constantly lit, you should lower the send levels of those channels where the program  
peaks occur. For further information, please read the paragraphs about the FX1/2 units.  
(In case you are not using the internal FX units and/or you want to connect external signal  
processing units, the pre-mixed AUX/FX1/2 signals are outputted via the AUX1/2 send jacks.)  
9. AUX 3/4  
AUX 3 and AUX 4 controls are primarily meant for establishing two independent monitor mixes.  
Using the master section’s AUX PRE/POST switches allows determining whether the signals  
are split pre or post fader.  
PRE-FADER: The audio signal that is present at the AUX control is tapped pre volume fader  
and therefore not affected by the fader’s setting. This mode is mainly used for monitoring. Pre-  
Fader Monitoring is especially preferable when monitoring and main mix need to be completely  
different from each other, e.g. when the volume setting of particular musical instruments or  
vocals needs to be higher or lower than in the main mix. In most cases the mixing console is  
placed somewhere in the audience area (FOH) and is being operated by an experienced sound  
technician.  
POST-FADER: The audio signal that is present at the AUX control is tapped post volume fader  
and therefore affected by the fader’s setting. This mode is mainly used for establishing FX- or  
special monitoring mixes. Using the POST-Fader method is recommended when the mixer is  
also located on the stage and you have to operate it yourself.  
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INPUT MONO  
Setting all AUX3 or AUX 4 controls to their center position, the main mix is also present on  
the monitor bus, giving you the opportunity to control the volume settings of each channel  
individually from the stage. The overall volume of the monitor mix is set using the AUX3/AUX4  
faders in the master section. If you are using this option you should keep in mind that all volume  
changes made with the channel faders also apply to the monitor mix, leaving you with a higher  
risk of acoustic feedback.  
The Post-Fader Monitoring method provides the possibility of canceling channels of some  
instruments – like kick or snare drum, which are in fact already very loud on-stage – from the  
monitor mix by turning the corresponding controls all the way to the left.  
10. PAN  
This control determines the position of the connected sound source within the stereo image.  
When this control is set at its center position, the audio signal is fed with equal levels to the  
L and R master busses. The PAN control section is designed to maintain the essential sound  
pressure level, no matter at what position within the stereo image the PAN control is set to.  
11. MUTE  
The MUTE button mutes the input signal post fader, including all AUX sends. PFL and Signal/  
Peak stay functional.  
12. PFL  
Engaging the PFL button routes the audio signal to the headphones bus, so that it is present  
at the phones output connector. The meter instrument in the master section is simultaneously  
switched, so that the left LED-chain indicates the level of the actually chosen channel (in dBu),  
which allows optimally matching the level of the signal source.The phones output volume does  
not dependent on the setting of the corresponding channel fader (PRE FADER LISTEN), which  
provides the possibility to listen to or shape the sound of the selected audio signal, without  
need to include it in the main mix.  
13. SIGNAL / PEAK Indicator  
The signal-peak indicator plays a key role when setting input levels. Unlike the mixers of many  
other manufacturers that either only provide a peak indicator or no channel indicator at all, the  
PK (peak) LED of the PowerMate provides optical indication of the risk of occurring overdrive  
before you would actually hear the distortion over the connected speaker systems. As outlined  
in the setting instructions, the Signal-LED should blink in the rhythm of the incoming signal.  
If this is not the case, you have to increase the gain. If the PEAK LED, on the other hand,  
blinks frequently or lights continuously, the corresponding channel is likely to enter clipping  
and you have to turn the gain control a bit to the left. The Signal-LED lights at levels –30dB  
below clipping while the peak LED lights at a level of –6dB below the occurrence of overdrive.  
Keeping an eye on the indicator during a performance is also a good idea, because some very  
dynamically performing members of a band or changing keyboard setups can easily lead to  
channel clipping, resulting in the degradation of the overall sound.  
14. VOLUME  
The channel faders set the volume of the corresponding channels, establishing an accurately  
proportioned mix. The channel faders should be positioned within the range of –5dB to 0dB,  
leaving you with a degree of control that allows the precise matching of relative big differences  
in the channels’ level settings. The overall volume is set through the use of the master faders.  
Even though the channel faders offer an additional amplification of +10dB, we would like to  
advise you to exceed the +5dB mark only in very few exceptional cases. If the PowerMate’s  
summing bus gets “overloaded” with too many “high level” input channels, despite its special  
gain structure, the summing amplifier could be driven into clipping. Once you register, that  
some channel faders are set above the 0dB marking, lowering the setting of each channel  
fader by about –5dB and increasing the overall output level by elevating the master faders is  
the wiser solution. The proportion of the mix and the overall volume stay the same while the  
risk of clipping is banished.  
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INPUT STEREO  
Since most features – AUX faders, controls and channel faders – of the STEREO INPUTS  
are virtually identical to the ones of the MONO INPUTS we will not discuss their functioning in  
detail again. Thus, in the following we only point out the differences and like to ask you to refer  
to the analogous paragraphs within this owner’s manual describing the MONO INPUTS.  
15.MIC  
Different from the products of many other manufacturers, the stereo input channels of the  
PowerMate, like their monaural counterparts, incorporate extensive circuitry and electronically  
balanced XLR-type connectors for the connection of low impedance microphones. No matter if  
your setup is more microphone-oriented or you have more line level sound sources to connect,  
you can always use the full amount of input channels, provided by your PowerMate.  
Dependable on its setting, the high-quality MIC input in the stereo channel is capable of handling  
levels between -60dBu … +11dBu. Low-level circuitry architecture and phantom power (+48V)  
ability of this XLR-type input are mainly aimed at the connection of microphones, making it not  
necessarily suitable for connecting Line level appliances, like mixers, effects units, etc. Please  
use the provided LINE inputs to connect those sound sources. General functions and usage of  
MIC inputs were already discussed in detail for monaural channels.  
16. STEREO INPUT L/MONO R  
Electronically balanced inputs for the connection of musical instruments with stereo output,  
like keyboards, drum machines, E-guitars and E-basses with an active output as well as all  
other equivalent sound sources with high level outputs, like additional mixing consoles, FX  
units, CD players, etc. The stereo LINE input is meant for balanced or unbalanced sound  
sources with levels between –20dBu .... +41dBu. For the connection of external devices you  
can use monaural or stereo phone plugs, which are in accordance to the diagram below. If the  
external appliance is equipped with a balanced output stage, using balanced cables and plugs  
is preferable, since this type of connection provides improved shielding against HF induction  
and external noise.  
In case you want to connect a monaural sound source to a stereo input channel, you just  
have to plug it into the L/MONO input. The signal gets internally routed to both channels.  
17. GAIN MIC  
Rotary controls for adjusting the MIC inputs’ sensitivity, providing the possibility to optimally  
match the incoming signals with the mixer’s internal operation level. The GAIN MIC control in  
the stereo channel is only active for the XLR-type input.  
For further information about setting and functioning of these controls, please refer to the  
chapter “GAIN” of the MONO INPUT description within this manual.  
CAUTION: The GAIN MIC control of an inactive microphone input should always be set to its  
minimum position. Otherwise the noise of the inactive input is added to the audio signal of the  
corresponding LINE input, which could lead to unnecessary extra noise at the main output,  
becoming clearly intelligible in program breaks.  
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INPUT STEREO  
18. LINE TRIM  
These rotary controls are for matching the incoming line level signals to the operating level of  
the PowerMate. The total adjustment range is 30dB. Unity gain – no amplification (0 dB) – is  
achieved at the 0dB mark. The control offers level reduction of –10dB and an amplification of  
+20dB.This range allows the connection of most professional, semi professional, and hi-fi sound  
sources. For further details on how to set the LINE TRIM control, please refer to the description  
of the GAIN control in monaural channels.  
If you use a keyboard as sound source on one of the stereo inputs, make sure that no split zones  
or layers with channel separation are activated. The stereo channel mapping will otherwise  
appear like it is set on the keyboard – the lower layer in the left and the top layer in the right  
channel – and you will not have the opportunity to re-position the sound in the overall stereo  
image, unless you connect the keyboard output to two adjacent monaural input channels,  
leaving you the option to place the sound in the final mix via PAN controls.  
One more tip, in case you desperately need another input and all channels of the PowerMate  
are already in use: The microphone input and the phone plug-type inputs are electrically totally  
separated from each other. Each input is equipped with its own gain control – respectively  
trim control, providing you with the possibility to connect a LINE level sound source in  
addition to a microphone. Of course, the two sources share all other controls. Consequently,  
separate adjustments are not possible. Hence to that fact, this option is only meant as a  
subsidiary function and should only be used when there is absolutely no other alternative.  
19. EQ SECTION  
The mixer’s EQ section allows very comprehensive and effective shaping of the incoming  
audio signal within miscellaneous frequency bands. Turning one of the EQ level controls to  
the right enhances/amplifies the corresponding frequency range while turning them to the  
left lowers/attenuates the signal of that specific frequency band. Before you begin to alter the  
sound, all EQ controls should be set to their neutral position, i.e. their marker points straight up  
(locked in place). 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 the natural  
reproduction as an orientation mark and rely on your musically trained ear. The moderate use  
of the MID control is the best remedy to avoid acoustical feedback. Especially in this frequency  
range you should try to avoid excessive enhancement. Lowering the level more or less in this  
band will provide you with high amplification rates without feedback.  
+20  
+15  
+10  
+5  
+0  
-5  
-10  
-15  
-20  
20  
50  
100  
200  
500  
1k  
2k  
5k  
10k  
20k  
Hz  
The EQ section of the STEREO channels is designed in a way that HI and LO controls provide  
a degree of control that is equally adequate for LINE level inputs and microphones. The MID  
control is active in a comparably wide frequency band around 2.4 kHz. With most microphones  
this is the critical range, where a slight attenuation offers excellent results.  
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INPUT STEREO  
20. AUX /FX  
These controls determine the amount of the summed L and R signal that is sent POST-FADE  
to the AUX/FX summing bus. For more details on the functioning of these controls, please  
refer to the INPUT/MONO section of this owner’s manual.  
21. AUX3/4  
These controls determine the amount of the summed L and R signal that is sent to the  
AUX3 or AUX4 summing bus. Depending on the setting of the AUX PRE/POST switch in the  
PowerMate’s master section you can choose if the signal gets split PRE or POST FADER. For  
more details on the functioning of these controls, please refer to the INPUT/MONO section of  
this owner’s manual.  
22. BAL  
The function of the BAL control of the stereo channels is equivalent to the PAN control’s  
function of the monaural channels. If you turn the rotary control all the way to the right, the  
right signal is outputted to the right output while the signal of the left channel is muted. When  
the control is set to its center position, the L/R signals are present with their equal intensity on  
the corresponding outputs. Whenever stereo sound sources are connected to a stereo input,  
you should leave the BAL control at the center position or make only minor adjustments in  
either direction. In case a microphone or another monaural sound source is connected, the  
BAL controls function absolutely identical to the PAN controls of the monaural input section.  
23. MUTE  
The MUTE button mutes the input signal post fader, including all AUX sends. PFL and Signal/  
Peak stay operational.  
24. PFL  
Engaging the PFL button sums the stereophonic audio signal of the corresponding input  
channel and routes the resulting monaural signal to the headphones bus.You are able to  
listen to the audio signal via the phones output. The meter instrument in the master section is  
simultaneously switched, so that the left LED-chain indicates the level of the actually chosen  
channel (in dBu), which allows optimally matching the level of the signal source.  
You can assign as many channels as you want to the phones summing bus at the same  
time. The volume levels of the individual signals are not affected by the setting of the  
corresponding channel faders (PRE FADER LISTEN). This gives you the opportunity to set  
the level and the EQ of a channel, without the need to include it in the main mix, i.e. you can  
leave the channel fader down or even engage the MUTE button.  
25. SIGNAL/PEAK  
The stereo SIGNAL/PEAK indicator function provides independent analysis of left and right  
channel audio signals. The respective highest level reading is indicated, assuring that neither  
one is already driven into clipping. For further information on how to use this indicator most  
efficiently, please refer to the description of the monaural channel’s identical feature.  
26. VOLUME  
The channel fader is used to simultaneously adjust both levels (volumes) of the stereo signal.  
Functioning and specifications are totally similar to the monaural channel fader, as previously  
described under INPUT/MONO.  
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EFFEKT 1/2  
FX1/FX2  
The PowerMate offers two independently controllable, identically configured 24-bit  
stereo effect units – FX1 and FX2. Each unit provides 99 program presets, which  
are selected by the use of the UP/DOWN buttons. The 99 presets are divided into  
groups according to their different effect structure, as shown on a printed listing.  
The programs within each preset group are sorted in ascending order, where higher  
numbers provide the same FX type with increased intensity. Presets 1 - 20 offer high  
quality reverberation effect programs that are equally suitable for live performance,  
recording studio or home recording applications. 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 effects presets as well as special delay and reverb programs. During the  
initialization of the FX units (when switching on the power of the PowerMate), 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 effects are similarly suitable for live performances  
and recording applications. This is the factory-preset configuration that can be  
changed any time. For further information, please refer to the paragraph Changing  
FX Start Programs.  
The two effect programs are equally suitable for live performance or recording  
applications and can be used separately or together. For testing, evaluating and  
selecting effect programs, please also refer to the supplementary information form  
EFFECT PRESETS, which provides detailed description of all effect presets. This  
listing contains all preset names together with the corresponding effect structure,  
field of application, and frequency characteristics. Take your time to test all presets  
and select the ones that are best suited for your specific application. Program number  
“0” selects a Slap Back Echo, which is mainly for servicing and testing only, and  
therefore is not included in the effects listing on the front panel. Also provided is  
a FOOTSWITCH connector, which allows the connection of a footswitch pedal to  
remotely control the FX units’ EFFECT ON/OFF function. If your footswitch features  
a LED – like the optionally available DYNACORD FS 11 does – this indicator will light  
when the effect is activated (EFFECT ON).  
Changing FX Start Programs  
In the factory shipping state, the FX units start with the programs 5/55. If you prefer  
different programs, you can change and store the new settings in the programming  
mode. To assign new start programs, please proceed as follows:  
1. Hold down the two DOWN buttons of FX1 and FX2 simultaneously while  
switching on the PowerMate.  
2. “Prog” appears briefly on the display. Programming mode is now active. A  
software-related side effect is that all buttons behave a bit slower than usual.  
3. Release the two DOWN buttons and select the desired start programs.  
4. Press the two UP buttons to store the displayed effect numbers as your new start  
programs. The FX unit acknowledges the save procedure by briefly indicating  
“Prog” on the display.  
FX1/FX2  
1.......10  
11.......20  
21......30  
31......40  
41......50  
51......60  
61......99  
REVERB  
HALLS  
REVERB  
PLATES  
ECHO  
CHORUS  
REVERB  
DELAY  
DELAY  
MONO  
SPECIAL  
REVERB  
STEREO  
PROGRAMS  
27/28. AUX1/2 SEND  
The audio signal of the mix that you have established for the corresponding AUX/  
FX bus – the identical mix that is fed to the internal FX1/2 units – is present at  
this socket, which makes it perfect for connecting external FX units, for example.  
Setting the level is possible by means of the corresponding AUX/FX SEND control.  
The external devices’ output signals can be sent back to the PowerMate via stereo  
channel input. The AUX1/2 sends are designed in Ground Sensing technology to  
prevent the induction of external noise, even with long cables.  
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EFFEKT 1/2  
29. DISPLAY  
The display always indicates the actually selected program number of the corresponding  
FX unit. The display screen is covered with a protective foil to prevent it from being  
damaged during shipment. Please remove the foil.  
30. UP/DOWN  
The UP/DOWN buttons are for selecting effect presets. Keeping a button pressed  
continuously lets you step quickly through the program numbers.  
31/32. FX1/2 to AUX3/4  
These controls allow adding the output signal of FX1 or FX2 to the monitoring channel.  
Experience has revealed that the effect level in the monitor mix has to be lower than the  
level in the main mix, since the distance between monitor speakers and artists is much  
shorter.  
33. FX ON  
This switch switches an internal FX unit on and the green LED lights. Please keep in  
mind that you can also use an external footswitch for the switching of the FX unit. In this  
case, the LED also shows the actual operational status of the FX unit. If you want to use  
a footswitch, the FX ON switch has to be engaged first. The corresponding FX unit is  
activated and you can use the footswitch to switch the selected effect program on or off.  
34. PFL  
Engaging the PFL button routes the audio signal to the headphones bus, so that it is  
present at the phones output connector. The phones output volume is independent of  
the corresponding channel fader’s setting (PRE FADER LISTEN), which provides the  
possibility to listen to the sound of the selected audio signal, without including it in the  
main mix.  
35. PEAK LED  
These indicators signal if the internal FX units or the AUX 1/2 SEND signals are on the  
verge of clipping. To achieve an adequate S/N ratio, please adjust the FX units’ input level  
as follows:  
Setting Instructions:  
1.  
Establish a “dry” mix – without effect settings – according to the previous  
descriptions.  
2.  
3.  
4.  
5.  
Position the effect return fader of the corresponding effect channel at the –5dB mark.  
Use the UP/DOWN buttons to select the desired FX program preset.  
Press the FX ON switch.  
Play (start the reproduction of) the sound source connected to the desired input  
channel and adjust the desired amount of the FX signal, using the AUX/FX controls  
of this input channel. Repeat this step for all input channels that you want to include  
in your effect mix.  
6.  
7.  
Monitor the Peak LED so that it only lights frequently at highly dynamic signal peaks.  
When clipping occurs, reduce the AUX/FX controls in the channels.  
Use the FX to AUX control to add the effect mix to the monitor mix. Use the FX  
return faders to add the desired amount of the FX signal to the main mix.  
In case you are using a different effect setting for the second FX unit, you have to repeat  
steps 2 - 8, respectively. Pay some attention to the peak indicators when operating your  
PowerMate to be able to quickly interact when the signal levels exceed the normal range  
and enter clipping.  
36. EFFEKT RETURN  
These stereo faders are used to determine the effect amount added to the main mix. In  
case you have to set these faders at a position above the +5dB mark, please check if the  
FX unit’s input signals are adjusted properly. Otherwise use the AUX/FX SEND controls to  
increase the input levels.  
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AUX3/4  
Generally, the AUX3/4 channel is used for monitoring purposes. Depending on the setting of the  
AUX3/4 POST button, it is also possible to configure the bus for the connection of an additional,  
external FX unit.  
37. AUX3/4 SEND  
This output provides connection for an external FX unit or, when used for monitoring, a power  
amplifier or active stage monitor speaker systems. Using the AUX3/4 fader allows setting the  
output level in a wide range up to +20dBu. The AUX3/4 SEND is designed in Ground Sensing  
technology to prevent the induction of external noise, even with long cables. Use balanced cables  
for the connection of external components whenever it is possible.  
38. AUX3/4 POST  
As already previously described, this switch allows determining whether Pre- or Post-Fader  
signals are present at the AUX3/4 channel. The corresponding yellow LED signals when the  
switch is engaged and all input channel AUX3/4 controls are assigned post fader.  
39. FEEDBACK FILTER  
The feedback filter is a very narrow banded notch filter, which is only active in a range that is  
extremely susceptible for acoustical feedback. The FEEDBACK filter rotary control sets the  
corresponding frequency range. Pressing the corresponding button activates the filter. Several  
circumstances and conditions have an influence on how sensitive or insensitive your system is  
for acoustical feedback. The following notes are meant to assist you in avoiding feedback and you  
should take them into consideration even before you activate the feedback filter:  
1.  
2.  
3.  
Do not position the main speaker systems behind the microphones.  
Switch off all microphones that are not in use.  
Consider the microphones’ different polar patterns and characteristics, when placing the  
monitor speakers.  
4.  
5.  
Do not turn up the monitor system’s volume higher than actually necessary.  
Try to avoid extensive equalization on channels that you want to include in your monitor  
mix.  
6.  
7.  
Keep in mind, that a microphone “behaves” different when somebody stands right in front of  
it.  
Position the microphones as direct as possible to the sound source.  
If you still have the feeling that the monitor system’s acoustic output is not sufficient, after  
considering the above mentioned precautions, you can use the FEEDBACK filter to mute the  
frequency that tends to generate feedback the most. Therefore, you have to perform the following  
steps: Increase the AUX3/4 (monitor) level until the limit is reached where feedback starts. The  
slightly “hovering” sound that you hear is generated by the system itself. Switch on the feedback  
filter, turn the rotary control and set it at the mark where the “sound” disappears. Switching the  
filter on and off lets you easily check whether you tuned in the correct frequency. The feedback  
filter attenuates the level of the corresponding frequency band by about 9dB. Since the filtered  
band is extremely narrow, an alteration in the sound of your monitor system is hardly audible.  
Caution: Please be extremely careful in driving the system just below the feedback limit.  
Careless operation, resulting in feedback noise at high SPL, can cause severe damage to your  
speaker systems and – even more important – the human ear.  
40. MUTE  
The MUTE button mutes the Aux-Send output signal. PFL signals are not affected.  
41. PFL  
Through this button you can route the pre AUX3/4 fader signal to the headphones bus. The  
signal is outputted for listening via the headphones output. The setting of the AUX3/4 fader is  
not relevant for the signal’s volume (PRE FADER LISTEN). The meter instrument in the master  
section is simultaneously switched, so that the left LED-chain indicates the level of the actually  
chosen channel (in dBu), leaving you with the opportunity for adjusting the level without routing it  
to the AUX3/4 SEND bus.  
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MASTER  
42. AUX3/4 VOLUME  
This fader controls the summed audio signal at the AUX3/4 SEND  
output. When used for monitoring, this fader lets you control the  
volume of the monitor system.  
43. 7-BAND EQUALIZER  
Left and right master channels employ a 7-band equalizer, which gets  
activated through the use of the EQ ON button.The EQ’s insert point  
is post master fader and pre power amplifier. The EQ is bypassed  
when the EQ ON switch is not locked in its “ON” position. Seven  
frequency bands offering 10 dB amplification/attenuation and a  
quality of Q=2 allow shaping the overall sound to meet your personal  
preferences or to optimally match it to the acoustic conditions of  
different locations.  
+20  
+15  
+10  
+5  
+0  
-5  
-10  
-15  
-20  
20  
50  
100  
200  
500  
1k  
2k  
5k  
10k  
20k  
Hz  
The frequency ranges as well as the characteristics of the EQ faders  
are very praxis-oriented. In case you want to have a clear and highly  
intelligible sound, which, as a side effect, provides the cymbals with  
more crisp, you should raise the levels of the 12kHz or 6kHz band a  
bit. If the MIDs are nasaling you should attenuate the mid range by  
some decibels.To provide the kick drum with more punch you have to  
boost the low frequency range, using the 63Hz or the 125Hz controls.  
In case the overall sound is undefined with too much bass, lowering  
the levels of these two frequency bands will solve the problem.  
However, especially with equalization you should be aware of the  
fact that in most cases less adjustments provide better results. Thus,  
your first choice should be to establish the mix using only the input  
channel controls and see if you get a satisfactory result. If so, you can  
use the graphic EQ for the AUX3/4 or the MONO bus, where in most  
cases, especially when used for the monitoring, it is more needed.  
You will find the description of how to include the graphic EQ in these  
buses in the following explanation of the MASTER PATCHBAY.  
44. STATUS INDICATORS  
These indicators are to inform you about the actual operational  
state of the PowerMate’s internal power amplifier.  
The POWER ON indicator is always lit when the PowerMate is  
operational. If the LED does not light after switching the power on,  
please make sure that the PowerMate’s mains cable is correctly  
plugged in. If this is the case and the LED is still dimmed, please  
contact your dealer.  
The LIMIT indicator signals that you are operating the PowerMate  
at the internal power amp’s limit. Frequent blinking of the LED  
is acceptable, since the amplifier’s incorporated limiter prevents  
distortion. Continuous lighting indicates that you have to be aware  
of degradation in the outputted sound. In that case, the master level  
has to be reduced.  
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MASTER  
The PROTECT indicator lights when one of the PowerMate’s extensive  
protection circuits – against thermal overload, HF-induction, DC at the  
outputs, and SOAR-protection – is activated. When the PowerMate is in  
protect mode, the speaker outputs are muted and the amplifier inputs  
are short circuited to prevent the power amp from being damaged.  
In this case you should first check whether the ventilation louvers  
are blocked. Another cause could 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 circuits.  
During power-on operation the PROTECT LED always lights for about  
two seconds and the internal fans run at full speed, signalizing that the  
PowerMate’s protection circuitry is operational.  
45. MASTER LED-DISPLAY  
The PowerMate offers two 12-segment LED-chains for optical monitoring  
the output levels of the L/R master signals. The indication range of the  
LED-meter is 40dB, indicating the levels that are present at the main  
outputs in dBu. The meter’s 0dB mark is referenced to a 0dBu output  
signal at the mixer output. Further increasing the level leads to the power  
amplifier’s maximum input level of +6dB – equaling an output power of  
700 watts into 4 ohms per channel. Although higher levels are being  
displayed, the power amp’s processor already limits the signal, which is  
indicated by the lit LIMIT LED in the status display.  
46. STANDBY  
Pressing the STANDBY button mutes the output signals at the main  
outputs, EQ outputs and MONO output.  
Caution: The monitor outputs AUX3/4 are still operational.  
Because the signal flow between MAIN INSERTS and MAIN  
OUTPUTS is interrupted, the signal feed to the internal power amplifier  
is also interrupted. The STANDBY LED lights indicating that stand-by  
mode is engaged and that input channel signals are not output via the  
speaker systems. However, audio signals connected via 2Track Return  
are still outputted, providing you with a very comfortable solution to play  
intermission music during performance breaks.  
47. PFL MASTER  
Engaging the master PFL-button, the PRE FADER mono master  
signal is routed to the headphones bus, so that it can be monitored  
via headphones output. The volume of this signal is not affected by  
the setting of the MASTER fader. The meter instrument in the master  
section is simultaneously switched, so that the left LED-chain indicates  
the level of the summed pre-fader L/R master signal channel (in dBu),  
which basically is the master bus level, while the right LED indicates  
the level of the summed post-fader master output.  
48. MASTER L + R  
Level controls to adjust the output signals of the left and right main  
outputs (MASTER).  
Please, make sure to set the input channel faders or at least  
the master faders to their minimum position, or to engage the  
STANDBY switch, before connecting an external sound source to  
an input of the PowerMate.This will save you, your audience, and  
the equipment from unnecessary stress.  
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MASTER  
49. MONO OUTPUT  
At the monaural output the summed L/R master audio signal is present that can  
be used for additional monitoring, side fill and “next door” applications, or for the  
connection of a delay-line or subwoofer.  
50. MONO OUT  
With subwoofer operation, “next-door”, monitoring or delay line applications a  
pre/post-switch able mono output often comes in handy.  
PRE-FADER:  
The mono out’s signal is summed and outputted pre master  
faders, i.e. the level at the mono out is independent from the  
master faders’ settings.  
POST-FADER: The mono out’s signal is summed and outputted post master  
aders, i.e. the level at the mono out depends on the setting of  
the master faders.  
Of course, controlling the SUB’s level via master fader makes sense when using  
an active monaural subwoofer. For monitoring applications, e.g. side fill on the  
stage, using the pre-fader setting seems more reasonable.  
51. PHONES  
Stereo phone jack for the connection of headphones with an impedance of  
32 – 600 ohms. The audio signals of the channels with PFL buttons engaged is  
outputted via this connector.  
The phones output presents the master L/R signal when there is no PFL button  
engaged.  
52. PHONES  
This control sets the volume of the headphones connected.  
CAUTION:  
Make sure to set the control to its minimum position before  
connecting headphones  
53. RECORD SEND L/R  
These RCA-type connectors carry the PRE FADER master L/R signal. The signal  
is not affected by the setting of the master faders and therefore mostly used for the  
connection of cassette decks, open reel tape decks or DAT recorders for recording  
purposes. The nominal level of –10dBV of the outputs matches the professional  
industry standard as well as most home recording applications. Nevertheless, you  
should use the input gain control of your recording device - as far as it is provided.  
CAUTION: On most tape decks the input signal is directly carried through to the  
outputs. In case you have connected both, the REC. SENDS and the 2TRACK  
RETURNS, and the PowerMate’s 2TRACK to MASTER control is set to anything  
but its lowest setting, the recorded signal is included in the main mix again. The  
difference in delay of the two signals is responsible for dropouts and general  
degradation of the sound. In the worst case, activating the RECORD button on  
your tape deck could lead to very unpleasant feedback noise. To prevent this from  
happening make sure to set the 2TRACK to MASTER and the AUX3/4 controls to  
their lowest settings.  
54. 2TRACK RETURN L/R  
Here you can connect a tape deck, a CD player, an open reel or an additional  
SUB-mixer. The signal is post master fader and post STANDBY switch, which  
allows playing intermission music during performance breaks or checking the  
mix during the rehearsal, using the headphones.You just have to engage the  
STANDBY switch to mute all channel signals at the main outputs. The 2TRACK  
RETURN signal however will pass unobstructed.  
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MASTER  
55. 2TRACK to MASTER  
This control is used to mix the 2TRACK signal to the main mix; post fader of the  
master controls. Caution: When adjusting the level of the device that is connected  
to the 2TRACK RETURNS – CD player, tape deck, etc. – always begin with the  
2TRACK to MASTER control set at its minimum setting. Otherwise, depending on the  
output quality of the connected sound source, the outputted level can instantly “hit  
the top”.  
56. 2TRACK to AUX 3/4  
The signal coming from the 2TRACK RETURNS is internally summed and can be  
added to the monitor bus using the 2TRACK to AUX3/4 control.  
57. MAIN INSERTS  
Stereo phone jacks for left and right channels with breaker function. The low  
impedance output is assigned to the tip (send) and the high impedance input (return)  
is assigned to the ring of the connector. This jack allows incorporating external third  
octave band or octave band EQs, compressors, limiters, de-noisers, etc. into the  
master’s signal path. The insertion point is pre master faders. As well as with the  
inserts of the monaural input channels, different DIRECT OUT functions can be  
accomplished. Please, also refer to the corresponding section in the description of  
the MONO INPUTS.  
58. MAIN OUTPUTS  
The signals at the MAIN OUTPUTS are post master fader and mainly meant to  
feed additional, external power amplifiers. Through these outputs it is also possible  
to establish two-way active system set-ups. In this case the active crossovers  
– respectively the active subwoofers – have to be connected to the MAIN OUTPUTS.  
If you want to use the internal power amplifier to drive the high frequency cabinets,  
the treble signal coming from the crossover has to be fed back into the PowerMate  
via the Power Amp In connectors.  
59. EQ INPUTS / OUTPUTS  
The EQ INPUTS are provided through electronically balanced phone jacks with  
breaker function. Inserting a phone plug interrupts the signal path between master  
and internal power amplifier.You can then operate the internal power amps via EQ  
INPUTS. The signals at the EQ OUTPUTS are post master fader and post internal  
7-band equalizer and can be used like the MAIN OUTPUTS for connecting external  
power amps.  
60. POWER AMP INPUTS  
The POWER AMP INPUTS are also provided via electronically balanced phone  
jacks with breaker function. When inserting a phone plug, the signal path gets split  
up between the master and the internal power amplifier, which allows operating the  
internal power amps via POWER AMP INPUTS. For detailed information on the  
functioning and the operation of the “MASTER PATCHBAY”, consisting of MAIN  
INSERTS, MAIN OUTPUTS, EQ IN- and OUTPUTS, and POWER AMP INPUTS,  
please refer to the corresponding section; later in this owner’s manual.  
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MASTER  
61. FOOTSWITCH  
Phone jack for the connection of an optionally available DYNACORD FS11 (110  
693) footswitch to switch the effect mode of the internal FX units on or off. To  
accomplish this function, the FX1 and FX2 ON switches have to be engaged.  
To remotely control the effects units using only a single footswitch, the FS11 has  
to be connected to the FX1/GLOBAL connector. Both FX units are simultaneously  
switched. This function is useful for example when switching from vocal performance  
to announcer.  
When remotely controlling the FX units using two footswitches, one FS11 needs to  
be connected to the FX1/GLOBAL and the other to the FX2 connector. Now, the two  
effects units can be switched independently, which is mostly used to switch between  
different effects settings during a performance.  
62. LAMP XLR  
This XLR-type socket provides a DC voltage of 12V/  
5 watts and is meant for the connection of a  
gooseneck lamp (litlite). Please make sure that  
the used lamp complies with the here mentioned  
specifications and pin assignment. Overload or  
short circuit can result in damaging this output. To  
prevent this from happening, we recommend the  
use of the gooseneck lamp (112700), available from  
the DYNACORD accessory assortment. For further  
information, please consult your local dealer.  
STEREO POWER AMPLIFIER  
The PROCESSED COMPACT PRECISION stereo power amplifier of the PowerMate has been designed in discreet  
bipolar technology to provide a nominal output power of 700 watts into 4 ohms per channel. The minimal load  
impedance of 2.7 ohms allows the operation with a maximum of three 8 ohms loudspeaker systems connected in  
parallel to each output channel.Their low distortion rate and inter-modulation provide the amplifiers of the PowerMate  
with outstanding transmission capabilities that do not have to fear the comparison with professional high-end, stand-  
alone audio power amplifiers. The transmission qualities of CL power amps are simply extraordinary. Optimised  
power supply units employing low-leakage toroidal transformers and the consistent use of Class-H technology  
provide extensive headroom far above the stated nominal output. At the same time this contributes to a reduction in  
weight and leakage power.  
Characteristic for the Class-H power amplifier design of the PowerMate is its extremely fast, signal-dependent  
operating voltage switching, which results in doubling the regular supply voltage when needed. In comparison to  
Class-AB power amps, Class-H power amps generate by far less leakage power at identical output. Consequently,  
reduced leakage power or dissipation is synonymous to less waste heat – energy is used more efficiently and the  
power consumption stays clearly below that of conventional Class-AB operation. As a result, installing Class-H  
power amps within rack shelf systems is possible with less space between appliances.  
The power amplifier of the PowerMate is designed to live through the hardwearing use in the touring business. It  
incorporates protection circuitry against thermal and capacitive overload and short circuit as well as against HF-  
interference and DC at the outputs. Further protection of the power output stage against back-feed of electrical  
energy (BACK-EMF) is provided through special circuitry. When the PowerMate is switched on, a relay controls  
the delayed switching of the power outputs. The internal fans run shortly at full speed, acoustically signaling that  
the PowerMate is operational. Limiter circuitry (soft start) controls the initial current inrush, preventing the mains  
fuse from being blown during power-on. Two 3-speed fans (off/slow/fast) guarantee absolute thermal stability at low  
running noise. The ventilation is directed front-to-rear allowing trouble-free operation even in very compact amp-  
racks.  
The extensive comparator circuitry constantly monitors the input and output signals of the PowerMate’s power amp  
and activates the internal limiters whenever a non-linear operational state is encountered. This provides reliable  
protection of the connected loudspeaker systems against overload and clipping. Distortion is not intelligible even  
when the maximum input level is overridden. The amplifier of the PowerMate additionally incorporates LPN-filters  
(DYNACORD patent). Together with the 12dB Hi-Pass filters, these Low Pass Notch filters eliminate faults in the  
transient response of typical sound reinforcement speaker systems and provide your setup with an extraordinarily  
precise and powerful reproduction of low frequencies.  
48  
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REAR PANEL  
SPEAKER OUTPUTS RIGHT / LEFT  
The PowerMate is equipped with professional SPEAKON high-  
performance connectors, offering electrical and mechanical  
secure connection, which complies to all security regulations.  
It also allows the use of high quality speaker cables with  
2
diameters of 4 x 2.5mm .  
The DYNACORD accessory assortment includes all  
recommended cables and connectors.  
Warning: The symbol “ “ representing the speaker  
connectors indicates the presence of touch-sensible voltages,  
which can cause harm to body and health.  
Please, be sure to adhere to corresponding notes and  
instructions in this owner’s manual when establishing speaker  
connections.  
POWER  
Mains switch to turn the PowerMate on or off.  
The PowerMate is operational when the POWER ON – LED  
lights and the power outputs are activated through automatic  
switching of the power relays.  
Please make sure to set the master faders to their minimum  
position or engage the STANDBY switch before switching the  
power on. This will save you, your audience, and the equipment  
from unnecessary stress.  
In case additional external equipment is connected to the  
PowerMate – e.g. power amps, FX units, EQs, etc. – please,  
proceed in the following order when switching your equipment  
on:  
1. switch on the FX units  
2. switch on the PowerMate  
3. switch on external power amps  
When switching the power off, please proceed in the opposite  
order.  
49  
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SETTING UP A STANDARD PA-SYSTEM  
Cabling  
The mains supply cord comes with the PowerMate.The quality of all other cables lies in your responsibility. Carefully  
chosen high quality cables are the best precaution to prevent later problems during live operation. The following  
wiring alternatives are recommended to provide trouble free operation of your system.  
Speaker Cables  
From our experience as a manufacturer of loudspeaker systems we know that flexible cables with a rubber jacket  
2
and 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. Connect the SPEAKON plugs according to  
the corresponding diagram on the PowerMate’s rear panel. We recommend using 4-wire cables where also the  
pins 2+ and 2- are connected through. This provides the possibility to use these cables in an active 2-way system  
configuration, as well. DYNACORD’s accessory assortment comprises different speaker cables with SPEAKON  
connectors and all other cables, plugs, and sockets, available at your local 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 plugs.The cables should be step-on proof, shielded, and never  
longer than really needed.Too many too long cables mostly lead to confusion and generate unnecessary problems.  
Of course, connecting unbalanced cables with monaural phone plugs to the PowerMate’s in- and outputs is also  
possible and in most cases no interference will occur because of its superb grounding managing system. Generally  
spoken, if you have the choice, a balanced LF-cable is always the better solution. 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 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  
PowerMate’s input stage effectively eliminates even existing artifacts of interference. All inputs of the PowerMate  
provide balanced audio connections and high common-mode rejection. The mixing stage outputs – AUX, MAIN,  
EQ, etc. – are laid out in GND-SENSING technology – a special 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 that are used  
with the PowerMate.  
balanced connec-  
MIC INPUT  
tion of microphones  
unbalanced  
All phone jack  
in/outputs of the  
PowerMate  
external equipment  
with XLR-type in/  
output jacks  
balanced  
Direct OUT via  
INSERT, uninterrupted  
signal path  
Channel Insert  
Main Insert  
unbalanced  
All phone jack  
in/outputs of the  
PowerMate  
external equipment  
with phone jack  
in/output jacks  
balanced  
Y-type cable for the  
connection of ex-  
ternal FX units and  
signal processors  
with phone jacks  
Channel Insert  
Main Insert  
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SETTING UP A STANDARD PA-SYSTEM  
In the following we would like to explain how to install a typical sound reinforcement system in passive  
configuration. The necessary equipment is:  
1 PowerMate 1000  
1 Power amplifier, e.g. 2x250 watts  
2 HI cabinets, e.g. 3-way 12” speakers  
2 LO cabinets, e.g. 15” woofer  
2 Speaker pole-stands or 2 connection rods  
2 Stage monitor speakers  
4 SPEAKON cables 8m, 2 SPEAKON cables 2m  
1 LF-cable with a stereo phone plug on one side and an XLR-type connector on the other end  
Setting Up  
Place the PowerMate and the external power amplifier in a way that allows their unobstructed operation  
and connect the mains cord.  
Try to locate the best position where you want to place the loudspeaker systems. If possible, the woofers  
should be placed on the floor while the Hi cabinets’ most favorable position is above the Lo cabinets,  
on the same vertical axis. It is important that the lower edge of the Hi cabinets is approximately at the  
same height level or slightly higher as the heads of the audience. Either you use the interconnection rods  
to mount the Hi cabinets on top of the woofer cabinets or, in case this kind of installation is not possible  
or you are not using woofer systems, use the separate speaker pole-stands instead.  
Do not place the left and the right speakers further apart than necessary. The less distance there is  
between the two speaker “clusters” – the more compact the sound.  
Try to avoid the positioning of the main loudspeakers behind the imaginary line of microphones.  
Otherwise, if you have to drive the system at higher sound levels, the risk of feedback is very likely.  
After you have installed all microphone stands and all artists found their place, the best spot to install  
the monitor speakers is up front facing the musicians and vocalists. Nevertheless, please check if a  
microphone is directly pointing in the direction of a monitor. In this case, change its position.You should  
also be aware of the individual characteristics of the employed microphones.  
Establish connections according to the diagram. Use the different SPEAKON cables to connect the  
speaker systems to the PowerMate’s power outputs, respectively to the power outputs of an external  
amplifier. Make sure not to confuse the channels by accident. Using the short SPEAKON cables to  
connect Hi and Lo cabinets in parallel. The two monitor speakers are connected to the outputs of the  
monitor power amp.  
51  
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SETTING UP A STANDARD PA-SYSTEM  
Connect the PowerMate‘s AUX3/4 SEND with the monitor amplifier‘s input, using an LF-cable  
with the stereo phone plug on one end and the XLR-type connector on the other.  
Connect all microphones preferably to the monaural inputs of the PowerMate and keyboards  
and other comparable sound sources to the rest of the available inputs.  
Pull all faders down and engage the PowerMate’s STANDBY button to prevent unwanted  
feedback noise.  
First, switch the PowerMate on and then the external amplifier.  
In case you have condenser microphones connected to the PowerMate, you can now turn on  
the phantom power by pressing the PHANTOM switch.  
Activate the PowerMate’s operational mode through pressing the STANDBY button again.  
Sound Check  
First, adjust the input levels of the microphones that are connected to the PowerMate. Please  
proceed as follows:  
1.  
2.  
3.  
Set the corresponding gain controls and the channel faders to their lowest position.  
Speak or sing as loud as possible into the microphone.  
Use the gain control to adjust the level, so that even at loud passages the red PEAK  
LED does not light but the green SIGNAL LED lights constantly.  
Adjust the EQ of the monaural input channels:  
1.  
Slide the channel fader and the master faders up a bit, so that the sound coming from  
the main speakers is heard.  
2.  
Turn the MID control carefully all the way to the right (+15dB).You should not hear any  
feedback.  
3.  
4.  
5.  
Play the sound source or speak into the connected microphone  
Turn the frequency control (kHz) slowly from left to right.  
Surely and within no time, you will detect the frequency range that is not to your liking  
or causing feedback noise.  
6.  
7.  
8.  
Leave the frequency control in this position and turn the MID control to the left until  
the sound is natural or to your liking.  
If necessary, adjust the Hi and LOW controls, starting from their centered position,  
until the sound matches your personal taste.  
Repeat steps 1 - 7 for all monaural input channels in use.  
In case you are also using the stereo input channels, you can adjust the levels in a similar way:.  
1.  
2.  
3.  
Set the LINE TRIM controls, the MIC gain controls, and the channel fader to their  
lowest setting.  
Play the corresponding sound source at the highest volume that is to be expected  
during the performance.  
Use the LINE TRIM control to adjust the level, so that even at loud passages the red  
PEAK LED is not lit but the green SIGNAL present LED lights constantly.  
Adjust the EQ of the stereophonic input channels:  
1.  
Slide the channel fader and the master faders a bit up, so that you can hear the sound  
through the main speakers.  
2.  
3.  
4.  
Ser the EQ controls to their center position.  
Play the corresponding sound source.  
Starting from the center position, you can adjust the controls until the sound is to your  
liking. Please, keep in mind that major alteration of the EQ-setting does not ecessarily  
result in the improvement of the overall sound. Especially when sound shaping is  
concerned, less can be more.  
5.  
Repeat steps 1 - 4 for all stereo input channels in use.  
If musical instruments are connected directly to the monaural inputs, follow the descriptions  
above describing the adjustment of the microphones  
Make sure, that all channel faders, gain and LINE TRIM controls of unused input channels are  
at their minimum setting. In this way you avoid unnecessary noise.  
52  
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SETTING UP A STANDARD PA-SYSTEM  
Main Mix  
Position the master faders in the range between –30dB and –20dB.  
Establish a basic mix, using the channel faders, so that the individual sound levels relate to  
each other according to your personal taste.  
The best range for the channel faders to be set to is in the area of –5dB to 0dB. In this way you  
are provided with enough tolerance for later adjustments.  
Use the master faders to adjust the overall volume.  
In case you are using the FX units, please proceed as follows:  
1.  
2.  
3.  
4.  
5.  
Set the AUX1/FX1 send controls to their center position.  
Set the effects return fader of the FX1 unit to the –5dB mark.  
Use the UP/DOWN buttons to select the desired effect preset.  
Press the FX ON button.  
Play the sound source of the desired input channel and adjust the desired amount  
of the FX signal, using the FX controls of this input channel. Repeat this step for all  
input channels that you want to include in your effect mix.  
Adjust the AUX1/FX1 SEND controls, so that the Peak LED only lights frequently at  
highly dynamic signal peaks.  
6.  
If necessary, repeat steps 1 - 6 for the second internal FX unit (FX2).  
Monitor Mix  
For now, let’s presume, that you don’t use the Powermate as FOH-mixer in the audience area but on-stage. The  
following procedure is explained for AUX3. For setting AUX4, please perform the same steps analogous.  
Lower the setting of the AUX3 fader located in the master section.  
Engage the AUX3 POST button located in the master section.  
Set the AUX3 faders of all input channels in use to their center position. In this way the main mix and the  
monitor mix are completely identical.  
Push the AUX3 fader up until a slight feedback noise is heard.  
Activate the FEEDBACK FILTER and adjust its control, so that the feedback noise disappears.  
Use the AUX3 fader to reduce the AUX3 level by about –6dB. This will provide you with enough  
“headroom” before feedback during the performance, even then, when some microphone positions are  
changed disadvantageously.  
Use the FX to AUX3 controls to add the effect mix to the monitor mix, without influencing the main mix.  
Normally, the monitor mix needs less FX than the main mix.  
Let the artists perform some and check the sound of the system from different angles and distances. If you come  
to the conclusion that some corrections in the overall sound image are necessary, activate the 7-band equalizer  
and match the sound to your liking. By doing so, you should keep in mind, that during the performance the sound  
is going to be altered because the audience is present, which has a major effect on the acoustical condition of the  
location, the degree of first reflections, and the absorption of low frequencies. If possible, you should check the  
“sound in the house” during the performance and – if necessary – adjust it to the changed conditions.  
And for the rest, we like to wish you lots of fun and success with your new PowerMate mixer.  
53  
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MASTER PATCHBAY AND DIFFERENT SETUP ALTERNATIVES  
The patch field within the master section is referred to as MASTER PATCHBAY  
The mixer’s Line output levels, return and insert connections are to be found here. To provide you with a wide  
range of connection possibilities, the MASTER INSERTS, MAIN OUTPUTS, EQ INPUTS and EQ OUTPUTS,  
POWER AMP INPUTS, and the AUX SENDS and AUX RETURNS can be independently connected with each  
other or routed to external devices. In the basic configuration – when no plugs are inserted into any of the  
MASTER INPUT connectors – signals are patched internally and fed to the internal power amplifier. Once you  
connect a plug to the INSERTS, EQ INPUTS, or POWER AMP INPUTS, the internal signal path is interrupted,  
providing you with the opportunity to include external signals. Following, we would like to show you some typical  
examples of how to use the MASTER PATCHBAY.  
1. Connection of an external power amplifier:  
If you need to connect more loudspeaker systems than the PowerMate is capable of handling directly, you have  
to use an external power amplifier. Using LF-cables with phone plugs, you can patch the signal either at the MAIN  
OUTPUTS – pre EQ – or at the EQ OUTPUTS – post EQ. In this configuration the signal path to the internal  
power amplifier is not interrupted and the audio signal is outputted via the speaker systems connected to both  
amplifiers.  
2. Using the internal power amplifier for monitoring purposes:  
In case you want to use an external power amplifier to drive your main speaker systems, the internal power amps  
can be used for monitoring and side-fill purposes. Use short patch-cables to connect the AUX3 or AUX4 OUTPUT  
to the EQ inputs (see diagram). The monitoring signal is fed to the internal power amps, providing you with the  
possibility to connect passive monitor speaker systems.  
54  
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MASTER PATCHBAY AND DIFFERENT SETUP ALTERNATIVES  
3. Maximum amount of speakers in a passive configuration:  
The PowerMate allows the maximal connection of three loudspeaker cabinets with an impedance of 8 ohms per  
power amp output channel. In other words: the internal power amplifier is capable of driving a maximum of six 8  
ohms speaker systems. The following diagram shows an example of how to set up your PowerMate for operation  
with the maximum amount of speakers connected.  
Usual power mixer applications do not include a monitor amps rack. Thus, active monitor systems, like the  
DYNACORD AM12 for example represent a convenient alternative.  
4. Active 2-way stereo configuration:  
This example uses the internal power amplifier of the PowerMate to drive the Hi/Mid cabinets. The full-range  
signal is fed via MAIN OUTPUTS or EQ OUTPUTS to an active crossover. The Lo-signal outputs of the x-over are  
connected to an external power amplifier, driving the woofer cabinets. The signal of the x-over’s Hi-signal outputs  
is fed back to the PowerMate’s internal power amplifier via POWER AMP INPUTS. Compared to the passive  
configuration, the overall sound gains transparency and higher sound pressure levels are possible, since the Hi/  
Mid cabinets do not have to deal with the low frequency signals.  
55  
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SPECIFICATIONS  
Technical Specifications PowerMate1000/PowerMate1600 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, dual channel, unless otherwise specified.  
Maximum Midband Output Power, 1 kHz, THD=1%  
into 2.66 Ohms  
into 4 Ohms  
into 8 Ohms  
2 x 870 W  
2 x 700 W  
2 x 430 W  
Rated Output Power, THD=0.1%, Single Channel  
into 4 Ohms  
into 8 Ohms  
2 x 700 W  
2 x 350 W  
70 Vrms  
Maximum Output Voltage of power amplifier, no load  
THD at 1kHz, MBW=80kHz  
MIC input to Main L/R output, +16 dBu, typical  
Power amplifier input to Speaker L/R output  
DIM 30, power amplifier  
IMD-SMPTE, power amplifier, 60Hz, 7 kHz  
Frequency Response, -3dB ref. 1kHz  
Any input to any Mixer output  
Any input to Speaker L/R output  
Crosstalk, 1kHz  
< 0.005%  
< 0.01%  
< 0.01%  
< 0.01%  
15Hz ... 80kHz  
20Hz ... 70kHz  
Fader and AUX-Send attenuation  
Channel to channel  
CMRR, MIC input, 1kHz  
Input Sensitivity, all level controls in max. position  
MIC input  
LINE Input (Mono)  
LINE Input (Stereo)  
Power Amplifier Input  
> 85 dB  
> 80 dB  
> 80 dB  
-74 dBu (155 µV)  
-54 dBu (1.55 mV)  
-34 dBu (15.5 mV)  
+6 dBu (1.55 V)  
Maximum Level, mixing desk  
MIC inputs  
Mono Line inputs  
Stereo Line inputs  
All other inputs  
Record Send output  
All other outputs  
+ 21 dBu  
+ 41 dBu  
+ 30 dBu  
+ 22 dBu  
+ 14 dBu  
+ 22 dBu  
Input Impedances  
MIC  
Insert Return  
EQ Input and 2 Track Return  
All other inputs  
2 k ohms  
2.2 k ohms  
8 k ohms  
> 15 k ohms  
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  
1 k ohms  
47 ohms  
75 ohms  
-130 dBu  
PM1000  
PM1600  
-95 dBu  
-88 dBu  
-82 dBu  
-95 dBu  
-90 dBu  
-83 dBu  
105 dB  
LO Shelving  
± 15 dB / 60 Hz  
± 15 dB / 100 Hz ... 8 kHz  
± 12 dB / 2.4 kHz  
± 15 dB / 12 kHz  
± 10 dB / Q=2.0  
640 W  
MID Peaking, mono inputs  
MID Peaking, stereo inputs  
HI Shelving  
Master EQ, 2x7-band, 63, 125, 400, 1k, 2k5, 6k, 12k Hz  
Power Consumption at 1/8 maximum output power, 4 ohms  
Dimensions, (WxHxD), mm  
PowerMate1000  
514.5 x 210.3 x 478.7  
673.5 x 210.3 x 478.7  
PowerMate1600  
Weight, without lid / including lid  
PowerMate1000  
20 kg / 21 kg  
PowerMate1600  
23.5 kg / 25 kg  
Optional  
RMK-1000 (Rack-Mount-Kit PowerMate1000-2)  
Gooseneck Lamp, 12V/2.4W, 12“, XLR  
FS11 (Footswitch)  
112 698  
112 700  
110 693  
56  
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BLOCK DIAGRAM  
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ABMESSUNGEN/DIMENSIONS  
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NOTES  
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USA  
Telex Communications Inc., 12000 Portland Ave. South, Burnsville, MN 55337, Phone: +1 952-884-4051, FAX: +1 952-884-0043  
Germany EVI AUDIO GmbH, Hirschberger Ring 45, D 94315, Straubing, Germany Phone: 49 9421-706 0, FAX: 49 9421-706 265  
Subject to change without prior notice.  
Printed in Germany  
10/04/2004 / 363 488  
60  
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