User manual ALTO TYPHOON

For music with passion LTO R User's Manual Typhoon large scale mixing console LTO R www.altoproaudio.com Version 1.1 APRIL. 2005 English SAFETY RELATED SYMBOLS CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN Fuse To prevent fire and damage to the product, use only the recommended fuse type as indicated in this manual. Do not short-circuit the fuse holder. Before replacing the fuse, make sure that the product is OFF and disconnected from the AC outlet. This symbol, wherever used, alerts you to the presence of un-insulated and dangerous voltages within the product enclosure. These are voltages that may be sufficient to constitute the risk of electric shock or death. This symbol, wherever used, alerts you to important operating and maintenance instructions. Please read. Protective Ground Terminal AC mains (Alternating Current) Hazardous Live Terminal Protective Ground Before turning the product ON, make sure that it is connected to Ground. This is to prevent the risk of electric shock. Never cut internal or external Ground wires. Likewise, never remove Ground wiring from the Protective Ground Terminal. Operating Conditions Always install in accordance with the manufacturer's instructions. To avoid the risk of electric shock and damage, do not subject this product to any liquid/rain or moisture. Do not use this product in close proximity to water. Do not install this product near any direct heat source. Do not block ventilation areas. Failure to do so could result in fire. Keep product away from naked flames. ON: Denotes the product is turned on. OFF: Denotes the product is turned off. WARNING Describes precautions that should be observed to prevent the possibility of death or injury to the user. CAUTION Describes precautions that should be observed to prevent damage to the product. IMPORTANT SAFETY INSTRUCTIONS Read these instructions Follow all instructions Keep these instructions. Do not discard. Heed all warnings. Only use attachments/accessories specified by the manufacture WARNING Power Supply It ensures that the mains source voltage (AC outlet) matches the voltage rating of the product. Failure to do so could result in damage to the product and possibly the user. Unplug the product before and during electrical storms and when the mixer is not going to be used for long periods of time to reduce the risk of electric shock or fire. Power Cord and Plug Do not tamper with the power cord or plug. These are designed for your safety. Do not remove Ground connections! If the plug does not fit your AC outlet seek advice from a qualified electrician. Protect the power cord and plug from any physical stress to avoid risk of electric shock. Do not place heavy objects on the power cord. This could cause electric shock or fire. External Connection Always use proper ready-made insulated mains cabling (power cord). Failure to do so could result in shock/death or fire. If in doubt, seek advice from a registered electrician/ authorized maintenance centre. Do Not Remove Any Covers Within the product there are areas where high voltages may present. To reduce the risk of electric shock do not remove any covers unless the AC mains power cord is removed. Covers should be removed by qualified service personnel only. No user serviceable parts inside. Cleaning When required, either blow off dust from the product or use a dry cloth. Do not use any solvents such as Benzol or Alcohol. For safety, keep product clean and free from dust. Servicing Refer all servicing to qualified service personnel only. Do not perform any servicing other than those instructions contained within the User's Manual. 1 PREFACE Dear Customer: Thank you for choosing the For LTO TYPHOON which is the result of our LTO AUDIO TEAM's endeavours. LTO AUDIO TEAM music and audio are much more than a job, they are a passion and an obsession! We have, in fact, been designing professional audio products for a number of years in cooperation with many of the world's major brands. The LTO line represents unparalleled analogue and digital products made by musicians, for musicians. With our design centres in Italy, the Netherlands, and the United Kingdom we provide you with world-class designs, while our software development teams continue to develop an impressive range of audio specific algorithms. By purchasing our LTO products you become the most important member of our LTO AUDIO TEAM. We would like to share with you our passion for what we design and we invite you to make suggestions, which will aid us in developing future products for you. We guarantee you our commitment to quality, continual research and development, and of course the best performance/price ratio. The LTO TYPHOON is a large format versatile 8-bus sound reinforcement mixing console designed for all types of live sound production as well as for recording purposes. Each channel is equipped with a variety of key features including a warm, natural sounding four band sweep EQ (4 band fixed EQ for stereo channels), 8 Auxiliary sends, Clip preamp and fader LEDs etc.. Besides, the TYPHOON is equipped with fully featured intercom and talkback sections that will allow the sound engineer to work in a very fast and reliable way. Seeing is believing, let's meet LTO TYPHOON. We would like to thank all the people that worked with us to make a vision real! Our designers and LTO staff made the LTO TYPHOON, large format 8-bus sound reinforcement mixing console, a very reliable and high quality product ready for all your venues. And thanks to their passion for music and professional audio it has been possible for us to offer you, our most important team member, our continued support too. Thank you very much LTO AUDIO TEAM 2 TABLE OF CONTENTS SAFETY INSTRUCTIONS ..........................................................................................................................1 PREFACE ...................................................................................................................................................2 TABLE OF CONTENTS .............................................................................................................................3 INTRODUCTION ........................................................................................................................................4 MAIN FEATURES ......................................................................................................................................5 INSTALLATION AND CONNECTIONS ..................................................................................................6-7 TYPHOON PICTURES ...........................................................................................................................8-9 FUNCTIONAL DESCRIPTION ............................................................................................................10-31 Typhoon Mono input channels .............................................................................................................10-14 Typhoon Stereo input channels ...........................................................................................................15-19 Typhoon Master Section ......................................................................................................................20-27 TYPHOON CONNECTIONS WIRING .................................................................................................28-31 GLOSSARY ..............................................................................................................................................38 TECHNIQUE & TROUBLESHOOTING ..............................................................................................32-37 BLOCK DIAGRAMS ...............................................................................................................................39 TECHNICAL SPECIFICATIONS .........................................................................................................40-41 EXTRA PAGE ......................................................................................................................................42-51 WARRANTY .............................................................................................................................................52 3 INTRODUCTION Our current top mixer line...fitted with a wide range of controls to satisfy the needs of the most demanding professional with its real hi-fi specs and its user-friendly and ergonomic design despite the very high quantity of controls! These models are ideal for large venue and large bands. Thank you very much for expressing your confidence in LTO products by purchasing LTO's first large format mixing console Typhoon, an 8-bus sound reinforcement mixing console designed for all types of live sound production. We're proud to introduce you our first large format mixing console, designed and developed to meet the needs of the demanding live sound engineers, providing the quality, all the features and the reliability you deserve, with its real hi-fi specs and its user-friendly and ergonomic design despite the very high quantity of controls! The Typhoon is an all purpose FOH mixing console that can be used as Monitor mixer as well, thanks to its 8 independent auxiliary sends. Each mono channel offers microphone and line input, direct out and insert points, lo-cut filter, four band sweep EQ. etc. The stereo channel offers stereo (left & right) line input with four band fixed EQ, as well as mono input with discrete mic &line connections and lo-cut filter. Following the needs of professional live sound engineers we included a lot of special features, like a Talkback section and a 3-frequency Oscillator, and double CLIP indicator to immediately understand at a glance the behaviour of every channel mono signal. The Typhoon is a large format professional mixing console. You will get a smooth, accurate more natural and open sound from this tool, it is really ideal for gigs, recording and fixed PA installations. Your Typhoon has been designed to be a very versatile and user-friendly mixing console, so it's very easy to operate but we advise you to go through each section of this manual carefully. In this way you will get the best out of your Typhoon in all application. 4 MAIN FEATURES Pre-insert preamp CLIP LED Extremely high headroom offering excellent dynamic range Post-fader, post-EQ Direct output, can become pre-fader post-EQ by an internal jumper Pre-fader, pre-eq channel insert MIC input channels with golden plated XLRs and balanced LINE inputs 4-band sweep EQ on mono channels 4 Stereo input channels with left-right balanced TRS jacks, and mono MIC & line inputs 4-band fixed EQ on stereo channels Ultra-low noise discrete Mic Preamps with +48V Phantom Power 100mm high precision faders Each input channel features Mute & SOLO switches, Overload & signal present LEDs and low cut filters (except stereo line inputs) Fader CLIP LED SUB 1-2, 3-4, 5-6, 7-8 & MAIN L-R signal assignment switch 8 AUX sends with pre-post-fader assign switches Channel inserts and direct outputs on each mono channel for connection of outboard equipment Groups, Aux sends and Main Mix inserts for flexible connection of outboard equipment Control room/phones discrete level Fully assignable Oscillator and Talkback sections Three-frequency, three-level oscillator XLR socket for lighting lamps 2-TRACK IN path Highly accurate 16 segment output level meters 5 INSTALLATION AND CONNECTIONS [ INSTALLATION ] The following counsels must be observed to maintain safety and electromagnetic compatibility performance in order to obtain the best possible performances by your Typhoon. Earthing & Power Connections Since all the signals are referenced to earthing system, it's very important that it's clean and noise free. The best way to do an earthing system is to use a "star fed" instead of "daisy chain". A "star fed" earth connection means that independent wires runs for each outlet, in this way you'll provide a safety reference screen for each single equipment. Never mix the mains audio earthing outlets with light earthing outlets, it could very easily generate interferences and audio degradation. Please try to avoid placing the console close/on any power distribution units or power amplifiers. When using an external power supply, it should be located as far as possible from the console. The power supply should be set for the voltage supply available in your area and plugged into the mains socket using the cable provided with the ground/screen connector properly connected. The Typhoon should only be operated with the power supply connected to ground via the ground in the mains connector. The use of alternative power supplies may cause damage and void the warranty. The power supply should never be operated with the mains earth disconnected Please note that the power supply contains DANGEROUS VOLTAGES, much stronger than the mains voltage. The power supply rails can produce extremely large currents which could burn out equipment and wiring if shorted. Electric & Magnetic Fields When the console is operated close to an electromagnetic field (generated by video monitors, high-power electric cabling, etc.), you should detect an audio degradation induced by voltage picked up by leads and chassis. In this case the signal to noise ratio may be degraded, under extreme conditions (3V/m, 90% modulation) degradation of up to 40dB may be experienced. Wiring To ensure the correct and reliable operation of your Typhoon mixing console, only high quality screened twisted pair audio cable and metal bodied connectors should be used. Position Place the mixing console on a flat and even surface, avoiding extremely hot, cold, dust or humid places. Your Typhoon should be situated so that its location or position does not interfere with its proper ventilation (e.g. on a carpet, on felt, etc.). When positioning the console for front of house usage it is worth placing the console in the "sweet spot" position (where the sound system used can be properly heard from the mix position). Try to avoid placing the console behind pillars or large objects , or mixing from a level above the speaker position (e.g. from a balcony). WARNING: Always switch off the power supply off before connecting or disconnecting the mixer power cable, removing or installing modules, and servicing. In the event of an electric storm or large mains voltage fluctuations, immediately switch off your Typhoon and disconnect the mains plug from its socket. WARNING: Do not replace the fuse with any other type, or short-circuit the broken fuse, this could become a safety hazard and will void the warranty. WARNING: All servicing should ONLY be carried out by skilled personnel of an authorized maintenance centre. 6 [ CONNECTIONS ] All connector shells should be of metal construction in order to provide a screen when connected to the console. The Typhoon deserves to be operated with high quality twisted-pair audio cables to develop its full audio performances. XLR plug & socket Pin 1 - Screen/Ground Pin 2 - Hot Signal Pin 3 - Cold Signal 6,3mm. (1/4") Jack - BALANCED connections TRS signal Sleeve Screen/Ground Ring Cold signal Tip Hot signal 6,3mm. (1/4") Jack - unbalanced connections TS signal Sleeve Screen/Ground Tip Signal 6,3mm. (1/4") TRS insert Sleeve Screen/Ground Ring Insert return Tip Insert send 6,3mm. (1/4") TRS headphone Sleeve Screen/Ground Ring Right signal Tip Left signal Owner's manual conventions Writing this owner's manual we used the following conventions: 1. The names of the keys switches and connectors used in this owner's manual match the labels on the unit Examples: MIC IN -> Microphone input MID-H -> Mid-High frequency boost/cut control GR1-GR2 -> Group 1 & Group 2 2. The condition of the indicators on your mixer is surrounded by " ", e.g. "light" or "flash". 7 TYPHOON PICTURES TYPHOON 1600 TYPHOON 2400 8 TYPHOON PICTURES TYPHOON 3200 TYPHOON 4800 9 FUNCTIONAL DESCRIPTION [ Typhoon Mono Input Channels ] The Typhoon is supplied with all the connections pro users deserve to connect every kind of signal sources to Typhoon inputs. Direct Out This unbalanced connector can be used to directly output the signal of the channel for recording & other purposes. This output can be set pre- or postfader by an internal jumper. Please note that the Mute switch of the channel affects this connector when set to post fader. The wiring is Tip = Hot Ring & Sleeve = Screen. DIRECT OUT MIC IN Insert INSERT LINE IN LINE IN INSERT This unbalanced 1/4" jack connector has been designed to be used as insert point, breaking the signal path immediately after the preamp section and before the EQ section to allow the pro user to insert a dynamic compressor, a parametric EQ, as well as other ancillary equipment. Please note that the Mute switch of the channel does not affect this connector. The wiring is Tip = Insert Send, Ring = Insert Return, Sleeve = Screen. DIRECT OUT MIC IN Line in CH 1 CH 2 This balanced input connector has been designed to accept line inputs up to +22dBu. You can connect here keyboards outputs, mixer outputs, tape outputs, etc. The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen. MICROPHONE in This XLR socket has been designed to accept microphone signals up to +22dBu, providing phantom power for condenser microphone when the switch in the front panel is engaged. Pin1 = Screen/Ground, Pin2 = Hot Signal, Pin3 = Cold Signal. 10 [ Typhoon Mono Input Channels ] We perfectly know the importance of the preamp section, a good preamp section will allow the sound engineer to work with maximum dynamics, an exceptional signal-to-noise ratio... then to be able to use EQ, external dynamic controls and other ancillary equipment to shape its own sound! The Typhoon preamp section features all the useful controls to accurately manage the sound source in the most versatile way. PHANTOM POWER switch & LED The switch must be engaged when you're using a condenser microphone or a direct box that can be powered by phantom power, instead of batteries. The LED gives the user a visual control over channels with phantom power on. PHASE switch & LED This switch allows the user to invert by 180 the signal. This switch is very useful in a lot of circumstances, in particular when several microphones are very close (e.g. drum kit, brasses, chorus, etc.) and the sound engineers notices interferences between microphones that can not be solved moving the microphones. The LED gives an immediate control over channels with inverted phase electronic circuits. PHANTOM 48V ON OFF PHASE OUT IN CLIP GAIN GAIN The GAIN control gives you the chance to continuously adjust the pre-amplifier gain for input signal. This control can be adjusted in 0/+60dB range for microphone input and -25/+35dB for line input. -25 125 0 +60 +35 HIGH PASS freq Hz 40 ON OFF 400 CLIP LED At LTO we're very careful about the feedback we continuously receive by our customers and the demands of pro users. For this reason we included a preamp CLIP LED, allowing the sound engineer to detect the clip incurring at the beginning of the audio path. The preamp CLIP LED turns on when the input level reaches 6dB before clipping. If the clipping has been generated by other channel controls (e.g. an excessive boost by EQ.) the sound engineer will see the preamp CLIP LED not lighted, while the fader clip LED will be lighted. In this case the research of the fault will become much faster! HIGH PASS LED A very useful LED shows if the HIGH PASS section is active or not. HIGH PASS switch This section allow the sound engineer to reduce the lower frequencies by engaging the switch and selecting the turnover frequency in 40Hz/400Hz range. This control is very useful when you detect hum or rumble or you want to cut unwanted low frequency sounds picked-up by microphones. 11 [ Typhoon Mono Input Channels ] We provided a very versatile EQ circuit with four sweep filters to satisfy professional users demand. Thanks to the wide overlap section of the 4 filters, this EQ allows to shape in a very efficient way the sound of all the sound sources the sound engineers has to manage. HIGH gain 0dB HIGH freq HIGH It's a shelving filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB. -15 4 +15 HIGH freq KHz MID-H gain It's a peak/dip filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB. 1.6 0dB 16 MID-H It's the control to set the centre frequency of the HIGH control. It can be adjusted in 1,6-16kHz range. It affects the frequency area from the upper fundamental frequencies up to the higher harmonic frequencies, allowing the skilled user to add brightness to sound sources as well as reduce unwanted hiss and high frequency noises. -15 3.2 +15 MID-H freq KHz EQ MID-H freq It's the control to set the centre frequency of the MID-H control. It can be adjusted in 0.8-8kHz range. It affects the frequency area from the upper fundamental frequencies up to the higher harmonic frequencies, allowing the skilled user to add or to subtract brightness to sound sources to avoid masking frequencies effects. MID-L gain It's a peak/dip filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB. .8 0dB 8 MID-L -15 640 +15 MID-L freq Hz LOW gain It's a shelving filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB. 160 0dB 1.6K LOW MID-L freq -15 160 +15 LOW freq Hz EQ LED This useful LED will allow the sound engineer to immediately understand if the channel has been equalised or not. 40 ON OFF 400 EQ It's the control to set the centre frequency of the MID-L control. It can be adjusted in 0.16-1.6kHz range. It affects the frequency area of most of fundamental tone frequencies up to lower harmonic frequencies, allowing the skilled user to add/ subtract impact and/or presence to sound sources giving them a particular sound character. LOW freq It's the control to set the centre frequency of the LOW control. It can be adjusted in 40-400Hz range. It affects the frequency area from the lower fundamental frequencies, allowing the skilled user to add "boominess" to sound sources as well as to reduce unwanted hum and rumble noises. EQ switch This switch allows the user to use the EQ. Section in signal path. Of course it can be used too to make A/B comparisons between equalized signal and not equalized signal to control the . It can be used too to apply equalization at a certain point of the show, excluding it when it's not necessary. 12 [ Typhoon Mono Input Channels ] At LTO we thought that you deserve a very versatile auxiliary section. So we provided you eight discrete auxiliary sends with independent level controls and several pre-/post-fader switches. Generally pre-fader is used for monitor purposes, allowing the sound engineer to set a level that's independent by channel fader setting. In this way the control will be much more accurate and the sound engineer doesn't risk unwanted feedback when, for example, he raises the level of the lead singer. Post-fader sends are better suited for FX sends control. By doing so, for example, the sound engineer will raise the fader level of the lead singer the effect send as well, maintaining the same sound balance between "dry" & "wet" signals. Please note that the channel Mute switch affects these controls. 0dB AUX 1 The AUX 1 send level can be adjusted from up to +10dB. - AUX1 PRE PRE/POST switch This switch sets pre-/post-fader the Aux 1 signal. +10 0dB 8 POST AUX2 PRE AUX 2 +10 0dB The AUX 2 send level can be adjusted from up to +10dB. - 8 POST PRE/POST switch This switch sets pre-/post-fader the Aux 2 signal. AUX3 PRE +10 0dB AUX 3 & 4 The AUX 3 & 4 send level can be individually adjusted from - up to +10dB. 8 AUX4 POST PRE/POST switch Auxiliary sends 3 & 4 share the same pre-/ post-fader switch. - +10 0dB 8 AUX5 PRE/POST switch AUX 5-8 The AUX sends 5 to 8 level can be individually adjusted from - up to +10dB. +10 0dB 8 AUX6 Auxiliary sends 5 to 8 share the same pre-/ post-fader switch. PRE - +10 0dB 8 AUX7 POST - +10 0dB 8 8 AUX8 - +10 13 [ Typhoon Mono Input Channels ] The assign section is useful to manage the output assignment to several outputs, as well as direct out, to listen "in solo" a channel and to mute or not a channel signal. OUTPUT Assign 1/2 3/4 5/6 7/8 L/R These switches allow the sound engineer to address the signal to selected audio path. The odd/even numbered switches are used to send the signal to sub-groups while L/R switch sends the signal directly to Main Mix output. Please check the "technique & troubleshooting" section of this owner's manual for further details about the way to use those switches. GR1-GR2 M1 M1, M2, M3 & M4 These switches are very useful to manage the sound in a fast and reliable way. You can use M1, M2, M3 and M4 to program four MUTE memories. This feature is important to give an immediate control over some channels that are not used all show long (e.g. some instruments played just in some songs, the voice of the presenter, etc.) and to immediately recall al the mixers status. See section 7 of this owner's manual for the procedure to store and recall the four Mute Groups memories. GR3-GR4 M2 GR5-GR6 M3 GR7-GR8 M4 MUTE L/R centre PAN Left Right CLIP PAN This pot allows the sound engineer to place the channel signal in a stereo front from hard left to hard right. Of course you can use it also to "move" the channel signal in stereo front to create spatial effects. MUTE -20 -20 & CLIP LEDs These LEDs are very useful to control the behaviour of the channel signal path after the insert point, the EQ section and the fader. So you could notice the fader CLIP LED turned on while the preamp CLIP is not lit, or vice-versa. In both cases the presence of two CLIP LEDs will help the sound engineer to immediately detect where is the problem. 10 5 0 MUTE You can use the MUTE switch to mute the channel signal when you don't need its sound. When this large switch is engaged, it's lit. The signal is still sent only to insert point, while the direct out is muted too. 5 10 PFL/Solo switch 20 30 Fader This long coarse fader will give to the sound engineer the ability to accurately manage the channel output level from - up to +10dB. 40 50 60 - PFL/SOLO ON OFF CH 1 This switch allows the sound engineer to control the channel signal. The PFL (pre-fade listen) signal is pre-fader and mono while Solo stands for SIP (Solo In Place), the signal is post-fader, placed in stereo front and it "opens" all the circuits of related effect. When this large switch is engaged, it's illuminated to give you an immediate visual control of which, and how many channels are in solo. When the MASTER SOLO switch is engaged this switch acts in SOLO mode and mutes all other channels 14 8 [ Typhoon Stereo Input Channels ] Each Typhoon is supplied with four stereo input channels. These channels are ideal for stereo signals but we included the same circuit of mono inputs, with discrete preamp level section and low-cut filter. So the sound engineer has the choice to use a mono signal and a stereo signal outputs in the same channel in different times without being obliged to change the GAIN control! RIGHT RIGHT LEFT (MONO) MIC IN LINE IN This balanced input connector has been designed to accept line inputs up to +22dB. This connector should be only used for the right output of an instrument. The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen. LEFT (MONO) This balanced input connector has been designed to accept line inputs up to +22dB. This connector should be used for the left or mono output of an instrument. This input follows the stereo path. The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen. LINE IN LEFT (MONO) Line in RIGHT MIC IN CH 43/44 CH 41/42 This balanced input connector has been designed to accept line inputs up to +22dB. You can connect here keyboards outputs, mixer outputs, tape outputs, etc. The wiring is Tip = Hot, Ring = Cold, Sleeve = Screen MICROPHONE in This XLR socket has been designed to accept microphone signals up to +22dB, providing phantom power for condenser microphone when the switch in the front panel is engaged. Pin1 = Screen/ Ground, Pin2 = Hot Signal, Pin3 = Cold Signal. 15 [ Typhoon Stereo Input Channels ] The Typhoon preamp section is fully featured with all the useful controls to manage the sound source. There are two different preamp input path for mono or stereo signals, the latter features just GAIN while the mono preamp input is regularly featured like any other mono input. In this way the sound engineer can use, for example, the stereo keyboard outputs in the same channel of the entertainer voice, if both signals are not required at the same time and each source will has its own level control. PHANTOM POWER switch & LED The switch must be engaged when you're using a condenser microphone or a direct box that can be powered by phantom power, instead of batteries. The LED gives the user a visual control over channels with phantom power on. PHANTOM 48V ON OFF PHASE switch & LED This switch allows the user to invert by 180 the signal. This switch is very useful in a lot of circumstances, in particular when several microphones are very close (e.g. drum kit, brass, choirs etc.) and the sound engineer notices interferences between microphones that can't be by solved moving the microphones. The LED gives an immediate control over channels with inverted phase electronic circuits. PHASE OUT IN CLIP MONO IN GAIN 0 125 +60 GAIN The GAIN control gives you the chance to continuously adjust the pre-amplifier gain for input signal. This control can be adjusted in 0/+60dB range for microphone input/ line input. 40 ON OFF HIGH PASS freq Hz 400 CLIP LED At LTO we're very careful about the feedback we continuously receive by our customers and the demands of pro users. For this reason we included a preamp CLIP LED, allowing the sound engineer to detect the clip incurring at the beginning of the audio path. The preamp CLIP LED turns on when the input level reaches 6dB before clipping. If the clipping has been generated by other channel controls (e.g. an excessive boost by EQ.) the sound engineer will see the preamp CLIP LED not lighted, while the fader clip LED will be lighted. In this case the research of a wrong level setting will become much easier. HIGH PASS LED A very useful LED shows if the HIGH PASS section for the MONO input is active or not. HIGH PASS switch This section will allow the sound engineer to reduce the lower frequencies of MONO INPUT by engaging the switch and selecting the turnover frequency in 40Hz/400Hz range. This control is very useful when you detect hum or rumble or you want to cut unwanted low frequency sounds picked-up by microphones. INPUT SELECT LED This LED is lit when you use a mono signal, the INPUT SELECT switch is pressed. -20 STEREO IN GAIN STEREO IN GAIN +20 INPUT SELECT STEREO MONO The GAIN control gives you the chance to continuously adjust the amplifier gain for LEFT (MONO) & RIGHT inputs. This control can be adjusted in -20/+20dB range input. INPUT SELECT switch Pressing this switch you'll select the mono input source for this channel, while releasing this switch you'll use the stereo signal. 16 [ Typhoon Stereo Input Channels ] Stereo sources are generally keyboards outputs, pre-mixers, etc. so the signal deserves few EQ adjustments. For this reason we choose for the Typhoon stereo channels a four band fixed EQ. HIGH gain It's a shelving filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB @ 12kHz. 0dB HIGH 12KHz MID-H It's a peak/dip filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB @ 3kHz. -15 +15 0dB MID-H 3KHz MID-L It's a peak/dip filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB @ 400Hz. -15 +15 LOW EQ 0dB MID-L 400Hz It's a shelving filter giving the user a continuous adjustment of boost and cut from +15dB to -15dB @ 80Hz. EQ LED This useful LED will allow the sound engineer to immediately understand if the channel has been equalised or not. -15 +15 EQ switch LOW 80Hz 0dB -15 +15 ON OFF EQ This switch allows the user to use the EQ. Section in signal path. Of course it can be used too to make A/B comparisons between equalized signal and not equalized signal to control the . It can be used too to apply equalization at a certain point of the show, excluding it when it's not necessary. 17 [ Typhoon Stereo Input Channels ] At LTO we thought that you deserve a very versatile auxiliary section. So we provided you the same eight discrete auxiliary sends of mono channels, with independent level controls and several pre-/post-fader switches. Generally pre-fader is used for monitor purposes, allowing the sound engineer to set a level that's independent by channel fader setting. In this way the control will be much more accurate and the sound engineer won't risk unwanted feedback when, for instance, when raising the level of the lead singer. Post-fader sends are better suited for FX sends control. By doing so, for example, the sound engineers will raises the fader level of the lead singer the effect send as well, maintaining the same sound. Please note that the channel Mute switch affects these controls. AUX 1 0dB PRE/POST switch AUX1 PRE The AUX 1 send level can be adjusted from up to +10dB. - This switch sets pre-/post-fader the Aux 1 signal. +10 0dB 8 POST AUX2 PRE PRE/POST switch This switch sets pre-/post-fader the Aux 2 signal. AUX 2 The AUX 2 send level can be adjusted from up to +10dB. +10 0dB 8 POST AUX3 PRE/POST switch PRE AUX 3 & 4 The AUX 3 & 4 send level can be individually adjusted from up to +10dB. - +10 0dB Auxiliary sends 3 & 4 share the same pre-/postfader switch. 8 AUX4 POST - PRE/POST switch +10 0dB 8 AUX5 Auxiliary sends 5 to 8 share the same pre-/postfader switch. AUX 5-8 The AUX sends 5 to 8 level can be individually adjusted from up to +10dB. +10 0dB 8 AUX6 PRE +10 0dB 8 AUX7 POST - +10 0dB 8 8 AUX8 - +10 18 [ Typhoon Stereo Input Channels ] The assign section is useful to manage the output assignment to several outputs, and also to PFL, SOLO or MUTE a channel signal. OUTPUT Assign 1/2 3/4 5/6 7/8 L/R These switches allow the sound engineer to address the signal to the selected audio path. The odd/even numbered switches are used to send the signal to sub-groups while L/R switch sends the signal directly to Main Mix output. Please check the "technique & troubleshooting" section of this owner's manual for further details about the way to use those switches. GR1-GR2 M1 M1, M2, M3 & M4 These switches are very useful to manage the sound in a fast and reliable way. You can use M1, M2, M3 and M4 to program four MUTE memories. This feature is important to give an immediate control over some channels that are not used all show long (e.g. some instruments played just in some songs, the voice of the presenter, etc.) and to immediately recall al the mixers status. GR3-GR4 M2 GR5-GR6 M3 GR7-GR8 M4 MUTE L/R centre PAN BAL This pot allows the sound engineer to manage the balance of a stereo source or to place the channel mono signal in a stereo front from hard left to hard right. Of course you can also use it to "move" the channel signal in stereo front to create spatial effects. Left Right CLIP -20 & CLIP LEDs These LEDs are very useful to control the behaviour of the channel signal path after the insert point, the EQ section and the fader. So you could notice the fader CLIP LED turned on while the preamp CLIP is not lit, or vice-versa. In both cases the presence of two CLIP LEDs will help the sound engineer to immediately detect where the problem is. MUTE -20 10 5 MUTE You can use the MUTE switch to mute the channel signal when you don't need its sound. When this large switch is engaged, it's lit. 0 5 PFL/Solo switch 10 20 Fader This long coarse fader will give to the sound engineer the ability to accurately manage the channel output level from - up to +10dB. 30 40 50 60 - PFL/SOLO ON OFF This switch allows the sound engineer to control the channel signal. The PFL (prefade listen) signal is pre-fader and stereo for stereo inputs and mono for mono inputs. Solo stands for SIP (Solo In Place), the signal is post-fader, placed in stereo front and it "opens" all the circuits of related effect. When this large switch is engaged, it's illuminated to give you an immediate visual control of which, and how many channels are in solo. When the MASTER SOLO switch is engaged this switch acts in SOLO mode and mutes all other channels. CH 41/42 19 8