Manual-
OPERATING INSTRUCTIONS
INITIAL OPERATION
Operation of the MP 24z is fairly straightforward, deviating
only slightly from other products of its type. Assuming at least
one turntable is connected and assigned to PHONO 1, opera-
tion consists of the following: Make sure all faders are set to zero,
the MIC, LOOP, EQ, and ACTIVE CROSSFADER are all
disengaged, (switches out) and that all rotary LEVEL controls are
either fully counter-clockwise or in their center detents, which-
ever applies. Select PHONO l on Input Channel 1. Simultane-
ously raise the Channel 1 fader and the MASTER LEVEL fader.
Before much travel is reached on the faders, the results should
be heard. If not, shut everything down and recheck connections,
power to the mixer (look for the yellow POWER light) and
ancillary devices (EQs, crossovers, amplifiers, etc.)
Once an output is established from the turntable, go ahead
and try everything else. Assign all Inputs to the Channels they
will be used, and test the system. Once all sources are set as
desired, proceed.
REAR PANEL ADJUSTMENTS
There are some controls on the rear panel which need to be
set. Set the METER SENSITIVITY ADJUST so the system
is at maximum level, (usually just short of amplifier clipping).
Run the system up to this maximum level and turn the METER
SENSITIVITY ADJUST so that the highest peaks on the PEAK
PROGRAM METER occasionally hit the +8 dB indicator. This
warns the operator that further pressure on the throttle will
overdrive the system.
At this point check the MAXIMUM OUTPUT GAIN RE-
DUCTION control so that with the MASTER LEVEL at “10”,
the meter responds as it did in the previous step. This would be
a good time to make the adjustment. This may be accomplished
by turning the rear panel MAX OUTPUT GAIN REDUC-
TION adjustment all the way down, pushing the MASTER
LEVEL fader all the way up, setting a normal mix level on the
Input fader, and then turning up the MAX OUTPUT GAIN
REDUCTION adjustment on the rear until the required output
level is attained. In some cases, make this adjustment with both
the Source Level and the MASTER LEVEL faders all the way
up. This is acceptable only if sources can be adjusted such that
they all have equal output before they reach the Input of the
MP 24z. If this is not possible, full system drive will not come
from some components. To accomplish this feat, use identical
cartridges in all turntables so the phono levels are all the same.
Having done all of this it is possible to use the MAX OUTPUT
GAIN REDUCTION on all of your sources.
The other rear panel adjustment that should be made at this
time has to do with the maximum deviation to the frequency re-
sponse of the system left to the operator. This is controlled by the
EQ RANGE switch. In the out position, the range of all of the
EQ controls is ±8 dB. In the in position, this range is reduced
to ±4 dB. The latter is considered safer in situations where taste
makes waste—in drivers, that is.
THE HEADPHONE CONTROL (CUE) SYSTEM
To use the HEADPHONE CUE System, signal must be
present at one of the Inputs. (Well, at least you do to make sure
it works.) Depressing the CUE switch for the respective Input
channel presents this signal to the Headphone Cue amplifier.
An LED illuminates next to the CUE switch, attesting to the
fact that it was indeed pushed down. Now select how to listen to
it — Mono Cue in one ear, Mono Program in the other, Stereo
Program in both ears, or Stereo Cue in both ears. The STEREO/
MONO CUE switch allows this flexibility. To vary the level
between Cue and Program, rotate the HEADPHONE PAN
control in the desired direction. Counter-clockwise rotation in-
creases the Cue Level, clockwise rotation increases the Program
Level. The overall volume of all of this is then controlled by the
rotary HEADPHONE LEVEL control.
USING THE ASSIGNABLE ACTIVE CROSSFADER
Active Crossfader™ technology combines state of the art volt-
age controlled amplifier design with a professional quality cross-
fader control. This combination sets new standards for perfor-
mance, reliability and serviceability. Virtually all crossfader noise
is eliminated. Channel to channel crosstalk is greatly reduced
and the off isolation of the faded channel is greatly increased. Ac-
tive Crossfader technology dramatically increases the service life
of the crossfader. In the unlikely event of crossfader failure, there
is no loss of signal. If a crossfader becomes rough or noisy, it may
be “hot-swapped” during a performance with no interruption
of the audio signal. Simply use the input faders to set the audio
levels while the crossfader is out of service.
For normal operation, press the Crossfade ENGAGE switch.
The green LED next to the switch illuminates. The Crossfade
ASSIGN switches determine the two Input channels to be mixed
by the Crossfader. As an example, assume the left ASSIGN
switch is set on 1 and the right ASSIGN switch is on 2. This
activates both mix faders on Channels 1 and 2. Their outputs,
however, are under the control of the Crossfader. When in its
left-most position, only Channel 1 appears at the Outputs. Both
Channels are present in equal levels in the when the Crossfader is
brought to the middle, and only Channel 2 is heard once the far
right is reached.
The contour of the Crossfade has been optimized for con-
temporary use. However, the mix of the two input signals will
have an impact on volume level as you fade from one input to the
other.
Once crossfaded to Channel 2, maybe cue up some video and
put the audio on Channel 4. Hard to do? No way. Simply pull
the Channel 1 fader to zero, set the ASSIGN switch on the left
of the Crossfader to Channel 4, Cue up 4, set the level on fader 4
and Crossfade into it. We realize that it’s a bit strange to Cross-
fade from 2 to 4 by sliding the fader to the left, however it’s just
an unavoidable oddity caused by having so much flexibility.