Inhaltszusammenfassung zur Seite Nr. 1
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M•2600
OWNER’S MANUAL
™
HIGH-CURRENT POWER AMPLIFIER
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN PROFESSIONAL POWER AMPLIFIER
CH GAIN/dB GAIN/dB CH CH CH
OL OL
3v 3v 1 2
1 23 23 2
21 25 –3 –3 21 25 INTERNAL STATUS
2v 2v
19 27 –6 –6 19 27 PROTECT
17 29 –9 –9 17 29 SHORT
–20 –20 TEMP STATUS
11 31 11 31
CH
33 33
1& 2
1v 1v
COLD HOT
1.23v (+4dBu) 1.23v (+4dBu)
SENSITIVITY SIG SIG SENSITIVITY POWER
CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT SER
Inhaltszusammenfassung zur Seite Nr. 2
8. Heat — This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat. CAUTION AVIS RISK OF ELECTRIC SHOCK 9. Power Sources — This Mackie product should be connected to a power DO NOT OPEN supply only of the type described in these operation instructions or as marked RISQUE DE CHOC ELECTRIQUE on this Mackie product. NE PAS OUVRIR 10. Power Cord Protection — Power supply cords should be routed so that CAUTION: TO REDUCE THE RISK OF ELECT
Inhaltszusammenfassung zur Seite Nr. 3
Lend Me Your Ears According to OSHA, any exposure in excess of Exposure to extremely high these permissible limits could result in some hear- noise levels may cause per- ing loss. To ensure against potentially dangerous manent hearing loss. exposure to high sound pressure levels, it is recom- Individuals vary considerably mended that all persons exposed to equipment in susceptibility to noise- capable of producing these levels (such as the induced hearing loss, but nearly everyone will M•2600) u
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READ THIS PAGE! QUICK START 5. Determine which AMP MODE is best for your application: I got ants in my pants and I got to dance! • STEREO mode (separate left and right INSTALLATION inputs, separate left and right outputs) is the typical setup for amplifying stereo The M•2600 amplifier signals. must only be installed in a MONO mode (sometimes called Dual- rack. See page 29 for spe- • cial details regarding rack Mono mode — one or two inputs, two mono mounting and thermal outputs) is for sending
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7. In BRIDGED mode, connect an input cable 14. Slowly turn both GAIN controls up: to CHANNEL 1’s INPUT or CHANNEL 2. If You should hear the music and see the SIG you want to use both inputs, the two input and meter LEDs flashing. signals are summed internally to produce a If the topmost LEDs (named OL, for mono signal. overload) are flashing, turn down either the GAIN controls on the amp or the 8. In STEREO and MONO modes, connect source signal’s output level controls (i.e., speaker cables to
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HOW TO USE THIS MANUAL APPLICATION DIAGRAMS A PLUG FOR THE CONNECTORS SECTION Mackie’s chain gang of illustrators have Also at the back of this manual is a section on created easy-to-understand diagrams of popular connectors: XLR, TRS, binding post connectors, studio and live-sound setups. Your setup will balanced connectors, unbalanced connectors, ® probably be different in some way, but these and Speakon connectors. If you plan on wir- diagrams will help you see the big picture so ing your own
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CONTENTS SAFETY INSTRUCTIONS.................................................. 2 INTRODUCTION ............................................................ 3 QUICK START ......................................................... 4 HOW TO USE THIS MANUAL .......................................... 6 APPLICATION DIAGRAMS .............................................. 8 FEATURE DESCRIPTIONS .............................................. 17 GAIN ........................................................
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APPLICATION DIAGRAMS The following pages show some of the more common uses for the M•2600, including stereo, mono, and bridged operation. USING THE LOW CUT FILTER AMP MODE LOW CUT FILTER The application diagrams include some CROSSOVER STEREO TYPICAL 60Hz 90Hz TYPICAL 35 Hz STAGE small graphs of the frequency range going into MONITOR 100 Hz and coming out of the amplifier. These graphs CH's OFF 170 Hz SUMMED show the effect of the LOW CUT FILTER to roll OUTPUT APPLICATION FULL LOW OUT off the low
Inhaltszusammenfassung zur Seite Nr. 9
B B B B U U U U S S S S TWO M•2600S: MAIN SPEAKERS AND STAGE MONITORS 9 MAIN SPEAKERS (play above 35Hz in this example). FROM MIXING CONSOLE FROM MIXING CONSOLE STEREO LEFT MAIN OUT RIGHT MAIN OUT 35Hz 35Hz SERIAL NUMBER MANUFACTURING DATE CHANNEL CHANNEL CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT 1 2 EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. RISK OF ELECTRIC SHOCK NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. DO
Inhaltszusammenfassung zur Seite Nr. 10
B B U U S S M•2600: MAIN SPEAKERS AND STAGE MONITORS WITH ONE AMPLIFIER 10 MAIN SPEAKERS STAGE MONITORS This example shows how each LOW CUT FILTER can (play above 35Hz in (play above 100Hz in be adjusted so you can play a different type of this example). this example). speaker on each channel. FROM MIXING CONSOLE FROM MIXING CONSOLE MAIN OUT MONITOR OUT STEREO 35Hz 100Hz CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT SERIAL NUMBER MANUFACTURING DATE CHANNEL CHANNEL
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B B U U S S M•2600: EIGHT MONITOR SPEAKERS-MONO MODE 11 STUDIO MONITORS This example shows how you can use the (play above 100Hz in this example). MONO MODE to play the same source in both the left and right Speaker Outputs. The TOTAL IMPEDANCE must be greater than 2 ohms per NOTE: In MONO MODE, you can feed channel. FROM MIXING CONSOLE Channel 2 as well, and the speakers will In this example, each speaker MONITOR OUT 100Hz play the sum of both inputs. Set both LOW must be 8 ohms or gre
Inhaltszusammenfassung zur Seite Nr. 12
B B B B U U U U S S S S M•2600: STEREO SYSTEM WITH TWO AMPLIFIERS IN BRIDGED MODE 12 FROM MIXING CONSOLE LEFT MAIN OUT LEFT SPEAKER (above 35Hz in this example) 35Hz BRIDGED CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT SERIAL NUMBER MANUFACTURING DATE CHANNEL CHANNEL 1 2 EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. RISK OF ELECTRIC SHOCK NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. DO NOT OPEN AVIS: RISQUE DE CHOC ELEC
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USING THE CROSSOVER The following three pages show how the internal crossover can be used to biamp your system. One amplifer plays the lower frequen- AMP MODE LOW CUT FILTER CROSSOVER cies, while another plays the highs. STEREO TYPICAL 60Hz 90Hz TYPICAL 35 Hz STAGE MONITOR The electronic crossover inside the M•2600 100 Hz splits the frequency band into two ranges, one CH's OFF 170 Hz SUMMED below the crossover point (LOW OUT) and OUTPUT APPLICATION FULL LOW OUT one above (HIGH OUT). The LOW OUT
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B B B B U U U U S S S S M•2600: STEREO SYSTEM BIAMPED WITH SUBWOOFERS, OPTION 1 14 FROM MIXING CONSOLE FROM MIXING CONSOLE SUBWOOFERS MAIN LEFT OUT MAIN RIGHT OUT (play between 20Hz and 90Hz in this example) CHOOSE CHOOSE Because the OUTPUT APPLICATION 20Hz 20Hz switch is set to LOW OUT, this M•2600 plays the frequency range MONO below the CROSSOVER point (60, 90, or 120Hz). SERIAL NUMBER MANUFACTURING DATE CHANNEL CHANNEL CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, D
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B B B B U U U U S S S S M•2600: STEREO SYSTEM BIAMPED WITH SUBWOOFERS, OPTION 2 15 FROM MIXING CONSOLE FROM MIXING CONSOLE MAIN SPEAKERS (play above 35Hz MAIN LEFT OUT MAIN RIGHT OUT in this example) 35Hz 35Hz STEREO Set the THRU switch to "THRU" so the CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT SERIAL NUMBER MANUFACTURING DATE CHANNEL CHANNEL 1 2 next M•2600 will receive the full EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. RISK OF ELECTRIC SHO
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B B B B U U U U S S S S M•2600: STEREO SYSTEM BIAMPED WITH BRIDGED SUBWOOFER 16 SUBWOOFER FROM MIXING CONSOLE FROM MIXING CONSOLE (plays between MAIN LEFT OUT MAIN RIGHT OUT Because the OUTPUT APPLICATION 20Hz and 90Hz in this example) switch is set to LOW OUT, this CHOOSE CHOOSE amplifier plays the frequency range 20Hz 20Hz below the CROSSOVER point (60, 90, BRIDGED or 120Hz). + – Set the LOW CUT FILTER to the lowest frequency your subwoofers can CAUTION WARNING: TO REDUCE THE RISK OF
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FEATURE DESCRIPTIONS GAIN/dB 3v 23 21 25 2v 19 27 17 29 11 31 33 1v GAIN SENSITIVITY 1.23v (+4dBu) Constant Gain vs. Constant Sensitivity These front panel knobs allow you to control There are two viewpoints, or philosophies, the levels going into the output section of the regarding the gain structure of power amplifiers M•2600 amplifier. Their travel is detented, — constant gain and constant sensitivity. meaning there are 20 built-in “resting points” so Constant Gain means that regardless of t
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You may wonder why we So what are the pros and cons of these two didn’t use just one stereo approaches? The reason some amplifier control to control both sides. manufacturers use the constant gain approach That’s in case your applica- is because the noise specification looks better. tion requires a left/right It’s a fact of physics that as the gain of the imbalance (due to an irregu- amplifier increases, the circuit noise is amplified larly shaped room) or if you’re using the two and increases t
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SIG SHORT SIG (short for “signal present”) is the lowest If this LED comes on, the M•2600 has de- step in the meter ladder. It senses the signal tected a short circuit in either of the outputs, prior to the GAIN control, so when SIG is lit, meaning that the positive (+) and negative (–) you know the M•2600 is receiving signal. If it’s speaker wires are touching, or a speaker itself the only meter LED lit (meaning the other meter is shorted out. Such a condition causes the LEDs are not lit), th
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Note: When using the amplifier in Please see “Do The Math: Ohms, Loads and BRIDGED mode, both SHORT LEDs will light Such” in Appendix D to learn about speaker under shorted or low impedance conditions. loads. This is an indication of a problem that requires As the internal temperature of the amplifier further investigation. rises, the fan speed gradually increases. More air moves through the constant temperature TEMP STATUS gradient cooling tunnel to remove additional TEMP (short for temperatur
