Manual-6
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OPERATION
RIAA PHONO/LINE INPUTS
Input Channels 1 through 4 each have a dedicated
preamplifier. A switch on the rear panel allows setting these
preamps for PHONO or LINE level signals.
Make sure you
have the switch in the correct position for your application.
The source selectors for Input Channels 1 through 4 may
select the dedicated PHONO/LINE preamplifier or one of the
five stereo AUX Inputs as the source.
With normal program material playing, set the INPUT
GAIN trim to a level that causes the SIG/OL indicator to
flash
green. The SIG/OL indicator should
not
flash red. This
will ensure optimum signal to noise ratio and dynamic range.
If INPUT GAIN controls are set too high, you may not have
the required headroom for mixing multiple Inputs. If your
levels are set too low, signal-to-noise ratio is compromised.
In addition to optimizing noise and dynamic range,
properly setting the INPUT GAIN control allows the MIX
LEVEL control to operate predictably over its entire range.
The taper of the MIX LEVEL control is
non-linear
and will
have
different
attenuation verses rotation characteristics
depending on its position. As can be seen in Figure 1 below,
if you are mixing between 30% and 60% of rotation, the MIX
LEVEL control will behave much differently than if operated
between 65% and 95% of rotation.
Prior to permanent installation
, adjust the preamplifier
GAIN, BASS and TREBLE controls (located on the rear
panel) for the intended source.
In addition to the MIC/LINE switch, each preamplifier has
a MIC GAIN control located on the rear panel. To properly
set the MIC GAIN control, set the INPUT GAIN control on
the front panel to “10.” This allows the INPUT GAIN SIG/
OL indicator to accurately indicate the signal level. Adjust the
MIC GAIN so that the
red
OL indicator just stays off during
high signal peaks (if a microphone is in use,
yell into it
). The
MIC GAIN control should only have to be set once for the
source in use. Use the front panel INPUT GAIN control for
trimming the gain after installation.
Next adjust MIC 1 and/or MIC 2 BASS and TREBLE
controls (on the rear panel) to give the desired tonal quality. If
you add a lot of BASS or TREBLE boost, you may want to
readjust the MIC GAIN control to avoid possible overloading.
Note that MIC 1 and MIC 2 each have an ENGAGE
switch to the right of the Input Selector. For a mic signal to be
active, the selector must be set to MIC
and
the MIC EN-
GAGE switch set to ENGAGE (
up
).
When
either
of the ENGAGE switches is set to the
ENGAGE position, the BOOTH OUTPUT is ducked (attenu-
ated) by 12 dB (about ¼
th
). If you do
not
want the BOOTH
OUTPUT to duck when a MIC source is engaged, then you
can remove the top cover and set the internal jumper accord-
ingly. There is an independent Ducker select jumper for MIC
1 and MIC 2.
It sounds like a lot of trouble to set the input stages up
correctly, however, you will be amazed at how much better
your performance sounds.
MIX LEVEL
With the Input stages properly adjusted, you are free to
use the MIX LEVEL control for
mixing
. For most applica-
tions, Channels will be mixed at about 70% to 100% rotation.
BOOTH and HOUSE level controls are then used to set the
output volume. The MASTER SIG/OL indicator displays the
signal level of the
mix
. The GREEN SIG indicator should
flash or remain on. The RED OL indicator should remain off
(it may flash occasionally). To correct an overload condition,
one or more of the MIX LEVEL controls must be turned
down. The MASTER SIG/OL indicator monitors the signal
before
and
after the tone control, so if you use a lot of boost,
remember to monitor this indicator.
TONE CONTROLS
The MP 2016 uses high performance tone control circuits
that isolate the signal into three bands. The level of each band
is independently controlled, and then recombined. This
topology provides full “kill” for TREBLE, MID and BASS. If
all three bands are set to the same level, there will be no
change in
frequency response,
only
amplitude
. It is the
difference in settings
that determines the tonal quality of the
signal. These advanced tone controls provide excellent
dynamic response with fixed phase shift. Control is smooth
and predictable. The tone controls can isolate beats, vocals
and “high-hat,” as well as adjust general tonal quality.
Remember that the dedicated Mic tone controls (on the rear
panel) are used to equalize the Microphone Inputs.
MIC/LINE INPUTS
Input Channels 5 and 6 each have dedicated preamplifi-
ers. A switch on the rear panel allows setting these Inputs for
MIC or LINE level signals.
Make sure you have the switch in
the correct position for your application.
While these Inputs
are designed for use with dynamic microphones (no phantom
power) or wireless microphones with line level output, they
will accept just about any mono signal. While balanced
operation is highly recommended, these Inputs may be
operated unbalanced with sources that are
close
to the MP
2016 (less than 10 feet or 3 meters). The source selectors for
Input Channels 5 and 6 may select the dedicated MIC/LINE
preamplifier or one of the five stereo AUX inputs as its
source.
