MICROMIX
MICROMIX
1
Introduction
Thank you for purchasing the Yorkville Sound
MP6D
powered Mixer. We have coupled our
extensive experience in the development and production of powered mixers, (with state of the
art, computer assisted design technology) to create the smallest, lightest, and most powerful
combination mixer/amplifiers available. We at
Yorkville Sound
are confident that you will find
your new
MP6D
to be an efficient and versatile solution to your mixer needs. This manual con-
tains information to help you get the maximum performance from your
MP6D
. We hope you'll
take the time to read it.
Input Channels
1. Microphone & Line Inputs
The
MP6D
features standard
XLR
type low-impedance
Mic In
connectors on
all
6
channels. These microphone inputs are electronically balanced for maxi-
mum noise suppression and have characteristics matching all low impedance
dynamic microphones. 24 Volt DC
phantom
power is activated via the back-
panel
Phantom
push-button, this enables the
MP6D
to use condenser micro-
phones. (
Note:
condenser and dynamic mics may be used together with the
Phantom
power activated. It will not affect the performance of the dynamic
mics). Additionally, there are high-impedance 1/4-inch
Bal Line In
jacks on
channels
1
to
6
. These are electronically balanced line-level inputs, but will
accept either balanced, or unbalanced input cables from high impedance
microphones, guitars, amplifier
Line
outputs, synthesizers, electric pianos,
etc. (
Note:
when connecting a balanced signal, employ balanced patch cables
with a ring-tip-sleeve (stereo) 1/4-inch plug on the mixer end). Channels
5
and
6
have dual
Tape/CD/Line
RCA-type inputs, (a phono preamplifier
must
be connected to the
MP6D
inputs for optimum turntable performance).
Do not
connect signals to both types of inputs on any one channel (e.g.
the
Mic
and
Line In's
on channels
1
to
4
or the
Mic
and
Tape/CD/Line In's
on channels
5
and
6
). To do so will cause improper operation of the input
circuit. (
Note:
you may connect a stereo source to channels
1
through
4
but
you must use two channels, one for left and one for right).
2. Channel Gain Controls & Clip LEDs
The
Gain
control has a range of 40dB. This adjustment determines both the
input sensitivity of the channel and the signal level sent to the
Main
mix-
ing bus*. (The
MP6D's
channel circuitry does not require separate gain and
level controls). The
Clip LED
is set to illuminate when the channel's overall
signal level is 3dB below the onset of actual clipping distortion. As a result,
small amounts of
LED
activity are acceptable; however, frequent or continu-
ous activity indicates the need to turn down the
Gain
control.
In audio terminology, a bus is a mix-down channel where all the signals
from the input channels are blended into one signal. The
MP6D
has three
busses,
Main
,
Monitor
and
Effects
.
3. Channel Low & High Equalization
The
MP6D
's
Low
and
High EQ
controls independently adjust the
bass
and
treble
frequencies
for each channel. The gain range for each control is plus or minus (
+
/
-
)
15dB
to provide versa-
tile equalization consistent with the clean simplicity of the
MP6D
's design. As with all equal-
izers, boosts at one or more frequencies increase the channel's signal level. If the channel is
already at a fairly high operating level, this may cause clipping in which case the
Clip LED
will
light. Reduce the
Gain
setting and/or the
EQ
boosts if Clip activity is excessive.
Note: Center position reflects a neutral or flat EQ control setting; however, lower EQ control settings may
be effectively employed to reduce feedback and/or distortion).
CLIP
CLIP
TAPE/CD/LINE IN
TAPE/CD/LINE IN
MIC
IN
EFX
HIGH
5 6
10
4
0
7
3
1
9
8
2
5 6
10
4
0
7
3
1
9
8
2
5 6
10
4
0
7
3
1
9
8
2
3
15
3
15
6
6
12
12
9
9
3
15
3
15
6
6
12
12
9
9
LOW
GAIN
MON
MIC
IN
EFX
HIGH
5 6
10
4
0
7
3
1
9
8
2
5 6
10
4
0
7
3
1
9
8
2
5 6
10
4
0
7
3
1
9
8
2
3
15
3
15
6
6
12
12
9
9
3
15
3
15
6
6
12
12
9
9
LOW
GAIN
MON
Summary of Contents for MP6D2
Page 20: ...MICROMIX MICROMIX 18 ...