Dynacord Kitchen Entertainment Center ENTERTAINMENT SYSTEM User Manual

OWNER’S MANUAL  
MP7  
ENTERTAINMENT SYSTEM  
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DESCRIPTION  
CONTENTS  
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23  
Input/Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24  
Input/Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28  
Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31  
Transition/Phones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33  
Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34  
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37  
Standard installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38  
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62  
Block diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63  
Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64  
Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68  
Congratulations!  
You will find out that purchasing a MP7 Entertainment System was an excellent decision.  
The design of the MP7 is based on decades of experience, research and development as well as a steadfast  
manufacturer-customer-relationship in the professional audio market. With the MP7 you own a power mixer that offers  
a wide range of functionality in a truly compact frame. All the troubling experience with cabling and matching mixers,  
amplifiers, FX-units and equalizers now belongs to history. The mixer’s ergonomic layout and clearly structured  
controls allow instant access at all times. The MP7 additionally provides the possibility for connecting a litlite to  
compensate for poor lighting in a live mixing environment. Recessed carrying handles in both side panels and an  
extremely sturdy transport coverlid protecting the controls ensure easy and safe transportation. Besides, if you want  
to include your MP7 in a 19" rack system, the only thing you have to do is to exchange the side panels for metal rack  
ears. Its powerful 2x300W/4ohms power amp, a huge amount of functions, high dynamic range, low-noise design  
and its 18-bit Dual-Stereo FX-section, the MP7 is best equipped for universal use.  
The MP7 is going to fulfill all your expectations that you can possibly demand of an Entertainment System.  
Use this owner’s manual as a guide when exploring the capabilities of your MP7. The vast amount of integrated  
functions is all explained systematically and point-by-point. Moreover, you will find some useful tips on how to  
overcome general difficulties during live-performance applications.  
Unpacking and Warranty  
Open the packaging and carefully take out the MP7. Detach the protective foil covering the FX-unit display. In addition  
to this owner’s manual you will find the mains cord and the warranty card. Please make sure that the warranty  
registration form is filled out correctly. You will be able to apply for warranty claims only when this form has been  
completed. We grant 36 months of warranty, starting with the date of the original purchase. Therefore we ask you to  
also keep the original certificate of purchase, stating the date of purchase. Experience has shown that keeping the  
original packing as well as carefully storing all documents accompanying the appliance generally increases the price  
when reselling the device.  
Installation and Connections  
Always install the MP7 on an even surface to allow for sufficient airflow during operation. The device is equipped with  
an electronically controlled fan to protect the power amplifier section against thermal overload. The ventilation direction  
is Front-to-Rear. Fresh, cold air enters the mixer at its front side and warm air leaves the appliance through the  
ventilation louvers in the rear panel. Do not cover the frontal or the rear ventilation louvers, since otherwise, the MP7  
would automatically enter protect mode, preventing damage through thermal overload. When protect mode is  
engaged, the device is not going to be damaged. Nevertheless, regular operation is not possible during this period  
of time. In case you have decided to install the MP7 in a 19" rack system, make sure to leave at least 2RU of room  
above and at least 1RU of empty space below the appliance. Of course, you can cover the resulting gaps in the rack  
system using optionally available blinds with ventilation louvers. Before establishing the mains connection, please  
make sure that the appliance matches the voltage and frequency of your local mains supply. Mind the label next to  
the mains switch stating the operation voltage your MP7 is factory-preset to. When switching the MP7’s power on,  
the internal fan will run for approximately 2 seconds at full speed. This is to provide you with an acoustic signal that  
the mixer is ready for operation. Additionally, any dust particles that might have gotten into the enclosure are blown  
out. The SPEAKER OUTPUTS on the rear panel of the MP7 are provided through professional standard SPEAKON  
high-performance connectors, which offer absolute secure connection. The pin-assignment of these sockets is 1+  
(hot) and 1- (cold).  
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INPUT/MONO  
1. MIC  
Electronically balanced XLR-type inputs (identical to the ones found on major studio and  
live sound mixing consoles) for connecting low-impedance microphones. The input stage  
provides extremely low noise and low hum signal processing at an outstandingly low  
distortion rate (<0.002% typically) even in the high frequency range. Generally, any type of  
microphone can be connected as long as its pin assignment  
is in accordance with the diagram shown aside. Connecting  
condenser-type microphones is no problem. In that case the  
connected microphone gets its power supply (+24V) directly  
from the mixer. So, battery replacement belongs to the past.  
Using dynamic and condenser microphones together on these  
inputs is generally possible. Nevertheless, please make sure to consider the owner’s  
manual of the employed microphones. The MIC-inputs are capable of handling levels in the  
range between -60dBu ... + 11dBu; depending on the setting of the corresponding gain  
control. Because of their design, which is especially matched for connecting low-impedance  
microphones as well as their phantom power capability these XLR-inputs are not suitable  
for the connection of additional mixing consoles, FX-units, keyboard instruments, or other  
electronic gear. When connecting this kind of equipment, please utilize the LINE-inputs.  
2. LINE  
Electronically balanced inputs for the connection of electronic instruments, such as  
keyboards, drum computers, E-guitars and E-basses with an active output, as well as all  
other high level signal sources, like additional mixers, FX units, CD player, etc. The  
LINE-inputs have been designed to handle levels in the range between -40dBu … + 30dBu.  
Connecting balanced or unbalanced signal sources is equally possible using monaural or  
stereo phone plugs, with their pin-assignment matching the diagram. If the device that is  
going to be connected is furnished with a balanced output stage, using balanced cables  
with stereo phone plugs is certainly preferable. This type of connection is greatly insensitive  
to the induction of external noise or HF interference.  
Do not connect signal sources to a channel’s MIC and the LINE inputs at the same time,  
since the signals cause mutual interference, which results in level reduction.  
When connecting signal sources, please make sure that the corresponding channel  
faders or at least the master faders are at their minimum settings. This will save  
yourself, your audience, and the equipment from extensive wear from unpleasant  
plug-in noise.  
3. LO CUT 80Hz  
TheLOCUT-switchallowsmutingfrequen-  
cies below 80 Hz by 18dB per octave.  
Especially for microphone applications  
using the LO CUT filter is good advice,  
since it efficiently suppresses popping so-  
unds and rumbling noise as well as low-fre-  
quency feedback. Additionally, in most  
cases activating the LO CUT filter allows  
boosting the bass, without having the un-  
wanted “booming”.  
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INPUT/MONO  
Another welcome side effect is, that the power amplifier and the connected loudspeaker  
systems are not “polluted” by low-frequency interference “closing off” the sound system,  
which certainly is not in yours or the audience’s interest. Your speaker systems will provide  
you with a truly clear, natural, and powerful sound performance when using the Lo CUT  
filter.  
4. GAIN  
Rotary control for adjusting the MIC or LINE inputs’ sensitivity, while optimally matching the  
incomingsignalstothemixer’sinternaloperationlevel. Cautiousadjustingoffersthebenefits  
of an improved S/N-ration and provides you with the full bandwidth of the MP7’s outstanding  
sound capabilities. On the XLR-type connectors an amplification of +10dB is achieved when  
the control is set all the way to the left and +60dB when the control is set to its maximum  
position to the right. Especially when dealing with very low input levels, like they occur during  
vocal recordings or when picking up distant sound sources, the high gain is extremely  
profitable. Using the LINE-input, the signal is generally attenuated by -20 dB, while  
maintainingthetotaladjustmentrangeof50dB. TheLINE-input’sunitygain-noamplification  
(0 dB) - is achieved at the 20dB mark. The following is meant as a short note for your  
assistance on how to determine the correct input level.  
Note on how to set the input level:  
1. Set the gain control and the corresponding channel fader to their minimum setting.  
2. Connect the desired sound source (microphone, musical instrument, ...) to the  
corresponding MIC or LINE input.  
3. Play the sound source at its highest volume setting; respectively, sing or speak as  
loud as possible directly into the microphone.  
4. While doing so, adjust the input level using the gain control, so that during the loudest  
passages the PEAK LED is just not lit, but the SIGNAL-LED lights constantly.  
This is the basic channel setting, leaving you with at least 8dB of headroom. Which me-  
ans, you have at least a range of 8dB before signal clipping. In case you intend to  
make further adjustments to the channel’s EQ setting, you should perform steps 3. and  
4. again afterwards, since changes in the sound shaping section also influence the  
channel’s overall level.  
5. EQ SECTION  
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within  
different frequency bands. Turning an EQ level control to the right enhances / amplifies the  
corresponding frequency range while turning it to the left lowers / attenuates the signal of  
that specific frequency band. Before altering to the sound, all EQ controls should be set to  
their neutral position; i.e. their markers point straight up (detent position). If possible, do not  
set the EQ controls to extreme positions. Usually, minor changes are totally sufficient and  
produce the best results in the overall sound. You should use a natural sounding  
reproduction as an orientation mark and rely on your musically trained ear, which still is one  
of the best instruments for judging the sound quality. Try to avoid excessive enhancement  
of the MID band. The moderate use of the MID control is the best remedy to avoid acoustical  
feedback. Lowering the frequency  
band’s level more or less will provide  
you with high amplification rates wi-  
thout feedback. Set the LO-EQ in ac-  
cordance to your personal taste, for  
instance to achieve the desired, volu-  
minous vocal sound. Use the HI-EQ to  
provide vocals with more crisp.  
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INPUT/MONO  
6. PAN  
The setting of the PAN control defines the input signal’s position within the stereo image.  
When set to its center position, the audio signal is fed with equal levels to the left and right  
master busses. The PAN section’s design ensures that the overall relative level of an audio  
signal is maintained, no matter to what position within the stereo image the PAN control is  
set.  
7. FX1/2  
Using the FX1/2 control lets you route the corresponding input signal to the integrated digital  
effects units FX1 or FX2 at variable levels. In this way assigning special effects to musical  
instruments or vocals is fairly simple. When establishing an effect-mix, it is good advice to  
start with all FX-controls set to their center position. From this point you can increase or  
reduce the effect’s intensity, depending on your personal preferences. Please make sure  
to carefully monitor the PEAK LED’s in the FX1/2 channels during a performance. The  
indicator should only light briefly at the occurrence of peak signals. If the LED lights  
constantly, it is strongly recommended to lower the affected channels’ send levels at their  
FX1/2 controls. For further information, please refer also to the paragraphs on the FX1/2  
units.  
8. MUTE  
Engaging the MUTE button mutes the audio signal of the corresponding input channel.  
9. PFL  
Engaging this button assigns a channel’s audio signal to the PFL bus. For monitoring the  
PFL bus signal via headphones slide the PHONES MIX fader in the direction “PFL”.  
Simultaneously assigning more than one channel to the PFL bus is possible, while the  
individual channel’s volume fader setting is not recognized (PRE FADER LISTEN). Once  
a PFL button is pressed, the master display automatically enters PFL/PGM mode (yellow  
LED below the display lights). The right LED-chain indicates the level of the master audio  
signal (PGM), while the left LED-chain indicates the PFL bus signal level. This allows you  
setting a signal’s correct level or making special EQ-adjustments without the need of  
including it in the main mix.  
10. SIGNAL / PEAK indicator  
The Signal / Peak indicator provides optical information of a channel’s actual signal level  
at all times. As already mentioned in the chapter “setting instructions”, the “signal present”  
LED should blink in the rhythm of the incoming signal. If this is not the case, increasing the  
input level using the gain control is necessary. On the other hand, if the PEAK LED blinks  
frequently or lights constantly, the corresponding channel is likely to enter clipping and you  
have to reduce amplification using the gain control. The “signal present” LED lights at levels  
30dB below clipping while the peak LED lights at a level of 8dB below the occurrence of  
overdrive. To prevent the mixer’s input channels from clipping, which for instance may be  
caused by increasing volumes, keeping an eye on these indicators during operation is a  
goodidea, too. Ofcourse, engagingachannel’sPFL-buttonallowsmonitoringthatchannel’s  
level via the display in the master section. Be sure to only engage the PFL-key of the channel  
that you are about to adjust. The channel’s level is displayed in the master display’s left  
LED-chain. Here as well, make sure that the red LED (+12dB) lights only briefly during  
dynamic peaks.  
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INPUT/MONO  
11. VOLUME  
Thechannelfaderisusedtosetthevolumeofasinglechannelandtoestablishanaccurately  
proportioned mix of all input signals. The channel faders should be positioned within the  
range of -5dB to 0dB, leaving you with a sufficient degree of control to allow precise matching  
of relative big differences in the channel’s level settings. Afterwards the overall volume is  
set through the use of the master fader. Even though the channel faders offer an additional  
gain of +10dB, it is good advice not to exceed the +5dB position.  
12. TALK  
TheTALK-keyisspeciallymeantforannouncementsorDJ-likemoderationwithbackground  
music programs (talk over). Engaging this key automatically attenuates the signal levels of  
the channels 2-7 by about 15dB. Therefore the announcer channel (channel 1) clearly  
stands above the rest mix, without need to alter any of the mixer’s level settings. Since the  
TALK function is only active as long as the TALK-key is kept pressed down, you have to  
engage it for the entire period of time you want to make an announcement. As long as the  
TALK-key is not engaged, channel 1 functions like channels 2 and 3.  
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INPUT/STEREO  
13. STEREO INPUT  
A (CD/MD):  
Unbalanced stereo inputs for connecting LINE level devices like for example: CD-Players,  
MD-Players, Tape Decks, PC Soundcards, etc.  
B (phono): only channels 4/5  
- stereo inputs with RIAA equalization for the connection of magnetic turntable pickups.  
Caution: Make sure to connect magnetic turntable pickup systems only. These inputs  
are not suitable for connecting high-level audio signal sources like CD-Players, etc.!  
Do not forget to connect the turntable’s ground wire to the PHONO GROUND binding  
post. Otherwise it is likely that you are faced with interference noise.  
Tip: When using turntables, high acoustic output levels can result in unwanted feedback.  
You can avoid this from happening during a performance by rehearsing the latter scenario.  
Set the sound system to the desired maximum output level while using a turntable as sound  
source. Feedback mostly generates in the low-frequency range, for that the RIAA-equaliza-  
tion of the phono inputs amplifies the signal by up to approx. +20dB. Therefore, it is good  
advice not to position turntables and mixer gear directly in front of the loudspeaker systems.  
Pieces of plastic foam or special shock absorbers may be a remedy. But when using them  
make sure not to cover any ventilation louvers of the equipment.  
14. INPUT SELECT  
Simultaneously connecting audio signal sources to both inputs (A and B) is possible. Using  
the INPUT SELECT switch lets you select whether you want to reproduce the signal of  
source A (CD/MD) or B (turntable for channels 4/5 or CD/MD for channels 6/7). Before  
connecting a sound source, make sure to set the corresponding input’s CHANNEL FADER  
(22) to its minimum position. This prevents the connected loudspeaker systems and the  
audience from being abused by nasty crackling noise.  
15. GAIN  
The setting of this control defines a channel’s input sensitivity. It is fairly simple to match  
the input level of different audio signal sources by individually adjusting the GAIN controls  
of each channel, so that the signal LED “SIG” is constantly lit while the peak LED “PK” lights  
briefly during peak levels only. GAIN adjustment should always be carried out with  
EQ-controls set to their center position. This leaves enough headroom for later EQ-adjust-  
ment without clipping. Using the PFL/PGM Split function of the master display lets you trim  
achannel’sinputlevelsettingmoreprecisely. EngageaPFLbuttonandtheyellowPFL/PGM  
LED beneath the master display will light while the right LED-chain indicates the level of  
the momentarily running master signal (PGM) and the left LED-chain indicates the PFL-bus’  
level.  
Tip: The correct use of the PFL/PGM Split function during mixing facilitates the matching  
of different signal levels to a great extent. Presuming that during playback you have set the  
channel faders to their maximum position, pressing the PFL-button of the channel that you  
are about to adjust the level for, lets you monitor the different levels on the master display.  
The left LED-chain indicates the level of the PFL-channel while the right LED-chain displays  
the level of the momentarily played back audio signal. Using the GAIN-controls this allows  
optimally matching the two signal levels.  
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INPUT/STEREO  
16. TONE CONTROL  
The mixer’s tone control section allows  
very differentiated and effective sha-  
ping of the incoming audio signal within  
miscellaneous frequency bands. Tur-  
ning one of the tone controls to the right  
enhances/amplifies the corresponding  
frequency range while turning it to the  
left lowers/attenuates the signal of the  
specific frequency band. Before alte-  
ring the sound, all tone controls should  
be set to their neutral position; i.e. their  
marker points straight up (detent posi-  
tion). Please, keep in mind that the  
stereo channel EQ’s are so called Kill-  
EQ’s. Up to turning them to their -6dB marking the tone controls behave analogue to their  
counterparts in the mono-channels. When turning the controls further, the “Kill”-function  
becomes active and nearly totally attenuates the corresponding frequency band. The  
“Kill”-function is meant to be used as special effect providing you with the opportunity to  
produce mixes that are as creative and entertaining as possible. In this way and when using  
the MP7 for Karaoke, the MID-control lets you effectively mute the lead vocals of the original  
recording.  
17. BAL  
This control lets you determine the proportion between a stereo-channels left and right audio  
levels. During the playback of pre-recorded music leaving the BAL-control as close as  
possible to its center position is strongly recommended. Extreme settings for this control  
should be left for effect purposes only.  
TRANSITION SECTION  
The TRANSITION FADER in the master section allows conveniently cross-fading between  
two channels. Assigning each stereo channel to one of the two fader-sides “X” or “Y” is  
possible via corresponding switches.  
18. ASSIGN X/Y  
This switch allows assigning the corresponding channel’s audio signal to either side “X” or  
“Y” of the TRANSITION FADER. The two LED’s next to the switch indicate the ASSIGN-  
status (blue = X, green = Y, off = TRANSITION inactive).  
19. TRANSITION  
This switch allows assigning the corresponding channel to the TRANSITION FADER.  
CAUTION: Whenever you want to listen to a channel’s audio signal via the master  
while the corresponding TRANSITION-switch is set to “on”, you have to raise the  
channel fader and slide the TRANSITION FADER to the side, which you have  
previously selected using the ASSIGN X/Y (18) switch.  
20. PFL  
Engaging this button assigns a channel’s audio signal to the PFL bus. For monitoring the  
PFL bus signal via headphones slide the PHONES MIX fader in the direction “PFL”.  
Simultaneously assigning more than one channel to the PFL bus is possible, while the  
individual channel’s volume fader setting is not recognized (PRE FADER LISTEN). This  
allows you setting a signal’s correct level or making special EQ-adjustments without the  
need of including it in the main mix. Once a PFL button is pressed, the master display  
automatically enters PFL/PGM mode (yellow LED below the display lights). The right  
LED-chain indicates the level of the master audio signal (PGM), while the left LED-chain  
indicates the PFL bus signal level.  
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INPUT/STEREO  
21. SIGNAL / PEAK indicator  
The Signal / Peak indicator provides optical information of a channel’s actual signal level  
at all times. As already mentioned in the chapter “GAIN”, the “signal present” LED should  
blink in the rhythm of the incoming signal. If this is not the case, increasing the input level  
using the gain control is necessary. On the other hand, if the PEAK LED lights constantly,  
the corresponding channel is likely to enter clipping and you have to reduce amplification  
using the gain control. The “signal present” LED lights at levels 30dB below clipping while  
the peak LED lights at a level of 8dB below the occurrence of overdrive. To prevent the  
mixer’s input channels from clipping, which for instance may be caused by increasing  
volumes, keeping an eye on these indicators during operation is a good idea, too. Of course,  
engaging a channel’s PFL-button allows monitoring that channel’s level via the display in  
the master section. Be sure to only engage the PFL-key of the channel that you are about  
to adjust. The channel’s level is displayed in the master display’s left LED-chain. Here as  
well, make sure that the red LED (+12dB) lights only briefly during dynamic peaks.  
22. CHANNEL FADER  
Stereo Fader for setting the volume of a stereo channel.  
Different from the fader function of the MIC input channels, here, the audio signal is not  
amplified when a channel fader is set to its maximum position. To be sure to use the mixer’s  
entire dynamic capacity, set the CHANNEL FADER during playback to its maximum  
position.  
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EFFECT 1/2  
FX1/FX2  
The MP7 employs two completely independent 18-bit stereo effect units - FX1 and  
FX2. The setting of the mono input channels’ individual FX-controls determines the  
audio signal that is fed to these two units. Identically configured, each unit provides  
99 stereo program presets, which can be selected through the use of the UP/DOWN  
buttons. The 99 preset programs are sorted by algorithm and effect type into different  
groups, as indicated on a printed label. The programs within each preset group are  
sorted in ascending order where higher numbers provide the same FX type with  
increased intensity. The presets 1 - 20 offer high quality reverberation effects that  
are equally suited for being used during live performances, in the recording studio or  
in your home recording environment. The program numbers 21 - 40 provide mixed  
effect types of echo/reverb and chorus/reverb while the numbers 41 - 60 offer different  
delay effects. The last group from 61 - 99 provides different flanger, chorus, and  
doubling presets as well as special delay and reverb programs. During the initializa-  
tion of the FX-units, when turning the MP7’s power on, the preset 05 (Large Hall 3  
Bright) is selected for the FX1 while the FX2 unit is set to preset 55 (Delay Mono  
250ms). These two effect programs are equally suitable for live performances and  
recording applications, plus that they are especially useful complementing each other  
when using both FX-units at the same time. For a more detailed description and for  
selecting or testing effect presets, please, also refer to the supplementary information  
form “EFFECT PRESETS”, which lists all preset names together with the correspon-  
ding program profiles, their individual characteristics, and a description of how and  
in which combination they are best used. Take your time to test all presets and select  
the ones that are best suited for your specific needs. Program number “0" is a Slap  
Back Echo effect, which is mainly meant for service and testing purposes. That is the  
reason why it is not included in the effects listing on the front panel.  
FX1/FX2  
1.......10  
11.......20 21.......30 31.......40 41.......50 51.......60 61.......99  
REVERB REVERB ECHO  
HALLS PLATES REVERB REVERB STEREO  
CHORUS DELAY  
DELAY  
MONO  
SPECIAL  
PROGRAMS  
23. DISPLAY  
The display always indicates the actually selected program number for the corre-  
sponding FX-unit.  
24. UP/DOWN  
The UP/DOWN-keys let you step through the effect programs one by one in  
increasing or declining order. Keeping either one button pressed for a longer period  
of time allows scrolling the effect program numbers with increased tempo.  
25. FX ON  
Engaging this switch turns the power of the corresponding internal FX-unit on and  
the green LED lights. For intelligibility reasons switching the FX-units off during  
announcements is recommended.  
Pushing down the TALK-button while making an announcement from the MIC1-input  
channel automatically reduces the audio signal’s effects portion.  
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EFFECT 1/2  
26. PEAK LED  
These indicators signal if the input stages of the internal FX-units are driven into  
clipping. To achieve an adequate S/N-ratio, please adjust the FX units’ input level as  
follows.  
Note on how to adjust the FX input signal:  
1. Establish a “dry” mix - without effect settings - according to the previous  
descriptions.  
2. Set the FX-return control (27) of the corresponding effect channel to its  
center position.  
3. Use the UP/DOWN-buttons to select the desired FX-program preset.  
4. Press the FX ON-switch.  
5. Play the sound source of the desired input channel and adjust the desired  
amount of the FX-signal, using the FX-controls of the input channel until the  
resulting effect mix meets your requirements. Repeat this procedure for all  
input channels that you would like to include in the effect mix.  
6. Please make sure that the PEAK LED only lights frequently at highly dynamic  
signal peaks.  
7. Now, using the FX-return controls lets you alter the percentage of the effect  
signal in the main mix.  
It is good advice to keep an eye on the peak indicators when operating your MP7  
to be able to quickly interact when the signal levels exceed the normal range and  
enter clipping.  
27. EFFECT RETURN FX1 / FX2  
The setting of these stereo controls determines the amount of the effect signal getting  
added to the main mix.  
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TRANSITION / PHONES  
28. X/Y LED  
These LED’s indicate whether an input channel has been  
assigned to either side of the TRANSITION FADER (29).  
When these LED’s are dimmed, the transition function has  
not been activated for either input channel and the TRANSI-  
TION FADER is inactive.  
29. ASSIGNABLE TRANSITION  
This assignable fader allows comfortably cross-fading be-  
tween the audio signals of two selected input channels.  
Please refer to the paragraph TRANSITION SECTION in the  
chapter INPUT STEREO.  
30. PHONES  
This control lets you adjust the headphones’ volume.  
Caution: Depending on the type of headphones connec-  
ted to the phones jack, the MP7 is capable of producing  
very high output levels via the phones output. Therefore,  
make sure to turn the control all the way to the left  
(minimum setting) before connecting the headphones.  
Be aware of the fact that listening to loud sound pressure  
levels over a longer period of time leads to hearing-da-  
mage!  
31. PHONES MIX  
This fader lets you cross-fade the PFL (audio signal sum of  
all channels with engaged PFL-function) and PGM (the actual  
master signal) audio signals via headphones.  
The fader lets you pre-listen the function of the TRANSITION  
FADER via headphones.  
32. PHONES  
STEREO phones jack for the connection of headphones with  
an impedance of 32 - 600 ohms. Two phones connectors are  
available: one on the controls panel and one on the mixer’s  
front panel.  
33. LAMP  
XLR-socket for connecting a gooseneck litlite (12VDC / 2.4W  
max.). Please be sure to painstakingly mind the specificati-  
ons on the power consumption and pin-assignment of the  
used lamp. Overload or short-circuit can result in serious  
damage or failure of the output. If possible, only use the  
gooseneck litlite (112700), which is available from the DY-  
NACORD accessory assortment. If in doubt, please consult  
your local dealer.  
35  
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MASTER  
34. MASTER B  
This control allows setting the output level of the MASTER B, which is a  
second universal stereo output carrying the stereo-sum audio signal iden-  
tical to the MASTER A. It is extremely useful in accomplishing sound  
reinforcement in a neighboring room or monitoring purposes using a second  
power amplifier. For more details, please refer to the CONFIGURATION  
EXAMPLES.  
35. STEREO/MONO  
The MASTER B outputs carry a stereo signal if this switch is set to the  
STEREO position (not engaged).  
When set to MONO (engaged), the MASTER B outputs the sum of the left  
and right channels.  
36. PRE/POST  
Setting this switch to PRE (not engaged) lets you control the MASTER B  
level independent from the level of the MASTER A. When set to POST  
(engaged), the MASTER B signal is post the MASTER A fader. Changing  
the level of MASTER A also alters the MASTER B level.  
37. MONO OUT  
This control lets you set the output level of the MONO OUT connector (40).  
The MONO OUT outputs the summed audio signal of the left and right  
channels independent from the setting of the MASTER A Fader (pre fader).  
The MONO OUT is mostly used for connecting the monitor system or a  
light control desk.  
38. SUB OUT  
The SUB OUT represents an output that is especially implemented for  
connecting a subwoofer via an external power amplifier. The SUB OUT  
audio signal relates to the MASTER A fader’s setting (post fader). It employs  
an internal 12dB/oct, 100Hz low-pass filter. The SUB OUT control lets you  
set the proportion between subwoofer and general output levels of the  
system.  
CAUTION: In case you would like to connect an active subwoofer to  
the SUB OUT connector, make sure that it does not incorporate an  
integrated frequency crossover or if so, that it is deactivated! If this is  
not possible, you are left with the options of choosing the Mono OUT  
or MASTER B outputs to accomplish the task.  
The SUB OUT audio signal is output via the SUB OUT connector (41).  
39. RECORD SEND  
These RCA-type connectors carry the MASTER A pre-fader audio signal,  
which means that the setting of the master fader doesn’t affect the level of  
the audio signal that is present at the RECORD SEND connectors, which  
let you connect a CD/MD recorder or TAPE/DAT deck. The nominal level  
of -10dBV at this output is suitable for professional use as well as for home  
recording purposes.  
40. - 43. OUTPUT CONNECTORS  
Impedance-balanced outputs for the connection of external gear. The  
outputs are carried out as stereo phone-type jacks. Whenever possible use  
balancedcables. Balancedcablingisthebestmethodforavoidingproblems  
with interference and humming (see chapter: Configuration of a standard  
PA-system)  
44. POWER AMP INPUT  
Electronically balanced input of the internal power amplifier with signal-split  
function. Connecting a phone-type plug interrupts the signal path between  
MASTER A and internal power amp. You can now feed the internal power  
amplifier from the POWER AMP INPUT. The MASTER A audio signal is  
still output via the MASTER A OUTPUTS.  
36  
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MASTER  
45. STATUS INDICATORS  
These LED’s provide information about the actual operational status  
of the MP7’s internal power amplifiers.  
POWER ON lights whenever the MP7’s power is set to ON. If, after  
switching the MP7 on, the LED does not light, the first thing to do is  
to make sure that the mains plug is plugged in correctly. If that is the  
case and the LED still stays dimmed, please contact your dealer.  
The LIMIT indicator signals that the MP7’s internal power amplifiers  
are actually operated at their limits. Frequent blinking of the LED is  
acceptable, since the amplifiers’ incorporated limiters prevent the  
occurrence of distortion. Continuous lighting indicates that degrada-  
tion in the outputted sound is likely to happen. In that case, reducing  
the master level is recommended.  
The PROTECT indicator lights when one of the power amplifiers’  
extensive protection functions - against thermal overload, HF-induc-  
tion, DC at the outputs, and SOAR-protection - is activated. When  
the MP7 is in protect mode, the speaker outputs are muted and the  
inputs of the power amplifier are short-circuited to prevent the  
amplifiers from being damaged. In this case you should first check if  
the frontal and/or rear ventilation louvers are blocked. Another cause  
for the activation of the protect functions might be, that you have  
connected more than three 8ohms speaker systems per power  
output. Please also disconnect the SPEAKON connectors and check  
the speaker cables for short circuit. During the power-on operation,  
the PROTECT LED always lights for about two seconds. This is  
normal. It indicates that the MP7’s protection circuitry is operational.  
46. 7-BAND EQUALIZER  
The MP7’s integrated, switchable 7-Band Stereo Graphic Equalizer  
is located in the L/R master channel section. The seven frequency  
bands - each providing ±10dB amplification/attenuation - offer the  
possibility to optimally match the overall sound to the acoustic  
conditions of different locations or shape it according to your personal  
taste.  
37  
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MASTER  
The frequency ranges as well as the characteristics of the EQ-faders  
are designed to meet your day-in-day-out requirements. In case you  
intend to have a clear and highly intelligible sound, you might want  
to increase the level setting of the 8kHz or 16kHz band a bit. If the  
mid-range sounds a bit nasal, try attenuating the mid-band by some  
decibels. If you like to provide your sound with more bass, you have  
to boost the low frequency range, using the 80Hz or the 250Hz  
controls. On the other hand, if the overall sound is undefined with  
too much bass, lowering the levels of these two frequency bands  
will solve the problem. Especially when using the equalizer, being  
aware of the fact that in most cases less can be more is good advice.  
47. EQ ON/OFF  
This switch activates or deactivates (ON / OFF) the integrated  
7-BAND-EQUALIZER.  
48. MASTER DISPLAY  
The MASTER DISPLAY offers two modes. The PFL/PGM LED (49)  
indicates which one is actually selected:  
a) MASTER A Level: LED (49) is dimmed. The two LED-chains  
indicate the audio level that is output via the MASTER A  
OUTPUTS L and R in dBu.  
b) PFL/PGM Split: LED (49) lights. This mode is automatically  
activated when pressing a PFL-button. The left LED-chain  
indicates the PFL-bus level while the right LED-chain indicates  
the audio level of the master sum. (please also refer to the  
chapter INPUT STEREO)  
49. PFL/PGM SPLIT LED  
Indicates the master display mode.  
50. BAL  
This control is for determine the ration of the levels of the left and  
right MASTER A output channels. During music playback, it is  
recommended to leave the BAL-control at its center position when-  
ever possible. In most cases, extreme settings are only useful for  
effect purposes.  
51. MASTER A FADER  
Stereo fader for adjusting the overall volume as well as the output  
level of the internal power amplifiers and the MASTER A OUTPUTS.  
Please, make sure to close the fader of the corresponding input  
channel or at least the MASTER controls before connecting any  
audiosignalsources. Thiswillsaveyourself, youraudience, and  
your equipment from unnecessary stress resulting from plug-in  
noise.  
38  
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REAR PANEL  
SPEAKER OUTPUTS RIGHT / LEFT  
The MP7 provides professional SPEAKON-type high-perfor-  
manceconnectors, whichoffermechanicallyandelectricsecu-  
re connection that complies with any safety standards.  
Additionally, SPEAKON-type connectors allow utilizing high-  
performance loudspeaker cables with diameters of up to 4 x  
2
2.5mm .  
Single plugs and jacks as well as high-performance speaker  
cables are available from the DYNACORD accessory assort-  
ment.  
POWER  
Mains switch for switching the MP7’s power ON or OFF. The  
appliance is operational when the POWER ON-LED lights and  
the power relays have switched the power amplifier output  
signal to the speaker outputs.  
Before switching the mixer’s power on, make sure to set  
the master faders to their minimum position. This will save  
yourself, your audience, and your equipment from unne-  
cessary stress resulting from switching or feedback noi-  
se.  
When switching your audio system on with additional power  
amplifiers or other electronic equipment, like for example  
CD-Players, MD-Recorders, etc. connected, please proceed  
in the following sequence:  
1. switch the CD-Player’s power on  
2. switch the MP7’s power on  
3. switch the additionally connected gear (power  
amps) on  
Please proceed in the opposite sequence when switching the  
audio system off.  
PHONO GROUND  
Facility for connecting the chassis ground of a turntable. Make  
sure to connect the chassis ground to the PHONO GROUND  
screw. Otherwise you might be facing hum and interference  
noise.  
39  
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STANDARD INSTALLATION  
CABLING  
The mains cord is supplied with your MP7. The quality of all other cables is left to your responsibility. Carefully chosen  
high quality cables are the best precaution to prevent problems from occurring during the later operation. In the  
following we would like to provide you with some recommendations for the trouble-free operation of your setup.  
SPEAKER CABLES  
Our experience as a manufacturer of loudspeaker systems has taught us that flexible cables with a rubber jacket and  
2
a diameter of 2.5mm per conductor, used in combination with SPEAKON plugs and sockets, are the best choice to  
guarantee the optimal connection of loudspeaker systems. The connection of the SPEAKON plugs to the  
corresponding connectors on the MP7’s rear panel has to be in accordance to the corresponding diagram below. We  
recommend the use 4-wire cables where also the pins 2+ and 2- are connected through. This provides you with the  
possibility to use these cables in an active 2-way system configuration, as well. DYNACORD speaker cables with  
SPEAKON connectors and all other cables, plugs, and sockets are available at your professional audio dealer.  
LF-CABLES – BALANCED OR UNBALANCED?  
For LF-cabling – all the low current wiring – your best choice are balanced cables (2 signal conductors + ground  
shielding) with XLR-type connectors or stereo phone jacks and plugs. The cables should be step proof, shielded,  
and never longer than absolutely necessary. Too many too long cables mostly lead to confusion and generate  
unnecessary problems.  
Of course, you can also connect unbalanced cables with monaural phone plugs to the MP7’s in- and outputs and  
because of its superb grounding managing system, in most cases no interference will occur. Still, there is a minimal  
risk that problems could arise. Generally spoken, if you have the choice, balanced LF-cables are always the better  
solution and they should be preferred. Today’s modern audio equipment – like amplifiers, equalizers, FX units, mixing  
consoles, and even some keyboards – offers balanced in- and outputs. In a balanced signal path, the cable screen  
provides a gapless connection of all metal parts, offering efficient shielding against the induction of external noise.  
The balanced cabling in conjunction with the common-mode rejection of the MP7’s input stage effectively eliminates  
even existing artifacts of interference. All inputs of the MP7 provide balanced audio connections and high  
common-mode rejection. The mixing stage outputs – MASTER B, MOMO OUT, etc. – are laid out in GND-SENSING  
technology – a special, impedance-balanced pin assignment of the output jacks, offering all advantages of the  
balanced signal transmission, but lets you also connect monaural phone plugs, without a problem. Nevertheless –  
as mentioned above – when longer cables are involved, using stereo phone plugs and balanced cables are the better  
alternative. The diagrams below show the pin assignments of plugs and cables like they can be used with the MP7.  
balanced connecti-  
MIC INPUT of the MP7  
on of microphones  
unbalanced  
external equipment  
with XLR-connectors  
for in- and output  
All phone jack-type  
in/outputs of the MP7  
balanced  
unbalanced  
external equipment with  
jack-type connector for  
inputs and outputs  
All phone jack-type  
in/outputs of the MP7  
balanced  
40  
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STANDARD INSTALLATION  
In the following we will explain how to set up a standard PA-system with monitoring facility using the MP7.  
The equipment list includes:  
1
2
2
2
2
2
1
1
MP7  
Hi-range speaker system cabinets, e.g. CP 12-2  
Bass speaker system cabinets e.g. CP 12-1  
Loudspeaker pole-mount stands or 2 intermediate poles  
Speakon cables, 8m  
Speakon cables, 2m  
AM12 active monitor system  
LF-cable with stereo phone plugs  
Setting up  
Look for the most suitable location to set up the loudspeaker systems. Whenever possible, place the bass  
cabinets on the floor and the Hi-range cabinets directly on top. However, in doing so, make sure that the  
hi-range cabinets’ lower edge is in the same height of the audience’s heads or above. You can either use  
intermediate poles between the bass and Hi-range cabinets or, if this does not provide enough elevation for  
the speaker systems or there are no bass cabinets included, use appropriate speaker pole-mount stands.  
Compact overall sound is achieved by placing the left and right loudspeakers as far apart from each other as  
necessary but as close together as possible.  
Make sure that the main speakers are not behind you. Otherwise you will be facing feedback whenever your  
system set-up includes microphones or turntables.  
Use SPEAKON-type cables to establish connections between the loudspeaker systems and the MP7. Follow  
the instructions as shown in figure1. Make sure not to inadvertently reverse connect the left and right channels.  
The short SPEAKON-type cables are used to parallel connect Hi-range and Bass cabinets.  
(Fig. 1)  
41  
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STANDARD INSTALLATION  
Place the needed sound source devices (e.g. CD-Player, turntable) or microphones on a secure even location  
and, if necessary, establish mains connections  
Connect all the gear to the MP7 (Fig. 2).  
(Fig. 2)  
Employ cables with stereo phone-type plugs to connect the AM12 to the MONO OUT of the MP7. Set the  
LINE IN-control on the AM12 at its center position. This lets you control the AM12’s volume setting from the  
MONO OUT-control on the MP7.  
Set all faders on the MP7 at their minimum position and turn all output controls (e.g. MONO OUT)  
counterclockwise as far as possible. Switch on the power of all included components in the following sequence:  
1. Sound source equipment, e.g. CD-Player, turntable, etc.  
2. MP7  
3. AM12 active monitors  
Following this order when switching on your system prevents unpleasant power-on noise and feedback.  
Your PA-system is now ready for operation!  
42  
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STANDARD INSTALLATION  
When operating the MP7 be sure to mind the following notes:  
1. A red LED next to the meter instruments that is constantly lit signals that the corresponding channel is on the  
verge of clipping! Use the Gain-control of the corresponding channel to reduce the audio signal level until the  
red LED lights only during program peaks.  
2. Avoid extreme output levels. The MP7 is no “HiFi-toy”!  
Employing high-quality, high-performance PA-speaker systems, like the CP12-1 and CP12-2, allows sound  
reproduction at extreme high sound pressure levels, which bares the risk of resulting hearing damage. The  
same is true for the headphones output. Do not expose your ears to high sound pressure levels over an  
extended period of time. The use of closed DJ-type headphones provides improved shielding against outer  
noise and is therefore strongly recommended. Using these types of headphones automatically leads to reducing  
the sound level settings.  
3. The Master-EQ is primarily aimed for making minor corrections in the overall sound only. Employing high-quality  
loudspeaker systems is the best guarantee for a perfect sound, even with the Master-EQ being deactivated.  
4. Make sure to carefully test all components of the entire system prior to a live-performance. Test the system  
set to the output level, which you are going to use during the later performance.  
This is the only way to ensure that you are not facing feedback or other problems with the connected gear  
resulting from vibration, shock or other sources during the later performance.  
5. However, it is good advice to check the system’s overall sound quality as well as the volume setting during a  
performance and make corrections, if necessary.  
Example 1: Extending your system with an add-on subwoofer for more bass pressure is displayed in fig. 1.  
Ask your local dealer before extending your system!  
Example 2: In Fig. 3 you can see how to control larger PA-Systems with your MP7. Simply connect the MASTER A  
outputs with the external system amplifier and the MASTER B outputs with the POWER AMP INPUTS of the MP7.  
The volume of the Main-PA is controlled by the master fader, like before. MASTER B drives the internal amplifiers  
and provides a full-stereo monitoring via two additional monitor cabinets.  
(Fig. 3)  
43  
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SPECIFICATIONS  
Technical Specifications MP7 Mixing desk in rated condition. Unity Gain (MIC Gain 20 dB), all faders position 0 dB, all pots in  
mid position, master fader + 6dB, amplifier rated output power into 8 ohms, one channel driven, unless otherwise specified.  
Maximum Midband Output Power, 1 kHz, THD = 1 %  
into 4 ohms  
into 8 ohms  
2 x 340 W  
2 x 200 W  
Rated Output Power, 20Hz… 20 kHz, THD =0.2%  
into 4 ohms  
into 8 ohms  
2 x 300 W  
2 x 150 W  
43 Vrms  
Maximum Output Voltage of the power amplifier, no load  
THD @ 1 kHz, MBW=80kHz  
MIC input to Main L/R output, +16 dBu  
Power amplifier input to speaker L/R output  
DIM 30, power amplifier  
IMD-SMPTE, power amplifier, 60Hz, 7 kHz  
Frequency Response, -3dB ref. 1 kHz  
Any input to any mixer output  
Any input to speaker output L/R  
Crosstalk, 1 kHz  
< 0.006%  
< 0.08%  
< 0.03%  
< 0.2%  
15Hz… 60kHz  
30Hz... 40kHz  
Fader attenuation  
Channel seperation  
> 90 dB  
> 70 dB  
Input Sensitivity, all level controls in max. position  
MIC input  
Line Input (Mono)  
CD/MD Line Input (Stereo)  
Phone Input (Stereo)  
Power Amplifier Input  
-74 dBu (155µV)  
-54 dBu (1.55 mV)  
-24 dBu (49 mV)  
-61.5 dBu (652 µV)  
+6 dBu (1.55 V)  
Maximum Level, mixing desk  
MIC inputs  
Line inputs  
All other inputs  
Record Send output  
+11 dBu  
+30 dBu  
+20 dBu  
+14 dBu  
+20 dBu  
All other outputs  
Input Impedances  
MIC  
1.8 kohms  
All other inputs  
> 10 kohms  
Output Impedances  
Record Send  
Phones  
All other outputs  
Equivalent Input Noise, MIC Input, A-weighted 150 ohms  
Noise, Channel inputs to Main L/R outputs, A-weighted  
Master fader down  
Master fader 0 dB, Channel fader down  
Master fader 0 dB, Channel fader 0 dB, Channel gain unity  
Signal/Noise-Ratio, power amplifier, A-weighted  
Equalization STEREO  
1 kohms  
47 ohms  
75 ohms  
-130 dBu  
-104 dBu  
-91 dBu  
-84 dBu  
105 dB  
LO Shelving  
MID Peaking  
HI Shelving  
+9/-30 dB / 60 Hz  
+9/-30 dB / 2.4 kHz  
+9/-30 dB / 12 kHz  
Equalization MIC  
LO Shelving  
MID Peaking  
HI Shelving  
Master EQ, 2x7-band, Stereo  
Phantom Power, all MIC Inputs  
Lamp  
±15 dB / 60 Hz  
±12 dB / 2.4 kHz  
±15 dB / 12 kHz  
±10 dB  
+24V dc  
+12V dc  
Power Requirements, factory preset, 50Hz....60Hz  
Power Consumption at 1/8 maximum output power 4 ohms  
Dimensions, (WxHxD), mm  
Weight, including lid  
100V/120V/230V/240V  
450 W  
455,5 x 175,8 x 340.6  
13 kg  
Optional  
Rack-Mount-Kit MP7 (NRS 90259)  
Wall-Mount-Kit MP7 (NRS 90242)  
Transition Fader MP7 (NRS 90261)  
112 844  
112 742  
112 853  
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BLOCK DIAGRAM  
65  
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ABMESSUNGEN / DIMENSIONS  
Abmessungen/Dimensions (in mm)  
66  
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GARANTIE  
WARRANTY  
GARANTIE  
Das Werk leistet Garantie für alle The manufacturer’s warranty co- La garantie constructeur couvre  
nachweisbaren Material- und Ferti- vers all substantial defects in mate- tous les défauts matériels et de  
gungsfehler für die Dauer von 36 rials and workmanship for a period main d’œuvre pour une période de  
Monaten ab Verkauf.  
Garantieleistungen werden nur purchase.  
of 36 months from the date of 36 mois à compter de la date  
d’achat. La garantie ne sera recon-  
dann anerkannt, wenn gültige, d.h. Liability claims are accepted solely, nue que si la Carte de Garantie,  
vollständig ausgefüllte Garantieun- when a valid – correctly and comple- correctement et complètement rem-  
terlagen vorliegen.  
tely filled out – Warranty Registrati- plie, est présentée par l’acheteur  
Von der Garantie ausgenommen on form is presented by the original d’origine du produit. Les dommages  
sind alle Schäden, die durch falsche owner of the product. The warranty dus à un mauvais maniement de  
oder unsachgemäße Bedienung does not cover damage that results l’appareil, à un traitement ou une  
verursacht werden. Bei Fremdein- from improper or inadequate treat- maintenance incorrects ou ina-  
griffen oder eigenmächtigen Ände- ment or maintenance. In case of déquats ne sont pas garantis. Toute  
rungen erlischt jeder Garantie- alteration or unauthorized repairs, modification ou intervention effec-  
anspruch.  
the warranty is automatically termi- tuée par une personne non qualifiée  
nated.  
entraîne la résiliation automatique  
de la garantie.  
GmbH Hirschberger Ring 45 94315 Straubing Telefon (09421) 706-0 Telefax (09421) 706-265  
Änderungen vorbehalten. Subject to change without prior notice. Printed in Germany 14. 06. 2001 / 360468  
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