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manual abstract
Only operate with the unit with the mains voltage marked on the rear panel. 2. Ensure that no objects (in particular rnetal objects) are inserted into the unit. This could cause severe electric shock or give rise to malfunction 3. If the unit is suddenly moved from a ccld piace to a warm place, e.g. transporting from outside into a heated room, condensation will occur. In this case you should not switch the unit on until it has warmed up to room temperature. 4. In the event of water or any other fluid being accidentally spilt on the unit, switch the unit off immediately and send it to a qualified seivice workshop for inspection. 5. Always ensure that the unit is well ventilated and never exposed to direct sunlight. 6. Do not use sprays to clean the unit as these may cause damage to it and could suddenly ignite. The s fsc-ii? •' 14 > № can j-ii in$ 2 МСХ 1900 - General Overview • 16/20 Input channels • 12 MIC/LINE (Mono) Inputs • 4 Line (Stereo) Inputs • Stereo Tape In and Out • Insert Function for all Mic/Line Inputs • Direct Out Function • 4 Aux Send/Out (2 post/pre + 2 past) • 4 Stereo Aux In/Return • Stereo Line In and Out • Stereo Master Out (XLR electronically balanced, transformer bal. optional). » Stereo Master Breaks (Send and Return) • Stereo headphones, individually controllable • Gain control with Clip LED for all nput channe.'s • 4-way EQ for all stereo input channels I • Aux 1 and 2 (post channel fader) for effect sends in all input channels « Aux 3 and 4, switchable from monitor function (pre channel fader) to effect function (post channel fader) in all input channels • PAN control in all input channels • PFL prelisten control with LED indicator in all input channels • 48 V Phantom Power Supply • Power On Delay Тле MCX 1900 is э professional mixer in a very compact 19" design, ts wide range of 'eatures a.-d tne excellent specifications maKe the MCX 1900 an ideal subm.xer for stage and PA applications, e.g. for drums, keyboard or instrument premixing or as an additional mixing desk for effect returns. 12 MONO and 4 STEREO input channels are avaiiab,;. The stereo channels allow for the connection of e.g. stereo keyboards or drum machines, submixe.’s and other stereo 3udio sources, without having to use 2 complete cnanneis. All 12 Mic-inputs are electronically balanced and are supplied with XLR sockets. The integrated switchable phantom power supply (+48 V) allows for the use of sophisticated condensor microphones. Optionally, the master outputs can also be used transformer- balanced. Additionally, the master outputs are supplied with separate break ¡acks for ooping e.g equalizers into the master signal. Alternatively the break jacks can, of course, ie used as unbalanced master outputs. The 19" housing makes it easy to use the unit in mobile sound reinforcement systems as well as in permanently ■nstalled IS" systems 3 -3 -4 — 5 INPUT MONO 1. GAIN + PEAK-LED "1 Control for adjusting the input sensitivity between -58 dBV (1.2 mV) and -7 dBV (440 mV). This control should be adjusted so that the PEAK LED lights up only briefly at peak levels. This will result in an optimum S/N ratio. If the PEAK LEO lights up, the available headroom is 9 d3 before the input signal is distorted audibly, Please note that the sound corrections with the EQ controls also influence the input signal level Check the correct setting of the GAIN control again after sound adjustment 2. Equalizing The EQ section allows for a very comprehensive and effective control of the input signal for the different frequency regions. Turning the control to the right increases/amplifies the respective frequency region. Turning it to the left will decrease/attenuate the respective frequency region. When the sound is to be adjusted you should always start in a neutral position, i.e. all controls are in a central (latcning) position. If possible, do not use extreme control positions; normally a small sound correction is enough and delivers the best sound quality. Take as orientation the naturalness of the reproduction and depend on your musically-trained hearing for sound checking. You can avoid acoustic feedback effectively by operating the mid-controls (MID) gently. Avoid too much gain especially in these frequency regions; a slight lowering allows for an amplification of microphone signals with only little risk of feedback. ^2 Control Variation Frequency Type HI +/-15 dB 12 kHz shelving FREQ — 200 Hz - 6 kHz — MID +/- 12 dB 200 Hz - 6 kHz boost/cut LO +/-15 dB 80 Hz shelving 4 A A Mi * * INPUT MONO 3. AUX 1 - AUX 2 Control for adjusting the effect volume of an effect unit, which is to be connected to the sockets AUX 1/AUX 2. The effect signal depends on the setting of the channel fader (7). The signal will only be routed to the effect units if the channel fader is opened. 4. AUX 3 -AUX 4 Control for adjusting the effect volume of an effect unit which is to be connected to the s...