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Dynacord 1000 Music Mixer User Manual

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1. LOW HI EQ MID EQ 34 INSERT 30 GAIN all Yao 4 17 606 LO CUT 80 Hz 5 VOICING FILTER 6 737073 HI 6 6 gt akang 12 12 5 156 370 3 MID 7 6 9 JL 12 2 Sp 3 0 3 LO S g U 1 12 5 156 5 AUX1 ZB FX1 3 7 2 8 4 9 ao s AUx2 8 42206 FX2 H 2 8 1 9 10 AUX3 475 6 7 2 8 9 4 9 ao 10 PAN 2 3 3 10 4 LOR INPUT MONO Adjustmenis in the MID range are certainly the most effective way to shape the sound Asa matter of fact determining the correct center freguency 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 Note on how to adjust the parametric EQ 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 Meanwhile 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 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 It is a differ
2. A QO 00O 000 0 9 0 0 019 56 SPECIFICATIONS Technical Specifications Mixing desk in rated condition Unity Gain MIC Gain 20 dB all faders position 0 dB all pots in mid position master fader 6dB amplifier rated output power into 8 ohms one channel driven unless otherwise specified Maximum Midband Output Power 1 kHz THD lt 1 into 4 ohms into 8 ohms Rated Output Power 20 Hz 20 kHz THD lt 0 2 into 4 ohms into 8 ohms Maximum Output Voltage of power amplifier no load THD at 1kHz MBW 80kHz MIC input to Main L R output 16 dBu Power amplifier input to Speaker L R output DIM 30 power amplifier IMD SMPTE power amplifier 60Hz 7 KHz Frequency Response 3dB ref 1kHz Any input to any Mixer output Any input to Speaker L R output Crosstalk 1kHz 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 Maximum Level mixing desk MIC inputs Line inputs All other inputs Record Send output All other outputs Input Impedances MIC Insert Return EQ Input and 2 Track Return All other inputs Output Impedances Record Send Phones All other outputs Equivalent Input Nois
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4. 1 Set the corresponding gain controls and the channel faders to their lowest position 2 Speak or sing as loud as possible into the microphone 3 Use the gain 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 e Adjust the EQ of the monaural input channels 1 Slide the channel fader and the master faders up a bit so that the sound is heard coming from the main speakers Turn the MID control carefully all the way to the right 15dB You should not hear any feedback 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 the feedback oa kf oD Leave the frequency control in this position and turn the MID control to the left until the sound is natural or to yout liking 7 If necessary adjust the Hi and LOW controls starting from their centered position until the sound matches your personal taste 8 Repeat the steps 1 7 for all monaural input channels in use e n case you are also using the stereo input channels you can adjust the levels in a similar way 1 Set the LINE TRIM controls the MIC gain controls and the channel fader to their lowest setting 2 Play the corresponding sound source at the highest volume that is to be expected during the performance 3 Use t
5. NOT CONNECTED WARNING RATED OUTPUT POWER RATED OUTPUT POWER The speaker output terminals are marked with a symbol 4 which signifies that these terminals TPUT WIRI FEST WENG GRASSA present a shock hazard to the user Make connections to these terminals as described in the owner s manual 24 2 NOT CONNECTED 2 POWER mains switch to turn the PowerMate on or off The PowerMate is operational when the POWER ON indicator POWER is lit and the power outputs are activated Please make sureto set the master faders to their minimal position or engage the STANDBY switch before turning the power on This will save you your audience and the eguipment from unnecessary stress 230V 50 60Hz 1600 WATTS MAINS FUSE T8A L 250V In case additional external equipment is connected to the PowerMate e g FX units power amplifiers EQs etc please proceed in the following order when switching your equipment on 1 FX units 2 PowerMate 3 external power amplifiers When switching the power off please proceed in the opposite order 49 STANDARD INSTALLATION CABLING The mains supply cord comes with the PowerMate The guality of all other cables lies in your responsibility Carefully chosen high guality cables are the besi precaution to prevent later problems during live operation The following wiring alternatives are recommended to provide a trouble free operation of your setup SPEAKE
6. 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 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 2 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 Switch off the power before retrofitting any extensions changing the mains voltage or the output voltage 4 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 Altering the circuitry without prior consent or advice is not legitimate 7 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 8 All instructions concerning the hand
7. of your local mains supply Check the label next to the mains switch When switching the power on the internal ventilators will run for about 2 seconds at full speed to give you an acoustical signal that the PowerMate entered the operation mode In addition dust particles that might have gotten into the device get blown out For a secure connection the speaker outputs on the PowerMate s rear panel are provided through professional standard Speakon connectors The pin assignment of these sockets is 1 hot and 1 cold 31 INPUT MONO 1 MIC Electronically balanced KLR type inputs for the connection of low impedance microphones 4 likewise the ones that are 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 lt 002 even in the high frequency range Generally any type of microphone can be connected as long as its 24V PHANTOM pin assignment is in accordance to the diagram shown aside When 2 condenser microphones are connected you have to press the 12 PIN 4 SHIELD PHANTOM button which is located in the master section The oy IN S etl microphone gets its operational voltage 24Vdc through the mixer i Stern and you can forget about battery replacement times CAUTION Make sure to always connect ihe microphones before turning on the phantom power 30 DAN or switching the P
8. PRE FADER stereo master signal is routed to the headphones output The volume of this signal is not affected by the setting of the MASTER faders 60 MASTERL R Level controls to adjust the output signals of the left and right main outputs MASTER Please make sure that the corresponding input channel fader or at least the master faders are set to their minimal position or the STANDBY switch is engaged before connecting an external sound source to an input of the PowerMate This will save you your audience and the equipment from unnecessary stress POWER AMPLIFIER The PowerMate s PROCESSED PRECISION stereo power amplifier s design uses bipolar technology to provide a nominal output power of 500 watts resp 700 watts at 4 ohms per channel The minimal load impedance of 2 7 ohms allows the operation with a maximum of three paralleled 8 ohm loudspeakers connected to each 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 amplifier is also designed to live through the hard wearing use of the touring operation It incorporates protection circuitry against thermal and capacitive overload and short circuit as well as against HF interferences or the occurrence of DC at the outputs Further protection against back feed of electrical energy is provided
9. and enter clipping 32 EFFECT RETURN These stereo faders are used to determine the effect amount of the main mix Incase you have to set these faders at a position above the 5dB mark please check if the FX units input signals are adjusted properly Otherwise use the AUX FX SEND controls to increase the input levels 41 AUX 3 AUX 3 SEND FEEDBFILTER 300_ 630 125 2x0 34 D 70 7kHz Jon O 35 AUX 3 POST Generally the AUX3 channel is used as monitor bus Depending on the setting of the AUX3 POST switch it is also possible to configure the bus for the connection of an additional external FX unit 33 AUX3 SEND This output is meant for the connection of an external FX unit a power amplifier or active stage monitor speaker systems when the AUX3 bus is used for monitoring purposes Using the AUX3 fader the output level can be adjusted in a wide range up to 20dBu The AUX3 send is designed in Ground Sensing technology to prevent the induction of external noise even when longer cables are involved 34 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 frequency band is set using the corresponding rotary control The filter is activated by pressing the corresponding ON switch Acoustical feedback is originated when the amplification rate in a signal loop consisting of microphone amplifie
10. and you can use the foot switch to turn the selected effect program on or off 31 PEAK LED These indicators signal if the input stages of the internal FX units or the AUX 1 SEND signals are driven into clipping To achieve an adequate S N ratio please adjust the FX units input level as follows Note on how to adjust the FX input signal 1 Establish a dry mix without effect settings according to the previous descrip tions 2 Set the AUX FX send controls of the effect channels to their center position 3 Position the effect return faders of the effect channels at the 5dB marks 4 Use the UP DOWN buttons to select the desired FX program preset 5 Press the FX ON switch 6 Play the sound source of 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 7 Adjust the AUX FX SEND controls so that the Peak LED only lights frequently at highly dynamic signal peaks 8 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 the step 2 8 respectively Pay some attention to the peak indicators when operating your PowerMate to quickly interact when the signal levels exceed the normal range
11. by a special circuit When the PowerMate is switched on a relay controls the delayed switching of the power outputs The internal ventilators run shortly on full speed signaling acoustically that the PowerMate is operational A limiter controls the initial current inrush preventing the mains fuse from being blown during power on The extensive comparator circuitry constantly monitors the input and output signals 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 Even when the maxi mum input level is overridden no distortion is heard on the output The amplifier also incorporates LPN filters DYNACORD patent Together with the 12dB 70Hz LO CUT filters the Low Pass Notch filters eliminate transi ent response faults of typical sound reinforcement speaker systems and provide your setup with an extraordinarily precise and powerful reproduction of low frequencies 48 REAR PANEL SPEAKER OUTPUTS RIGHT LEFT The PowerMate is eguipped with professional SPEAKON SPEAKER OUTPUTS connectors offering an electrical and mechanical secure con RIGHT LEFT nection which complies to all security regulations It also allows AN 44 Fd the use of high quality speaker cables with a diameter of 4 x N 2 5mm The DYNACORD accessory assortment includes all el Oz recommended cables and connectors Oo 2
12. device to the STEREO RETURNS In combination with the PowerMate s stereo return control the latter solution offers the additional benefit of matching the level of the additional console to the PowerMate s operating level LAAR DOCOOOO OCC OOO OOO ORE 0000000000000000 90000 6666666666666666 6 0006 KUKALIA E 0000 gt o00006000006000600 DYNACORD 0000600000060006 S AUK 1 AUX Z AUX 3 REC SEND 27RACK RET FX d LAMP ONLY 0000000000000000 05 SEND SEND SEND FOOT KIC 0000000000000000 o IN YA L V Loooooooooooooooo ji OG 0000000000000000 o RZ NG 0000000000000000 0000 0000000000000000 0000 STEREO MAIN POWER AMP MONO 0000000000000000 0000 RETURNS INSERTS ale w is aire INPUTS OUTPUT 0000000000000000 2000 fe EE EE EE EE EE A EE EE MONO M EEI KALANA QO QO QO 9 KO PHONES 54 MASTER PATCHBAY AND INSTALLATION ALTERNATIVES 3 Using the internal power amplifier for monitoring or side fill purposes In case you want to use an external power amplifier to drive your main speaker systems the internal power amplifier can be used for monitoring and side fill purposes Use short patch cables to connect the AUX3 OUTPUT with the EQ INPUT L and the MONO OUTPUT with the EQ INPUT R This enables you to use the internal graphic equalizer to separately adjust the signals of the monitor a
13. even during the performance when some microphone positions are changed disadvantageously e Use the FX to AUX3 control to add the effect mix to the monitor mix without influencing the main mix Normally the monitor mix needs a smaller amount of effect 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 MASTER PATCHBAY AND INSTALLATION ALTERNATIVES The patch field within the master section is referred to as MASTER PATCHBAY The miker s LINE OUTPUTS RETURNS and INSERTS are to be found here To provide you with a wide variety 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 rout
14. is switched off or in stand by mode With active phantom power the connection of unbalanced signal sources key boards mixer etc is not admissible because this could lead to severe damaging of your equipment ATTENTION IMPORTANT NOTICE In general the operation of phantom powered condenser micropho nes and balanced dynamic microphones at the same time does not lead to any problems Nevertheless some balanced dynamic microphones are extremely sensitive These models could get damaged when used on mixers with active phantom power Please refer to the microphones owner s manuals to make sure that this operation is permissible To be on the safe side you should switch the PHANTOM POWER off when using balanced dynamic microphones This ensures that your sensitive microphones do not suffer from any damage 46 PROTECT O LMT O POWER ON LEFT GRAPHIC EQUALIZER TL TL IT 55 o _ 56 PHANTOM EQ ON RIGHT GRAPHIC EQUALIZER 80Hz 250Hz 630HZ Z2 5kHz Jos Biz Gas EHE 80Hz 250Hz 630HZ 2 5kKHz 4kHZ 8kHZ 16KHZ 29999 bawoia Wa 8 99999 D 2 I C a 1 O000000000 PFL 7 57 58 59 L MASTER R MASTER 57 7 BAND EQUALIZER The EQ ON switches activate the 7 band graphic EQs within the Power Mate s master channels The EQ s insert point is post master fader an
15. 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 LED lights constantly This is the basic channel setting leaving you with at least 6dB of headroom Which means you have at least a range of 6dB before signal clipping In case you intend to make further adjustments to the channel s EQ setting you should perform the steps 3 and 4 again afterwards since changes in the sound shaping section also influence the channel s overall level en wno savr PHEN eter 5 LO CUT 80 Hz H I When the LO CUT switch is engaged fre fas quencies below 80 Hz are attenuated 18dB ha octave In most cases using the LO CUT filter with microphone channels is a good advice since it efficiently surpresses pop ping sounds and rumbling noise The only exceptions are kick drum and acoustic bass ae 7 33 INPUT MONO INSERT E 20 i 20 17 6008 LO CUT zo 4 80 Hz 7 5 VOICING 6 FILTER 370 3 HI 10 Sometimes it can be also very effective to combine the LO CUT filter with the VOICING filter For instance to provide a thin voice with more body without getting additional low pitched noise Whenever the LO CUT is engaged raising the bass level LO EQ provides you wi
16. perform the following steps Increase the AUX3 monitor level until the limit where feedback starts The sound you hear is generated within the system Turn on the feedback filter and adjust the rotary control at the mark where the sound disappears Switching the filter on and off lets you easily check if you tuned in the correct frequency The feedback filter attenuates 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 when you increase the level up to the feedback limit Careless operation resulting in feedback noise at high SPL can severely damage your speaker systems and even more important the human ear 35 AUX3 POST As mentioned before this switch is used to determine if the AUX3 mix signal is PRE or POST FADER In case the switch is engaged and the yellow LED lights the signals of all AUX3 controls in the input channels are split post their corresponding channel faders 36 PFL Through this button you can route the pre AUX3 fader signal to the headphones bus The signal is outputted via the headphones output The setting of the AUX3 fader is not relevant for the signal s volume PRE FADER LISTEN leaving you with the opportunity to adjust its level and equalization without the need to route it to the AUX3 SEND bus 37 AUX3 VOLUME This fader controls the AUX3 SEND
17. please make sure that the PowerMate s mains cable is correctly plugged in If this is the case and the LED is still not lit please contact your dealer The LIMIT indicator signals that you are operating the PowerMate at the internal amplifier 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 a degradation in the outputted sound In that case the master level has to be reduced The PROTECT indicator is lit 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 s inputs are short circuited to prevent the amplifier from being damaged In this case you should first check if the ventilation louvres 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 the power on operation the PROTECT LED always lights for about two seconds signalizing that the PowerMate s protection circuitry is ope rational 56 PHANTOM POWER When this switch is pressed all MIC inputs are supplied with 24V phantom power Please make sure to engage the phantom power only when the PowerMate
18. possible to establish a two way active system set up In this case the active cross overs or active active sub woofers have to be connected to the MAIN OUTPUTS If you want to use the internal power amplifier to supply the high frequency cabinets the treble signal coming from the cross over has to be fed back into the PowerMate via the POWER AMP INPUTS 51 EQ INPUTS OUTPUTS The EQ INPUTS are provided through electronically balanced phone jacks with breaker function When inserting a phone plug the signal path is interrupted between the master and the internal power amplifier The EQ INPUTS respec tively the POWER AMP INPUTS are then the only active inputs for the internal power amplifier The signals at the EQ OUTPUTS are post master fader and post the internal 7 band equalizers Likewise the MAIN OUTPUTS can be used for connecting external devices 52 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 The POWER AMP INPUTS are then the only active inputs for the internal power amplifier NOTE For detailed information on the functioning and the operation of the MASTER PATCHBAY MAIN INSERTS MAIN OUTPUTS EQ IN OUTPUTS and POWER AMP INPUTS please refer to the corresponding section later in this owner s manual 53 FX1 2 FOOTSW Phon
19. 0 5 10 15 2 24 INPUT STEREO 21 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 channel you should leave the BAL control at the center position or make only minor adjustments in either direction In case amicrophone or another monaural sound source is connected the BAL controls function absolutely identical to the PAN controls of the monaural input section 22 PFL Engaging the PFL button routes the stereophonic audio signal of the corresponding input channel to the headphone bus The stereo signal is outputted via the headphone output You can route as many channels as you want to the 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 LISTENING 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 23 SIGNAL PEAK For the stereo SIGNAL PEAK indicator function the left and the right channels are monitored separately The respective highest lev
20. 0dBV and 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 incoming signal is directly carried through to the outputs In case you have connected 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 into the main mix again The difference in delay of the two signals is responsible for occurring drop outs and the 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 that you always have the 2TRACK to MASTER control and the AUX3 control adjusted to their lowest settings The 2TRACK RETURN signal will pass unobstructed 46 2TRACK RETURN L R Here you can connect a tape deck a CD player an open reel or an additional mixer The signal is post master fader and post STANDBY switch providing you with the possibility to play intermission music during performance breaks or check 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 and the monitor bus 47 2TRACK to AUX3 The signal coming from the 2TRACK RETURNS is internally added to the AUX3 bus monitor bu
21. 3 H 2 8 1 9 0 10 AUX1 FX1 AUX2 FX2 1 5 6 E 1 5 6 SEND 3 7 2 8 8 29 1 9 1 9 0 19 10 o L_ 04 30 FX1 ON FX2 ON FX 1 FX 2 PK PK wO Ke EN gt gt S E eae fi SCH ee 10 10 15 15 Ezo 4 20 37 30 EFFECT 1 2 29 AUX FX SEND These rotary controls could also be defined as FX SEND master controls since they are used to adjust the overall level of the effect mix that you have established using the channel FX send controls The AUX FX SEND controls are used to set the input levels of the corresponding FX unit respectively the levels of the AUX SEND outputs Whenever the Peak LED PK blinks there is the potential risk that the FX input signal is driven into clipping making it necessary to reduce its level by turning the corresponding AUX FX SEND control to the left until the LED is not lit anymore Since the AUX FX SEND controls not only affect the signals of the FX buses but also the monitor effect level which is set by the FX to AUX3 control careless changes can result in acoustical feedback 30 FX ON These switches are used to turn the internal FX units on the green LED is lit Please keep in mind that you also can use an external foot switch to turn the FX units on In this case the LED also shows the actual state of operation If you want to use a foot switch the FX ON switch has to be engaged first The corresponding FX unit is activated
22. ABONYIS exny ONaS Con s de ai ABMESSUNGEN DIMENSIONS Abmessungen Dimensions in mm PowerMate 1000 508 5 PowerMate 1600 667 5 PowerMate 2200 826 5 D Powethole 1000 RACK MOUNTED 59 GARANTIE Das Werk leistet Garantie fur alle nachweisbaren Material und Ferti gungsfehler fur die Dauer von 36 Monaten ab Verkauf Garantieleistungen werden nur dann anerkannt wenn gultige d h vollstandig ausgefullte Garantieun terlagen vorliegen Von der Garantie ausgenommen sind alle Schaden die durch falsche oder unsachgemaBe Bedienung verursacht werden Bei Fremdein griffen oder eigenmachtigen Ande rungen erlischt jeder Garantie anspruch WARRANTY The manufacturer s warranty co vers all substantial defects in mate rials and workmanship for a period of 36 months from the date of purchase Liability claims are accepted solely when a valid correctly and comple tely filled out Warranty Registrati on form is presented by the original owner of the product The warranty does not cover damage that results from improper or inadequate treat ment or maintenance In case of alteration or unauthorized repairs the warranty is automatically termi nated GARANTIE La garantie constructeur couvre tous les d fauts mat riels et de main d oeuvre pour une p riode de 36 mois compter de la date d achat La garantie ne se
23. ER PATCHBAY AND INSTALLATION ALTERNATIVES 5 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 channel In other words the internal power amplifier is capable of driving a maximum of six 8 ohm speaker models The following diagram shows how the speakers have to be connected NE 8 ie 6 Active stereo 2 way configuration In this example the internal power amplifier of the PowerMate is used to drive the Hi Mid cabinets An active cross over is connected to the MAIN OUTPUTS or the EQ OUTPUTS which carry the full range signals 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 the POWER AMP INPUTS Compared to the passive configuration the overall sound gains transparency and higher volume levels are possible since the Hi Mid cabinets do not have to deal with the low frequency signals SPEAKER OUTPUTS
24. OO DYNACORD BEDIENUNGSANLEITUNG OWNER S MANUAL MODE D EMPLOI PowerMate 1000 1600 2200 POWER MIKER CONTENTS stelle Aa AN KN DING NRANG KR AG ANA GAN EEN 31 IPU MONG arai bg ara doe BG AA AA EA AA 32 leie EE EE 37 EFECT EE EEN A0 PS eege Ser EE ee ebe 42 Phones Mono Out Standby iia ara a a 43 Master Power Amplifier 44 Rear panel osx aes notaries DEE ta SEET SE AER Wa 49 Standard installation 4 Master patchbay and installation alternatives 50 SP CINGANONS ii KA IIIA EIA a ENE EE ENN 57 BlGCk di agrami 2 gue epa ah ad na a E BG gah ag ended Ee aaa ANTA ne A Ga ie kakalia EK 86 DifMENSIONS s asaku eee A ANGETAN AGA ge BATA A ea ai EE 87 Waray ei ui IA a A eel ah gan EE EE a an a E 88 IMPORTANT SAFETY INSTRUCTIONS The lightning flash with arrowhead symbol within an eguilateral 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 RISK OF ELECTRIC SHOCK DO NOT OPEN WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK 1 The exclamation point within an equilateral triangle is intended to DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE alert the user to the presence of important operating and maintance AVIS risqu DE CHOC ELECTRIQUE NE PAS OU
25. R CABLES From our experience as a manufacturer of loudspeaker systems we learned that flexible cables with a rubber jacket 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 In accordance to the corresponding diagram the SPEAKON plugs are connected on the PowerMate s rear panel We recommend the use 4 wire cables where also the pins 2 and 2 are connected through This provides you with the possibility to use these cables in an active 2 way system configuration as well DYNACORD speaker cables with SPEAKON connectors and all other cables plugs and sockets are available at your professional audio dealer LF CABLES BALANCED OR UNBALANCED For LF cabling all the low current wiring your best choice are balanced cables 2 signal conductors ground shielding with XLR type connectors or stereo phone jacks and plugs The cables should be step proof shielded and never longer than really needed Too many too long cables mostly lead to confusion and generate unnecessary problems Of course you can also connect unbalanced cables with monaural phone plugs to the PowerMate s in and outputs and because of its superb grounding managing system in most cases no interference will occur Still there is a minimal risk that problems could arise and we believe that this is reason enough to keep on reading Generally spoken if you
26. T OUT Le Zeg hot Tn E red oC les op shield 4 GAIN Rotary control to adjust the MIC LINE inputs 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 ration and provides you with the full bandwidth of the PowerMate s outstanding sound capabilities On the XLR type connectors an amplification of 10dB is achieved when the control is set all the way to the left and 60dB when the control is set all the way to the right Especially when dealing with very low input levels like they occur 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 The total adjustment range of 50dB stays the same 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 Note on how to adjust the input level 1 Set the gain control and the corresponding channel fader to their lowest setting 2 Connect the desired sound source microphone musical instrument etc to the MIC or LINE input 3 Play the sound source at its highest volume respectively sing or speak as loud as possible directly into the microphone 4 While you are playing the sound source or singing into the
27. VRR servicing instructions in the literature accompanying the appliance Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Do not expose this apparatus to dripping or splashing and ensure that no objects filled with liquids such as vases ase placed on this apparatus Clean only with a dry cloth Do not block any of the ventilation openings Install in accordance with the manufactures instructions Do not install near any heat sources such as radiators heat registers stoves or other apparatus that produce heat Only use attachments accessories specified by the manufacturer 0 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 For US and CANADA only Do not defeat the safety purpose of the grounding type plug A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety When the provided plug does not fit into your outlet consult an electrican for replacement of the absolete outlet OV ON DONO IMPORTANT SERVICE INSTRUCTIONS CAUTION These servicing instructions are for use by qualified personnel only
28. d pre power amplifier The EQ is bypassed when the EQ ON switch is not locked in its ON position The two graphic EQs provide seven frequency bands each Through these faders you are able to match the overall sound optimally to the acoustic conditions of different locations or shape it according to your personal taste Each frequency band allows 10dB increase attenuation in the corresponding range with a quality of Q 1 4 RUPE ate vs Frei oe A Bez AeA The frequency ranges as well as the characteristics of the 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 8kHz or 16kHz 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 80Hz or the 250Hz controls In case the overall sound is undefined with too much bass lowering the levels of these two frequency bands will solve the problem Especially when using the equalizer 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 EQs and see if you get a satisfactory result If s
29. dicator at all As described before the signal present 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 up constantly the corresponding channel is likely to enter clipping and you have to turn the gain control a bit to the left The signal present LED lights at levels 30dB below clipping while the peak LED lights at a level of 6dB below the occurrence of overdrive It is also a good idea to watch the indicator during a performance There is rumor that during a performance some musicians get carried away by the music and the atmosphere They tend to play their instruments more dynamic than during the rehearsal This of course can easily lead to channel clipping resulting in the degradation of the overall sound 13 VOLUME The channel faders are used to set the volume of the corresponding channels and to establish an accurately proportioned mix The channel faders should be positioned within the range of dp to OdB 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 gain of 10dB we would like to advise you not to exceed the 5dB mark If the PowerMate s main bus gets overloaded with too many high level i
30. dy discussed in detail in the previous chapter 15 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 eguivalent sound sources with high level outputs like additional miking consoles FK units CD players etc The stereo LINE input is meant for balanced or unbalanced sound sources with levels between 20dBu and 30dBu 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 you should preferably use balanced cables and plugs since this type of connection provides better shielding against HF induction and external noise UNBAL ANCED BALANCED SHIELD SHIELD SIGNAL 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 For further information please refer to the chapter INPUT MONO 16 GAIN MIC Rotary control to adjust the MIC inputs sensitivity providing the possibility to optimally match the incoming signals with the mixer s internal operation level The GAIN MIC control is only active for the XLR type connections of the stereo input channels Adjustment and functioning of these controls are identical to
31. e 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 LO Shelving MID Peaking mono inputs MID Peaking stereo inputs HI Shelving Master EQ 2x7 band Phantom Power Mains voltage factory configured Power Consumption at 1 8 maximum output power 4 ohms Dimensions WxHxD mm Weight including lid Optional Goosneck Lamp 12V 2 4W 12 XLR Footswitch FS11 Rack Mount Kit PowerMate 1000 NRS 90220 PowerMate 1000 PowerMate 1600 PowerMate 2200 2x 570 W 2x 570 W 2 x 760 W 2 x 340 W 2 x 340 W 2 x 430 W 2 x 500 W 2 x 500 W 2 x 700 W 2 x 250 W 2 x 250 W 2 x 350 W 58 Vrms 58 Vrms 63 Vrms lt 0 006 lt 0 006 lt 0 006 lt 0 05 lt 0 05 lt 0 05 lt 0 015 lt 0 015 lt 0 015 lt 0 15 lt 0 15 lt 0 15 15Hz 60kHz 15Hz 60kHz 15Hz 60kHz 30Hz 40kHz 30Hz 40kHz 30Hz 40kHz gt 80 dB gt 80 dB gt 80 dB gt 70 dB gt 70 dB gt 70 dB gt 80 dB gt 80 dB gt 80 dB 74 dBu 155 uV 54 dBu 1 55 mV 34 dBu 15 5 mV 6 dBu 1 55 V 11 dBu 11 dBu 11 dBu 30 dBu 30 dBu 30 dBu 20 dBu 20 dBu 20 dBu 16 dBu 16 dBu 16 dBu 20 dBu 20 dBu 20 dBu 1 8 kohms 1 8 kohms 1 8 kohms 2 2 kohms 2 2 kohms 2 2 kohms 8 kohms 8 kohms 8 kohms gt 15 kohms gt 15
32. e incoming audio signal within miscellaneous frequency bands Turning one of the EQ level controls to the right enhances am plifies the corresponding frequency range while turning them to the left lowers attenuates the signal of the specific frequency band Before you begin to alter the sound all EQ controls should be set to their neutral position that is 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 being the perfect instrument to judge the sound quality 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 separate rotary controls for the adjustment of the level MID and the frequency band kHz between 100 Hz and 8 kHz Ap ia Ap
33. e jack for the connection of a DYNACORD FS11 foot switch to switch the effect mode of the internal FX units on or off To accomplish this function the switches FX1 and FX2 have to be engaged 54 LAMP This XLR type socket provides a DC voltage of 12V 2 4 watts and is meant for the connection of a gooseneck lamp 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 LAMP DYNACORD accessory assortment ee P For further information please consult your pay gt 12 So dealer PIN3 0 VDC 45 MASTER 55 O PROTECT o __ 56 O LMT PHANTOM O POWER ON LEFT GRAPHIC EQUALIZER EO ON DHzZ Zen 630Hz 2 5kKHz 4kHZ Bois 16kHz RIGHT GRAPHIC EQUALIZER EO ON EE 80Hz 250Hz 630HZ 25kHz Aus 8kHZ 16KHZ 29999 bawoiida O000000000 7 89990 Nas ie 2 Si I D 2 I C PFL L MASTER R 58 59 55 POWER AMP STATUS indicators These indicators are to inform you about the momentary operational status of the PowerMate s internal power amplifier The POWER ON indicator is always lit when the PowerMate is in operational mode If the LED is not lit after you have turned the power on
34. ect external signal processing units the pre mixed AUX FX1 2 signals are outputted via the AUX1 2 send jacks 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 9 AUX 3 The AUX 3 control is primarily meant for the monitor mix Nevertheless when the master section s AUX3 POST button is pressed it can also be used as a third FX send bus In that case the signal is split post fader and outputted via the AUX 3 send jack To establish a monitor mix you can choose between two alternatives The main difference of the two options is the point where the signal gets split up according to the setting of the AUX3 POST button The AUX3 POST button is not engaged the signal split lies PRE FADER the setting of the channel faders does not affect the signal level that is present at the AUX3 rotary controls Since the monitor mix is not influenced by the setting of the channel faders this alternative is primarily used when the main mix and the monitor mix have to be completely different the volume of specific musical instruments or vocals needs to be higher or lower or should not appear at all in the monitor mix This mode is also preferable when the PowerMate is operated by a technic
35. ed to external devices In the basic configuration when no plugs are inserted into any of the MASTER INPUT connectors the signals are patched internally and fed to the internal power amplifier Once you connect a plug to the INSERTS EQ INPUTS or the 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 examples of how to use the MASTER PATCHBAY 1 Connecting 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 NF cables with phone plug type connectors 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 a AUX 1 AUX 2 AUX 3 REC SEND 2TRACK RET de d LAMP ONLY D NI si SEND lt A SEND END GA Ve SN Geh Z NZI NG NG MAIN AMP SS OCH output AN fr NG 2 Connecting an additional miking console If you need additional input channels you have to connect an ekternal miking console In doing so you can either use up another LINE INPUT of the PowerMate or as shown in the diagram below connect the external
36. el reading is indicated assuring that neither one is already driven into clipping For further descriptions on how to use this indicator most efficiently please refer to paragraph 12 of the previous chapter 24 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 39 EFFECT 1 2 AUX 1 SEND AUX 2 SEND 25 STEREO RETURNS O L MONO O R STEREO RETURN 456 3 7 2 8 1 9 0 10 AUX1 FX1 475 6 7 2 8 9 10 O 2 TI x n x N AUX2 FX2 5 6 SEND 3 7 2 8 1 9 0 m EN 2 OR ow UD OR a 28 29 30 31 32 FX1 FX2 The PowerMate offers two independent identical configured 18bit stereo effect units FX1 and FX2 Each unit provides 99 program presets which are selected by the use of the UP DOWN buttons The presets are divided according to the different effect types into seven different groups which are shown on the printed labels The programs within each preset group are sorted in ascending order where higher numbers provide the same FX type with increased intensity The presets 1 20 offer high quality reverberation effects that are equally suited for the use during a live performance in the recording studio or your home recording
37. ent story when you want to enhance a specific frequency range In this case perform steps 1 to 4 as described above Set the frequency rotary control to the range you want to enhance or leave it at the position where the sound is most satisfactory Now you can use the MID control to determine the amount of the alteration 8 AUX FX The AUX FX controls are used to adjust individual amounts of the channel signals to be routed to the FX1 or the FX2 units The split point of the dry signal is POST FADE or in other words the signal path is split after the audio signal has passed all stages of the channel module including the volume fader That is the reason why the fader setting also influences the amount of the signal that is fed to the FX units Using the AUX FX controls it is easy to establish an effect mix For instance you can assign the short reverb effect of the FX1 unit to the lead vocals and a combined effect 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 Also keep in mind that there are two AUX FX1 2 send controls located within the master section which control the total amount of the FX signals When you begin to establish the effect mix these controls should also be set at their center position Incase you are not using the internal FX units and or you want to conn
38. environment The program numbers 21 40 provide mixed effect types of echo reverb and chorus reverb and also flanger while the numbers 41 60 offer different delay effects The last group from 61 99 provides different reverse chorus and doubling presets as well as special delay and reverb programs During the initialization of the FX units when turning the Power Mate s power on the preset 05 Large Hall 3 Bright is selected for the FX1 while the FX2 unit is set to preset 55 Delay Mono 250ms These two effects are similarly suitable for live performances and recording applications They can be used sepa rately or together Please also refer to the supplementary information form EFFECT PRESETS for a more detailed description of all effect presets This listing contains all preset groups together with the corresponding program profiles their individual characteristics and a description on how and in what combination to use them Take your time to test all presets and select the ones that are best suited for your specific application The preset 0 is a slap back echo which is mainly used for service and testing of the effects section it doesn t appeare on the list at the panel The FOOT SWITCH connector is provided to allow the connection of a foot switch pedal to remote control the FX units EFFECT ON OFF function If your foot switch features a LED like the DYNACORD FS 11 does this indicator will light when the effect i
39. er systems to the PowerMate s power outputs respectively to the power outputs of the external amplifier Make sure not to confuse the channels by accident using the short SPEAKON cables you can connect the Hi cabinets at the woofers outputs The two monitor speakers are connected to either one output of the additional external amplifier The amplifier should be set to coupled operation so that the inputs are configured to accept a monaural audio signal The amplifiers volume controls provide the possibility to adjust the output levels separately 51 STANDARD INSTALLATION e Connect the PowerMate s AUX3 SEND with the external amplifier s input using the Balanced NF cable with the stereo phone plug on one end and the XLR type connector on the other e Connect all microphones preferably to the monaural inputs of the PowerMate and the keyboards and other comparable sound sources to the rest of the available inputs e Pullall faders down and engage the PowerMate s STANDBY button This measure prevents unwanted feedback e First switch the PowerMate on and then the external amplifier e Incase you have condenser microphones connected to the PowerMate you can now turn on the phantom power by pressing the PHANTOM switch e Activate the PowerMate s operational mode through pressing the STANDBY button again SOUND CHECK e First adjust the input levels of the microphones that are connected to the PowerMate Please proceed as follows
40. gh tolerance for later adjustments e Use the master faders to adjust the overall volume e In case you are using the FX units please proceed like this 1 Adjust the AUX1 FX1 send controls at their center position Adjust the FX1 return fader at the 5dB mark Use the UP DOWN buttons to select the desired effect preset Press the FX ON button a fF oO bh Play the sound source of 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 Adjust the AUX FX SEND controls so that the Peak LED only lights frequently at highly dynamic signal peaks If necessary repeat steps 1 6 for the second internal FX unit FX2 MONITOR MIX For now we presume that you are not using the PowerMate within the audience area but on stage e Lower the setting of the AUX3 fader within the master section e Engage the AUX3 POST button within the master section e Adjust the AUX3 faders of all input channels that are momentarily in use at their center position In this way the main mix and the monitor mix are completely identical e Push the AUX3 fader up until a slight feedback noise is heard e Activate the FEEDBACK FILTER and adjust its control so that the feedback disappears e Use the AUX3 fader to reduce the AUX3 level by about 6dB This will provide you with enough headroom to avoid feedback
41. 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 the 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 connecti MIC INPUT on of microphones All phone jack in out shield cold unbalanced puts of the Power external equipment Mate with XLR type in out put jacks balanced shield Gra Be ege Direct OUT via INSERT SE E ma o a CHE Main Insert shield path n hot C unbalanced All pho
42. he 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 e 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 Adjust the EQ controls at their center position 3 Play the corresponding sound source 52 STANDARD INSTALLATION 4 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 necessarily result in the improvement of the overall sound Especially when sound shaping is concerned less can be more 5 Repeat the steps 1 4 for all stereo input channels in use e f musical instruments are connected directly to the monaural inputs follow the descriptions above for adjustment of the microphones e Make sure that all channel faders gain controls and LINE TRIM controls of unused input channels are at their minimal setting In this way you avoid unnecessary noise MAIN MIX Position the master faders in the range between 30dB and 20dB e Establish a basic mix using the channel faders so that the individual sound levels relate to each other according to your personal taste e The best range for the channel faders to be set to is in the area of 5dB to OdB In this way you are provided with enou
43. ian in the audience area front ofhouse The other alternative should be used when you have to operate the mixer on stage and still want to have control over the main mix 35 INPUT MONO INSERT 30 GAIN al Jo 4 10 76048 LO CUT 80 Hz 5 VOICING FILTER 6 3 0 3 H 6 6 Dr 12 12 5 506 6 3 1 2 12 5 Et 3 0 3 LO 6 g U 1 12 5 156 AUX1 47306 EN 3 7 2 8 1 9 0 10 s AUX2 F 8 47206 FX2 7 2 8 1 9 10 AUX3 475 6 7 2 8 9 4 9 0 10 4 0 4 PAN 2 3 3 10 4 L R The AUX3 POST button is engaged LED is lit the signal at the AUX3 rotary control is POST FADER the signal gets split after it passed the channel faders and therefore is affected by their settings Setting all AUX3 controls to their center position the main mix is also present on the monitor bus giving you the opportunity to control the volume settings individually from the stage The overall volume of the monitor mix is set with the AUX3 fader in the master section If you are using this option you have to keep in mind that all volume changes made with the channel faders also appear in the monitor mix leaving you with a higher risk of acoustical feedback To reduce the risk of feedback you still have the option to adjust the individual send levels via the channels AUX rotary controls There is even the possibility to cancel some loud instruments like the kick drum or the snare drum wh
44. ich are in fact already loud enough on stage totally 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 left and the right master busses Through the extensive PAN section circuitry the essential sound pressure level always stays the same no matter to what position within the stereo image the PAN control is set 11 PFL Engaging the PFL button Pre Fader Listening routes the audio signal of the corresponding channel to the headphone bus In this way you can route as many signals as you want to the bus at the same time The volume levels of the individual signals are not affected by the channel fader settings PRE FADER LISTENING This gives you the opportunity to set the level or the EQ of a channel without the need to include it in the main mix The overall signal of the headphone bus is present at the headphone output 12 SIGNAL present PEAK indicator This indicator plays a key role during the level adjustment of the input channels offering optical information of the actual signal level It provides the possibility to detect the risk of occurring overdrive before you would actually hear the distortion Unlike the mixers of many other manufacturers that either only provide a PEAK indicator or no channel in
45. its 18bit Dual Stereo FX unit and the powerful amplifier the PowerMate is best equipped for universal use No matter whether on stage in a home recording environment or in a permanent installation DY NACORD s PowerMate is the ideal partner to meet your expectations of a professional audio device effective and reliable Of course you want to operate your new PowerMate as quickly as possible But please take your time to read about all connections functions and controls first Every section is explained systematically and in detail within this owner s manual the input channels the FX units and the master section as well as the built in power amplifier Through the careful perception of the manual you will learn a great deal 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 Detach 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
46. kohms gt 15 kohms 1 kohms 1 kohms 1 kohms 47 ohms 47 ohms 47 ohms 75 ohms 75 ohms 75 ohms 130 dBu 130 dBu 130 dBu 92 dBu 92dBu 92dBu 89 dBu 87dBu 85dBu 83 dBu 81dBu 79dBu 104 dB 104 dB 106 dB 15 dB 60 Hz 15dB 100 Hz 8 kHz 12 dB 2 4 kHz 15 dB 12 kHz 10dB 24V DC 24V DC 24V DC 100V 120V 230V 240V AC 50 60Hz 600 W 670W 1100W 508 5x210 3x478 7 667 5x210 3x478 7 826 5x210 3x478 7 20 kg 24kg 29kg 112 700 112 700 112 700 110 693 110 693 110 693 112 698 57 BLOCK DIAGRAM 150d Ee Bug EXN zxnuex4 KNA 1X4 a asuh H ji dAl IM YIMOd a z Ka H 7 guu Lv ung H 7 LNNT dug HamOd eters SE A WA DEE 0432 3710 131714 13 01 034315 039315 e m Di 7 i KH ONOW 7 WAL ail fe Es GAN EE E EN R 8 I EEES WA asana we Lama use ES 3 ya l AAA nn AAA KN a lil S1u NIva A
47. ling of MOS circuits have to be observed D Note AN SAFETY COMPONENT HAS TO BE REPLACED WITH ORIGINAL PART ONLY 30 INTRODUCTION First of all we would like to thank you and congratulate you to your purchase ofa DYNACORD power miker The PowerMate compact power mixers incorporate profound Know How based on our research and development in the professional audio market as well as on the inter communication with our clients for decades With a PowerMate you own a power mixer that offers a wide range of functionality in a very compact frame All the troubling experiences with cabling and matching mixers amplifiers FX units and equalizers is history You now own a device with optimally matched components The mixer s ergonomic shape and clearly structured controls allow instant access at all times In case the console is operated in areas with insufficient lighting a gooseneck lamp can be easily plugged into the provided socket Also during the transport you will quickly learn to appreciate the PowerMate s superiority recessed handles on both sides compact dimensions and low weight In addition a sturdy dust hood protects the controls against damaging On the other hand the PowerMate can be easily mounted in a 19 rack shelf You just have 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
48. naural or stereo phone plugs assigned Es vi 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 le is greatly insensitive to the induction of external noise or HF interference 2 K bm Oe UNBALANCED BALANCED BEN SHIELD SHIELD SIGNAL 2 2 9 SIGNAL SIGNAL 0 10 1 0 4 PAN 2 NG A 10 Do not connect signal sources to the MIC and the LINE inputs at the same time since the signals would interfere with each other resulting in a level reduction One more note Please do not connect E guitars or E basses with passive high impedance outputs directly to one of the LINE inputs The LINE inputs of the PowerMate like the Line level inputs of mixers from all other manufacturers are meant for the connection of the relatively low source impedance of electronic instruments or eqiupment The reproduction of the instruments original sound characteristics will be unsatisfactory unless this effect is intended Those instruments should be connected using a special transformer or pre amplifier with very high input impedance Musical instruments that are equipped with an active electronic output stage battery can be connected without second thoughts When connecting signal sources please make sure that the corresponding channel faders or at least the master faders are at their minimal settings or the STANDBY b
49. nd the later performance e 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 as the heads of the audience Either you use the interconnection rods to mount the Hi cabinets on top of the woofers or in case this kind of installation is not possible in your application you have to use the separate speaker pole stands e 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 e 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 e After you have installed all microphone stands and all artist found a seat on the stage the best place to install the monitor speakers is up front facing the musicians 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 used microphones e Make all connections according to the diagram above Use the different SPEAKON cables to connect the speak
50. nd the side fill output channels The volume of the main channels can still be controlled via the master faders The monitor speakers volume is determined by the setting of the AUX3 fader while the MONO fader controls the volume of the side fill channel SIDEFILL SPEAKER OUTPUTS RATED OUTPUT POWER RATED OUTPUT POWER 500 WATTS 4 OHMS 500 WATTS 4 OHMS Jee NOT CONNECTED LEFT MONITOR Elo lo SA OUTPUT WIRING CLASS 2 LAMP ONLY D W POWER AMP Re INPUTS ED d ic 3 2 Ei D m DS 4 a gt PA AMPLIFIER gt R 4 Monaural sound reinforcement with monitoring Your application does not demand for stereophonic audio reproduction In that case you can use short patch cables to connect the MONO OUTPUT with the EQ INPUT R and the AUX3 OUTPUT with the EQ INPUT L The right main output is used for the sound reinforcement while the left main output carries the monitor signal MONO PA SPEAKER OUTPUTS MONITOR RATED OUTPUT POWER RATED OUTPUT POWER 500 WATTS 4 OHMS d NOT CONNECTED ECH 500 WATTS 4 OHMS OUTPUT WIRING CLASS 2 AUX 4 AUX 2 AUK 3 REC BEND 2TRACK RET FX 1 2 LAMP ONLY SEND SEND END FOOTSW 12V 2 4W ngg OTAS ANN AN Yaw YY NG NG T E he G AMP MONI EQ POWE OUTPUTS p INPPTS 55 MAST
51. ne jack Cm ns PEE an DD external equipment in outputs of the with XLR type in out PowerMate ER hol coid es put jacks mn Ze Tee e balanced shield KE Y type cable for the RETURN connection of external FX units and signal processors with phone SEND jacks Channel Insert Main Insert 50 STANDARD INSTALLATION In this chapter we would like to explain to you how to install a typical sound reinforcement system in passive configuration and incorporating stage monitor speakers The necessary equipment is PowerMate 1000 Power amplifier for the monitor signal for i e 2x250 watts HI cabinets i e 3 way 12 speakers LO cabinets i e 15 woofer Speaker pole stands or 2 connection rods Stage monitor speakers SPEAKON cables 8m and 2 SPEAKON cables 2m Balanced LF cable with a stereo phone plug on one side and an XLR type connector on the other side AMNDNNN Y MONITOR AMP Setting up e Place the PowerMate and the external power amplifier in a way that allows their unobstructed operation during the sound check a
52. nnel mapping is to use 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 18 EQ SECTION The mixers 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 am plifies the corresponding frequency range while turning them to the left lowers attenuates the signal of the specific frequency band Before you begin to alter the sound all EQ controls should be set to their neutral position that is 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 ma
53. nput channels despite its special negative gain structure the summing amplifier could be driven into clipping Once you register that some channel faders are set above the 0dB marking we would recommend you lower the setting of each channel fader by about 5dB and increase the overall output level by elevating the master faders The proportion of the mix and the overall volume stay the same while the risk of clipping is prohibited 36 STEREO Oz d LI MONO 15 GAIN ZA MIC 16 ANG 19 20 Gn 22 20 24 INPUT STEREO Since mosi features of the stereo inputs are virtually identical to the ones of the monaural inputs we will not discuss their functioning in detail again Thus we only point out the differences and ask you to refer to the analogous paragraphs in the first chapter of this owner s manual 14 MIC Like their monaural counterparts the stereo input channels of the PowerMate incorporate extensive circuitry and electronically balanced XLR type connectors for the connection of low impedance microphones A feature that often 24V PHANTOM enough is not supported on mixers from other manufacturers No matter if your setup is more microphone oriented or you have more G i enn SHELD NI line level sound sources to connect you can always use the full PIN 2 a amount of input channels provided by your PowerMate The EN BAB functioning principles were alrea
54. o you can use the graphic EQ for the AUX3 monitor where in most cases it is more needed You will find the description of how to include the graphic EQ in the monitor bus later in this owner s manual 58 MASTER LED DISPLAY The PowerMate offers two 10 segment LED chains to monitor the output levels of the L R master signals The indication range of the LED meter is 33dB displaying the levels in dBu which are present at the EQ OUTPUT respectively at the POWER AMP INPUT The meter s OdB mark is refer enced to a OdBu output signal at the POWER AMP INPUT Further increasing this level leads to the power amplifiers maximum input level of 6dB equaling an output power of 500 watts at 4 ohms per channel Higher levels are not displayed since the amplifier s processor limits the signal at this point The LIMIT LED of the status indicator section will light showing that the internal limiter is now activated 47 MASTER 55 O PROTECT o __ 56 O LMT PHANTOM O POWER ON LEFT GRAPHIC EQUALIZER EO ON p A A 10 SEEBEEEEE RIGHT 80Hz 250Hz 630HZ Z2 5kHz 4kHz B8kHZ Gas GRAPHIC EQUALIZER EO ON EE 80Hz 250Hz 630HZ 25kHz Aus 8kHZ 16KHZ eoawnoia Luk sh A OE 2999 1 1 Las LI O000000000 7 9000 1 I D 2 I C PFL L MASTER R 57 D I 59 59 PFL MASTER Engaging the master PFL button the
55. omfortable solution to play intermission music during performance breaks 42 MONO MASTER VOLUME This fader controls the output level of the MONO OUTPUT The output level is also influenced by the setting of the MASTER faders post fader In case a PRE FADER signal split would provide the better solution for your application this can be achieved by some minor internal changes Please consult your dealer for assistance 43 MASTER STEREO RETURNS IA WZ MAD ad Asch STEREO RE TURN 456 44 45 REC SEND 2TRACK RET 00 00 47 ZTRACK lo 2TRACK lo AUK 3 MASTER 45 6 45 6 3 7 3 7 2 8 2 8 48 1 9 1 9 0 10 010 43 STEREO RETURNS The stereo returns are used to route stereo signals e g of an additional external mixer FX unit etc to the master output In case you want to connect a monaural device please use only the L MONO return connector The monaural signal is internally routed to both channels 44 STEREO RETURN Rotary control for level adjustment of the signals coming from the STEREO RETURNS The actually outputted level is also influenced by the setting of the master faders 45 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 the outputs is 1
56. output level So when the AUX3 bus is used for monitoring this fader lets you control the volume of the monitor system 42 MONO OUTPUT N 38 N 39 PHONES PHONES 456 O STANDBY ESCH MONO OUT PHONES MONO OUT STAND BY 38 MONO OUTPUT At the monaural output the summed L R signal of the master is present It can be used for additional monitoring side fill and next door applications or to establish a delay line CAUTION The outputted signal is not only affected by the setting of the MONO OUT fader but also by the MASTER faders setting 39 PHONES OUTPUT Stereo phone jack for the connection of headphones with an impedance of 32 600 ohms The audio signals of the channels where the PFL button is engaged is outputted via this connector GROUND RIGHT LEFT PHONES 40 PHONES LEVEL This control is used to adjust the headphone s volume CAUTION Adjust this control at its minimal setting before connecting the headphones 41 STANDBY Pressing the STANDBY button mutes all outputs to which amplifiers could be connected to the PowerMate Because the signal flow between the MAIN INSERTS and the MAIN OUTPUTS is interrupted the internal power amplifier s signal is also muted The STANDBY LED indicates that the stand by mode is engaged and the input channel signals are not heard over the speaker systems But the 2Track Return signal is still fed to the power outputs providing you with a very c
57. owerMate on with activated phantom power This is the only way to certify that a N L your microphones are not damaged Also make sure to engage the stand by button in the master hoa section to safe yourself and your environment from nasty power on noise LO CUT Ls The connection of condenser type microphones and dynamic microphone models at the same Dep time is possible and should generally not lead to any problems Before you do so please refer to d 6 the microphone s manual to make sure that this kind of operation is in accordance to the manufacturer s guidelines ee The MIC input is laid out for levels between 60dBu 11dBu depending on the setting of the A corresponding gain control Because of their low impedance design and the phantom power these Nak XLR type inputs are not meant for cascading other mixing consoles or the connection of FX units 37 Ab keyboards or other electronic equipment When connecting this kind of equipment please use the Of LINE level inputs 1 8 1 H 370 3 MID 6 6 cis T 2 LINE ie I Electronically balanced inputs for the connection of electronic instruments such as keyboards 5 a Si drum machines E guitars and E basses with an active output as well as all other high level signal 12 12 sources like additional mixers FX units CD player etc The LINE input is laid out for levels between 40dBu 30dBu The connection of balanced or meee unbalanced signal sources is established through mo
58. r and loudspeaker systems and regarding its phase coherence and the distance between speakers and microphone is not clearly negative Or in other words the speaker signal hits the microphone and gets amplified again resulting in an escalating oscillation which is audible as high pitched whistle or loud humming sound However explaining all factors that are relevant for the occurrence of feedback would lead to far 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 Do not position the main speaker systems behind the microphones 2 Turn off all unused microphones 3 Also consider the microphones different polar patterns and characteristics when placing the monitor speakers 4 Do not turn up the monitor system s volume higher than really necessary 5 Try to avoid extensive equalization on channels that you want to include in your monitor mix 6 Keep in mind that microphones behave different when somebody stands right in front of them In fact the amount and intensity of first reflections changes drastically 7 Position the microphones as direct as possible to the sound source If you still have the feeling that the monitor system s volume is not high enough 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
59. ra recon nue que si la Carte de Garantie correctement et compl tement rem plie est pr sent e par l acheteur d origine du produit Les dommages dus un mauvais maniement de l appareil a un traitement ou une maintenance incorrects ou ina d quats ne sont pas garantis Toute modification ou intervention effec tu e par une personne non qualifi e entraine la r siliation automatique de la garantie EVI Anderungen vorbehalten Subject to change without prior notice REV 2 L GmbH e Hirschberger Ring 45 94315 Straubing Telefon 09421 706 0 Telefax 09421 706 265 Printed in Germany 05 06 2000 355 029 Internet http www dynacord de
60. rk and rely on your musically trained ear being the perfect instrument to judge the sound quality 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 The HI and LO controls of the STEREO channels EQ section 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 19 AUX FX These controls determine the amount of the summed L R signal that is send to the AUX FX bus The signal split is POST FADER For more details on the functioning of these controls please refer to the INPUT MONO section of this owner s manual 20 AUX3 These controls determine the amount of the summed L R signal that is send to the AUX3 bus Depending on the setting of the AUX3 POST switch within the PowerMate s master section you can choose if the signal gets split PRE or POST FADER 38 STEREO Sp YA NGE 40777 16 18 r 19 RTE gf L R C 22 PFL PK e 23 5 SG
61. s and its level is set with 2TRACK to AUX rotary control The signal gets added to the bus pre 2TRACK to MASTER control 48 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 adjusted at its minimal setting Otherwise depending on the quality of the connected sound source the outputted volume can instantly hit the top 44 49 50 EO DUTPUTS EO INPUTS POWER AMP INPU N axy uv OSS 53 FK 1 2 LAMP ONLY FOOT SW 12V 2 4W MASTER 49 MAIN INSERTS Stereo phone jack for the left and the right channel 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 the connection of external EQs compressors limiters 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 50 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
62. s activated FX1 FX2 Testers 10 di 20 See SOT RE AOA Sons 60 enee 99 SPECIAL REVERB REVERB ECHO CHORUS DELAY DELAY PROGRAMS HALLS PLATES REVERB REVERB STEREO MONO 25 AUX1 2 SEND These sockets are meant for the connection of external FX units providing the mixes that you have established for the AUX FX buses the identical mixes which are fed to the internal FX1 2 units The level setting is accomplished using the corresponding AUX FX SEND controls The external devices output signals can be send back to the PowerMate via the stereo return bus or using stereo input channels The AUX1 2 sends are designed in Ground Sensing technology to prevent the induction of external noise even when longer cables are used 26 DISPLAY The actual selected preset number is displayed 27 UP DOWN buttons The UP DOWN buttons are used to select the effect presets Keeping a button pressed constantly lets you step quickly through the program numbers 28 FX to AUX3 These controls allow to mix the FX1 2 output signals with the AUX3 signal In case you are using the AUX3 bus for monitoring purposes you are able to add the FX signals at the desired level to the monitor mix The experience in mixing has shown that the effect level in the monitor mix has to be lower than the level in the main mix since the distance between the monitor speakers and the artists is much shorter 40 STEREO RETURN L56
63. th a richer sound but no 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 noise And the 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 This button activates an asymmetric micro phone filter which can be used in addition Tee SC to the channel EQ The VOICING filter en hances the first harmonic oscillation of the human voice and slightly attenuates the mid frequency range This voice shaping me ia thod provides precisely audible intelligible S THE Dal ai and powerful vocals that are clearly empha om sized from the rest of the mix An effect which is not achievable using ordinary third or octave equalizers The use of this filter is not restricted to vocals S gg only Also horns woodwinds and other acoustic instruments can profit from the voicing filter We leave it entirely up to your creativity and imagination to try the filter with as many different sound sources as you want Normally you do not have to fear any problems with the occurrence of feedback Ap wor Am RI 7 EO SECTION The mixers EQ section allows very differentiated shaping of th
64. those of the monaural inputs CAUTION The GAIN MIC control of an inactive microphone input should always be set to its minimal marking 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 audible in program breaks 17 LINE TRIM These rotary controls are used to match the incoming line level signals with the operational level of the PowerMate The total adjustment range is 30dB Unity gain no amplification 0 dB achieved at the OdB mark The control offers a level reduction of the incoming signal by 20dB and an amplification of 20dB This range is wide enough to allow the connection of most professional semi professional and even hi fi sound sources For further details on how to adjust the LINE TRIM control please refer to paragraph 4 GAIN 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 Otherwise the stereo channel mapping will appear like it is set on the keyboard and you will not have the opportunity to re position the sound in the overall stereo image using the controls of the mixer The better alternative to connect a keyboard 37 INPUT STEREO STEREO Deeg Gs MONO 15 GAIN fa AN MIC 17 Aux2 F 19 20 2 sl Wa with pre programmed cha
65. utton is engaged This will save you your audience and the equipment from extensive wear from unpleasant knacking noise 32 INSERT 30 GAIN all Yao 4 17 606 LO CUT 80 Hz 5 VOICING FILTER 6 737073 HI 6 6 gt akang 12 12 5 156 370 3 MID 7 6 9 JL 12 2 Sp 3 0 3 LO S g U 1 12 5 156 5 AUX1 ZB FX1 3 7 2 8 4 9 ao s AUx2 F 8 42206 FX2 H 2 8 1 9 10 AUX3 475 6 7 2 8 9 4 9 ao 10 PAN 2 3 3 10 4 LOR INPUT MONO 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 body 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 faders You have to use a stereo phone plug according to the following diagram in case you intend to use this jack as a true insert bus INSERT RETURN SEND If you want to use this 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 DIREC
66. warranty claims We grant 36 months of warranty starting with the date of purchase 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 always recommendable Not only do they come in handy in case of a warranty claim but also when re selling an appliance INSTALLATION AND CONNECTIONS Always install 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 louvres in the rear panel Do not cover the frontal or the rear ventilation louvres Otherwise the PowerMate automatically enters the protect mode to prevent a thermal overload situation When the protect mode is engaged the device is not going to be damaged But during this period of time regular operation is impossible In case the PowerMate is installed in a 19 rack system you have to allow at least 2 HU of free space above and 1 HU below the device Of course you can cover the empty space with special plates that also have ventilation louvres Before establishing the mains supply connection please make sure that the device matches the voltage and frequency

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