Summary of the content on the page No. 1
OWNER‘S MANUAL
PowerMate 1000/1600
Power Mixer
Summary of the content on the page No. 2
CONTENTS IMPORTANT SAFETY INSTRUCTIONS ....................... 31 IMPORTANT SERVICE INSTRUCTIONS ....................... 31 DESCRIPTION ....................... 32 UNPACKING AND WARRANTY ....................... 32 INSTALLATION ....................... 32 INPUT MONO ....................... 33 INPUT STEREO ....................... 38 EFFECT 1/2 ....................... 41 AUX 3/4 ....................... 43 MASTER ....................... 44 REAR PANEL ....................... 49 SETTING
Summary of the content on the page No. 3
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) 1. Read these instructions. instructions
Summary of the content on the page No. 4
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, amplifie
Summary of the content on the page No. 5
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 co
Summary of the content on the page No. 6
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 externa
Summary of the content on the page No. 7
INPUT MONO 5. LO CUT 80 Hz +5 When the LO CUT switch is engaged, frequencies +0 below 80 Hz are attenuated (18 dB octave slope). In -5 most cases using the LO CUT filter with microphone -10 channels is a good advice, since it efficiently suppresses popping sounds, rumbling noise and -15 low-frequency feedback. The only exceptions are -20 kick drum and acoustic bass. Sometimes it can be -25 also very effective to combine the LO CUT filter with -30 the voicing filter. For instance to provi
Summary of the content on the page No. 8
INPUT MONO +20 +20 +15 +15 +10 +10 +5 +5 +0 +0 -5 -5 -10 -10 -15 -15 -20 -20 20 50 100 200 500 1k 2k 5k 10k 20k 20 50 100 200 500 1k 2k 5k 10k 20k Hz Hz MID EQ LOW-HI EQ Adjustments in the MID frequency range are certainly the most effective way to shape the 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 Instr
Summary of the content on the page No. 9
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 acous
Summary of the content on the page No. 10
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 t
Summary of the content on the page No. 11
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 th
Summary of the content on the page No. 12
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 g
Summary of the content on the page No. 13
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. Pre
Summary of the content on the page No. 14
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 moni
Summary of the content on the page No. 15
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 G
Summary of the content on the page No. 16
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 offer
Summary of the content on the page No. 17
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 thre
Summary of the content on the page No. 18
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 indepen
Summary of the content on the page No. 19
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 2
Summary of the content on the page No. 20
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 performan
