1. XLR Type Audio Connector

The connectors are wired as follows.

The pin 1 is ground (shield), the pin 2 cold (low, minus), the pin 3 hot (high, plus).

2. Description of components and functions on the MCX-106.

Descriptions may vary, depending on each manu- facturer . In our Operating and I n s t r u c t i o n Manual explanation of components and f u n c t i o n s is made according to our usage for them.

MCX-106??? Operating Guide

A Few Words about design:

The MCX??? is quite an unusual product, but the reasoning behind its design was quite simple . . . . we wanted to intergrate all the basic components of a sound reinforcement system and a recording studio into a single, transportable package.

The basic components of the MCX??? are as follows:

1.Six-channel main mixer.

2.Six-channel on-stage monitor mixer.

3.Six-channel special effects mixer.

4.Six-channel recording mixer.

5.Stereo tape deck.

6.One-octave equalizer .

7.Patch bay.

8.Headphone c u e / m o n i t o r system .

9.Three-hundred w a t t power a m p l i f i e r .

10.Road case.

Each of these "components" f u n c t i o n s independently of the others, a l t h o u g h some do share common signal

make use of t h e same i n p u t e q u a l i z a t i o n on each of the six channels. And the i n p u t trim control performs the same f u n c t i o n for all four mixing sections.

Features

1.Built-in Stereo Cassette Recorder with micro- processor control

2.Six Input Channels

3.300 watt Power Amplifier

4.9-band Graphic Equalizer with Bypass Switch

5.Auto-Comp??? Compression Circuitry with LED indicator

6.Reverberation Effect with 2-band dedicated EQ

7.Fluorescent Bargraph Metering??? assignable

8.Power Amp Protection Circuitry with indicator

9.Complete patch Bay with Buss-Link???

10.Aux. Input with Stereo Balance and Level Controls ??? assignable to PGM, FB, and Rec L & R Busses

11.Headphone Monitoring/Cueing System

12.Independent Stage Monitor (FB) Mix

Each Channel

1.Input Trim Control with LED peak indicator

2.Pre-EQ foldback send

3.3-Band EQ

4.Post-EQ recording level and pan controls

5.Post reverb/effects send

6.Lo-Z Balanced XLR Input

7.Hi-Z Unbalanced 1/4" Input

Stereo Cassette Recorder

1.Full Logic Cassette Mechanism Control

2.dbx?? Noise Reduction System

3.Automatic Tape Selector with Indicator (normal,

CrO2 Metal)

4.Headphone Output with Level Control

5.Tape Transport Remote Control (start/stop)

6.Tape Pitch Control (??10%)

7.Zero Return with Automatic Cue

8.3-Digit Tape Counter

Foldback Control (FB)

The Foldback control deter- mines the level of signal assign- ed to the foldback mixing buss, thus setting the level of t h a t

channel in the on-stage monitor mix.

High Equalizer Control

(HIGH EQ)

The high EQ control alters the

high frequency response of the

input channel, providing ??13dB at 10kHz, and ??15dBat 20kHz of continuously variable active shelving equalization. The "0" detented position provides flat audio response.

Middle Equalizer Control

(MID EQ)

The mid EQ control provides ??15dB of continuously variable

active peaking equalization at

2kHz. and has a flat audio re- sponse when set to the "0" detented position.

Low Equalizer Control

(LOW EQ)

The low EQ control provides

??13dB at l00Hz and ??15dB at

50Hz (of continuously variable active shelving equalization .

The "0" detented position pro- vides flat audio response.

Reverb/Effects Control

(REV/EFF)

This control determines the?

level of signal assigned to the re- verb effects buss. Rotating the

control clockwise increases the amount of reverb effect in t h a t

channel.

Low Impedance Connectors

(LOW Z)

The XLR connectors are low im-

pedance, electronically balanced

Peak Indicator (PEAK)

The peak indicator lights when

the pre or post EQ signal level reaches 3dB below clipping, giving a visual reference for optimum s e t t i n g of the trim con- trol.

High Impedance Connectors

(HIGH Z)

These connectors are unbalanc- ed, standard 1/4" phone jacks with an input impedance? of 50k ohms, and an i n p u t level of ???35dB when the trim control is set to "10". When a plug is insert- ed into the high ???Z i n p u t , the cor- responding XLR connector is a u t o m a t i c a l l y switched out of the input circuitry.

Input Trim Control (TRIM)

The input trim adjusts the gain of the head-amp stage of the as-

sociated channel, providing 39

dB of gain control. When the trim control is set to the "10" position, the nominal input

levels of the low-Z and high-Z

inputs are ???55dB and ???35dB re-

spectively. At the "0" position

the levels are -16dB and +4dB. The trim of each channel should be adjusted so that the peak LED just begins to light, or only

flashes occasionally. This will ensure lowest distortion levels and optimum signal to noise ratio.

Recording pan Pot (REC PAN)

This control assigns the record- ing signal from each channel to

the recording L and R mixing

busses. At the center position,

the pan pot routes the signal

equally to the L and R mixing busses. Panning from one side to

the other gradually assigns the input signal to either the record- ing L or R mixing bus exclusive- ly!

Recording Level JControl

(REC LEVEL)

This control adjusts the level of signal assigned to the tape deck via the recording pan pot and stereo L and R recording busses. Rotating the control clockwise increases the amount of signal assigned to the recording L and R

busses and thus the level of that input in the "recording mix."

program mixing buss, thus de- termining the level of that channel in the main sound system mix. Since the reverb/ e f f e c t s signal is "post" this con- trol, an increase in the level of the

channel's o u t p u t will also result

in a corresponding increase in he reverb effect of that channel. The nominal level of the input level control is at the "10" posi- tion.

Aux Recording Balance

(AUX REC BAL)

This control adjusts the level balance of the aux in, L and R signals routed to the L and R mixing busses.

At the center position, the bal- ance control routes the signal

equally to the L and R mixing busses.

Reverberation High Equalizer ???

Control

(REV HIGH EQ)

The high EQ control alters the

high frequency response? of t h e reverberation signal. The "0" de- tented position provides flat audio response.

Recordig Level Control

(EFF REC LEVEL)

-Reverberation Low Equalizer Control

(REV LOW EQ)

reverberation signal. The "0" de- tented position provides flat audio response.

-Playback to Program Control

(TAPE TO PGM)

Foldback Master Control (FB)

The FB master control adjusts

the overall combined signal level of the six independent channel foldback sends, and

thus the level of the entire on- stage monitor mix.

Program Master Control (PGM)

The PGM control adjusts the

overall combined signal level of

Auxiliary Input Recording

Level Control

(AUX REC LEVEL)

This control sets the level of stereo L and R signal (from an

external source connected to the

AUX INPUT) assigned to the re- cording busses, via the AUX REC BAL control.

Auxiliary Input to Foldback Control ((AUX TO FB)

This control sets the level of aux input signal assigned to the fold- back mixing bus, and thus the level of the external aux source in the on-stage monitor mix.

NOTE: If the aux source is a stereo L and R signal (for example, a stereo casset- te player) the L and R will be combined into one mono signal before assignment to either the FB or PGM mixing bus- ses.

Auxiliary Input to Program

Control

(AUX TO PGM)

This control sets the level of aux input signal assigned to the program mixing bus, and thus the level of the external aux source in the main mix.

This control sets the level of reverb (or external e f f e c t s ) in

the recording mix, via the effects return pan pot.

Effect Recording Pan Control

(EFF REC PAN)

This control assigns the reverb

or external effects signal to the recording L and R mixing bus-

ses. In the center "detended"

position, the signal is assigned equally to L and R; panning the

control gradually assigns the

effect to either bus exclusively.

This control a d j u s t s the level of playback signal routed to t h e program mixing buss, and t h u s the level of the internal tape? source in the main mix.

Playback to Foldback Control (TAPE TO FB)

This control adjusts the level of

playback signal to the foldback mixing buss, and thus the level of the internal tape in t h e on- stage monitor mix.

the six independent channel

level controls, and thus the level of the main sound system.

Graphic Equalizer

(EQUALIZATION)

The graphic equalizer is 1/1

octave with 9 independent active bands (filters ) , providing 12dB

of boost or cut at each center fre- quency. The "0" detented posi- tion provides flat audio re- sponse.

Graphic Equalizer In/Out

Switch (IN/OUT)

The in/out switch enables com- parison between a flat response ( o u t ) and the equalized response (in) . The "out" position com- pletely removes the equalizer from the MCX-106 circuitry.

Phones Level Control

(PHONES)

The phones level control adjusts both the recording L

and R signals fed to the phones

o u t p u t and permits recording and playback monitoring.

Headphone Jack

The headphone jack will accept any stereo headphone with 8 ohms impedance, or higher.

Tape Deck Remote Control

Effect to Foldback Control (EFF TO FB)

This control determines the level of reverb/effects return signal assigned to the foldback

Buss Link Jack (BUSS LINK)

Patching Jack (PATCH BAY/OUT)

Patching Jack (PATCH BAY/IN)

(TAPE REMOTE)

This jack remotely operates the tape PAUSE function during recording or playback by means

of a foot switch.

mixing buss, and thus the amount of effects in the on-stage monitor mix.

Reverb/Effects to Program- Control (EFF TO PGM)

This control adjusts the amount of reverb/effects signal t h a t is returned to the program buss and thus the level of reverb/ effects contained in the main sound system.

Reverb/Effects Send Control

(REV/EFF SEND)

This control adjusts the overall

signal level of the effects mix

the effects o u t p u t . The send con- trol works in conjunction w i t h

the REV/EFF to PGM and the REV/EFF to FB controls to set the overall level of reverb/ effects in the main and monitor

sound systems.

-Aux Input L and R

(AUX IN, L, R)

The aux L and R 1/4" phone jacks are unbalanced and a c c e p t low and high impedance sources at nominal ???20 dB level. The jacks are wired w i t h the cor- responding L and R pin jacks in parallel. When a plug is inserted in the phone jack, the pin jack is automatically switched out of

the aux input circuitry. The aux

input is intended primarily for

external music sources such as

The REC out pin jack derives its signal from t h e recording L and R mixing busses, and is intended for connection to external r e -

impedance o f 1k ohms.

Playback Output Pin Jack

(TAPE OUT)

The playback o u t pin jack obtains its signal from the

internal tape deck. Nominal

o u t p u t level is 0dB dB w i t h an impedance o f 1k ohms.

Power Amp Compression-

Indicator (COMP)

The comp LED lights when the internal compressor is a c t i v a t -

ed. The compressor is provided to protect speaker systems by

when clipping occurs in the o u t - put stage. Frequent flashing of t h e LED is not reason for alarm.

the; MCX-106 should be; decreas- ed u n t i l the LED only flashes i n t e r m i t t e n t l y .

Power Amp Protection

Indicator (PROTECT)

The indicator LED lights if the

power amplifier o u t p u t is short-

ed, if the temperature of the unit rises above acceptable levels, or if DG is drifted to the speaker outputs . If the LED should light, speaker wiring and ambient

temperature of the MCX-106

should be checked. If the LED remains lighted, the unit should

be referred to qualified service personnel for repair.

Note:

The MCX-106 protection cir- c u i t r y will (1) detect 'faulty con-

ditions' w i t h i n the power amp- lifie r , (2) give a visual indication, and (3) a u t o m a t i c a l l y shut down

u n t i l the; fault condition is

alleviated. This special circuitry

e n s u r e s maximum reliability and virtually eliminates equip- ment damage due to unsafe or

i m p o r t a n t feature.

Counter Reset Button

Resets the tape couter to "000".

Tape Counter

Indicates how far the tape has travelled.

Tape Indicator

Indicates the type of tape used. (The deck automatically selects the type of tape. NORMAL, CrO2, METAL)

Cassette Receptacle

Eject Button (EJECT)

Ejects the tape.

Pitch Control

(PITCH CONTROL)

Varies the tape transport speed during playback by ??10%.

Mute Button

Pressing and holding the mute

button during tape travel (while

in the recording mode) will provide a "silent" section on the tape for use with the cuing function; releasing the b u t t o n will restore selected recording levels. It is essential that the "muted" section continue for at least four seconds to enable the cue function to operate cor- rectly.

Pause Button

This b u t t o n is used to stop the tape travel temporarily during recording or playback.

Recording Button

Pressing both the PLAY and this b u t t o n puts unit in the recording mode.

Cue Indicator

Remains l i t during operation of the Cue f u n c t i o n .

DBX Indicator

Lights when the dbx noise; reduction c i r c u i t r y is activated .

Zero Return Switch

This switch selects the zero return function . In the "on" position the tape will rewind and stop at any point on the tape t h a t you designate as "zero".

Rewind Button

Rewinds the tape at high speed.

Stop Button

Stops the t a p e motion .

DBX Button

Pressing this b u t t o n a l t e r n a t e l y

enables or disenables the inter- nal dbx noise reduction feature in either the playback or recording modes.

Cue Button

Pressing this b u t t o n and the FAST FORWARD or REWIND

b u t t o n will rewind the tape to the next "muted" or unrecorded section (tape silence of four

seconds or more), where the deck will automatically stop.

Level Meter Selector Switch

The left position monitors the

Fluorescent Bargraph Meter

The high i n t e n s i t y meters enable visual monitoring of the o u t p u t

signals selected with the Level

Meter Selector Switch.

Recording Level Sliders

Sets the overall signal level of

t h e stereo L and R recording

busses during the recording process; this includes the level assigned to the; REC OUT jacks as well as the; internal tape deck.

Fast Forward Button

Advances the; tape at highspeed.

Playback Button

This b u t t o n is used to playback

t h e tape;.

Effects Return Jack (EFT/RET)

The EFF/RET jack is provided to

connect an external effects

device to the MCX-106. When a

cally switched out of the MCX-

should be connected to the out - put of the external effects u n i t .

Nominal input level is ???20dB

w i t h an impedance of 50k ohms.

Effects Output Jack (EFF)

The EFF Out jack used in con- j u n c t i o n with the EFF/RET Jack allows use of an external effects

out jack should be connected to the input of the external effect unit . Nominal o u t p u t level is

??? l0dB with an impedance of 600 ohms.

Graphic Equalizer Input Jack

(GEQ)

The GEQ i n p u t jack allows t h e

graphic equalizer to be used in-

dependently of the MCX-106

w i t h other external e q u i p m e n t ,

plug is inserted, the main mix from the program buss is discon- nected from the graphic equal- izer and the power amplifier .

The nominal input level is ???4dB

w i t h an input impedance of 50k ohms.

Power Amplifier Input Jack

(PWR)

The PWR Amp i n p u t jack allows

the internal power amplifier to be used w i t h e x t e r n a l equip- ment. When a plug is inserte d , the power amp is a u t o m a t i c a l l y disconnected from the MCX-106 mixer section. The nominal in- p u t level is +4dB w i t h an i n p u t impedance of 10k ohms.

Program Buss Link Jack

(PGM) (+4dB 22k)

Fold Back Buss Link (FB)

(+4dB 22k)

Reverb/Effects Buss Link Jack

(EFF) (+4dB 22k)

Buss Link Jacks

The buss link provides direct access to the PGM, FB, and ef- fects mixing busses, and is pro- vided for easy input expansion w i t h additional MCX-106 units or other auxiliary equipment. All jacks have an input level of +4dB with an impedance of 22k ohms.

Program Output Jack -

(PGM)

The PGM Out jack is provided for connection to external equal-

izers and/or power amps, deriv-

ing its signal prior to the internal

GEQ and power amp. Nominal

o u t p u t level is +4dB with an

impedance of 600 ohms.

-Foldback Output Jack (FB)

This jack is for connection to

external power amplifiers and/

or equalizers for the on-stage monitoring system. Nominal

o u t p u t level is +4dB with an

impedance of 600 ohms. If the internal power amp and equal- izer are to be used for the on-

-Graphic Equalizer Output Jack

(GEQ)

This jack allows the MCX-106 and the internal graphic equal- izer to be used with an external power amplifie r , or in conjunc- tion with the GEQ in jack, to be

used independently of all other MCX-106 circuitry . Nominal o u t p u t level is +4dB w i t h an impedance of 600 ohms

Rear Panel

Power Switch (POWER) -

The power switch is a three-

position type w i t h the middle

position being the "off" position.

The MCX-106 should be operat-

ed in the switch position which

produces the lowest amount of

system hum.

Speaker Jacks (SPEAKERS) -

The speaker o u t p u t s are stand- ard 1/4" phone jacks wired in parallel. Speaker cables (recom- mend at least #18 gauge wire) should be connected between

the MCX-106 and the speaker

Earth Terminal (GND)

AC Fuse

t y p e and r a t i n g . Using improper

fuses will also void the warran-

Cord Wrap

The cord wrap is provided for convenient storage of the power cord when the MCX-106 is not in

use.

Caution - The power cord should

always be completely removed from the cord wrap prior to operation of the u n i t . This will insure maximum cooling of the

MCX-106. For the same reason,

panel and any other surface (4-6 inches should do). The vents on the b o t t o m and top of the MCX-

106 are also provided for convec- t i o n cooling. These vents should be kept clear and open. Failure to do so may cause thermal shut - down of the u n i t .

t y . The MCX-106 should always be disconnected from AC o u t l e t prior to changing fuses. If fuse

Connection Examples

Low Z input should be connected

with low impedance (50 ohm ~ 600 ohm) microphones

MAIN MIXER (MCX-106)

WIRELESS TUNER

SUCH AS WT-02,

WT-06

From Speaker Jack

on Rear Panel

KEYBOARD

MUSICAL INSTRUMENT

MAIN SPEAKER SYSTEM

SUB MIXER (MCX-106)

B u i l t in Power

Amplifier for

Foldback

From Speaker Jack

on Rear Panel

HEAD PHONES

TAPE DECK

REMOTE CONTROL

FOOTSWITCH

SPEAKER SYSTEM

for foldback

Before connecting other equipment to the Powered mixer, check the impedance and level of both. If the impedances and levels do not match, mixing will be very difficult and the S/N ratio will also be adversely affected.

Each input channel of the MCX-106 is provided with a TRIM control. Thorough understanding of the function of a TRIM control will make mixing easier.

The function of the TRIM control is to control the negative feedback volume of the head-amp so that the gain of the head-amp can also be changed. Because of this, enough dynamic range, even for high level signals is ensured. Also, the S/N ratio will be better by decreasing the gain of the head-amp.

For example, a keyboard, a musical instrument and a dynamic microphone with output levels of ???l0dBm, -20dBm and -40dBm respectively are connected to the MCX-106.

If the trim control is set as shown in the left figure, the input level controls can be set to the same position.

The input level controls are used in general between 6 and

8.

The peak indicator LED illuminates if the head amplifier or equalizer is clipping. The gain of the head-amplifier

must be decreased by turning the trim control counter- clockwise.

Recording Level Setting

The following procedures are recommended for an accurate and high-quality recording.

1.Place the level meter selection switch in the "Tape" position.

2.Engage the noise reduction circuitry by pressing the dbx switch.

NOTE:

Using the internal dbx circuitry will provide higher quality recordings with excellent "signal-to-noise" characteristics. You will notice a drastic reduction in audible "tape hiss" and a significant increase in dynamic range. However, the dbx noise reduction is

an "encode/decode" process, meaning that any tape that is recorded with dbx must also be played back with dbx, to obtain satisfactory results. If the recording must be played on other equipment without dbx circuitr y , we recommend that the dbx feature not be used.

3.Press the record b u t t o n to place the deck in "record pause" mode.

4.Adjust the L and R master recording level sliders to

a level j u s t below the "red" in the bargraph meters. 5. Press PLAY b u t t o n to begin recording.

Types of Cassette Tape

CAUTION:

A C-120 tape is so thin that it can be easily stretched, causing tape slack and possible entanglement around the pinch roller and capstan. We do not recommend the use of C-120 cassette tapes.

NOTE:

The MCX detects the type of tape (Normal, CrO2 , Metal) when the cassette is inserted and the door is latched, automatically selects the proper EQ and bias settings, and gives a visual indication on the front panel.

For highest quality recordings and extended dynamic range, we recommend the use of metal tape whenever possible.

SAVING YOUR RECORDINGS

Cassette tapes are provided with two break-out tabs as shown in figure. To prevent accidental erasure or

overtaping, break the tabs with a screw-driver or similar tool and remove. You may cover the tab

openings with adhesive tape if you desire to erase or record the tape at a later date.

Hints on Cassette Tape Handling

1.Tape Slack can cause the tape to twist or break. When necessary, always take up slack by inserting a pencil or similar object into the reel hub and turning.

2.Winding the tape too tightly on the reel may cause the tape to rotate unevenly; in worst case, the tape may bind and not wind from reel to reel.

Before using a tape again after continuous playback or recording, lightly tap the cassette housing or both sides, and if necessary, rewind the tape in either the fast-forward or re-wind mode.

Storing Tapes

Always store cassette tapes in their cases with a protective insert over the exposed portion of the tape; if not available, attach a "stopper" made from paper as

shown in the illustration. To prevent damage or degradation of recordings, always store tapes in locations free from direct sunlight, high temperature or humidity, and magnetic effects from other electrical equipment, speaker systems, etc.

Cleaning the tape heads

NOTE:

We recommend removal of the cassette receptacle door prior to the cleaning operation; this will facilitate easy access to all the inner workings of the tape transport assembly.

1.The cassette door opens when the EJECT button is pushed. After opening, press the door downward (see illustration) to disconnect the "top mounted

detents" which hold the door to the chassis. Now pull outward and away from the main assembly. Place the door aside in a safe location for later cleaning.

CAUTION:

To prevent damage to the transport and head assembly, use only cotton swabs or a soft cloth for the cleaning procedure.

2. Using any good grade of commercially available tape cleaning fluid (or an acceptable substitute such as alcohol), thoroughly clean the tape heads, tape guides, and all other metal parts in the tape path.

3.Clean the rubber parts of the transport assembly with cleaning fluid, or alcohol, and wipe dry with a clean, soft cloth.

NOTE:

If a transport "Lubricant" of any kind is used on the metal parts, take care to avoid contact with rubber parts.

CAUTION:

The tape heads and guides are carefully adjusted to ensure smooth and accurate tape travel during both recording and play back; DO NOT USE EXCES- SIVE FORCE when cleaning: misalignment may result.

We recommend through cleaning of the tape transport assembly after every four to six hours of use to ensure optimum recording and play back performance.

Demagnetizing the tape heads

The recording head will become "magnetized" after prolonged use. This residual magnetism will degrade and possibly destroy your valuable recordings by

available; follow the manufacturer's directions for use.

MIXER SECTION

Frequency Response

+0, -3dB 30Hz~20kHz (HIGH Z input TRIM at "0" positio

Total Harmonic Distortion

0.05% +4dBm at 1kHz.

Hum and Noise (Open)

INPUT SPECIFICATIONS

POWER AMPLIFIER SECTION

Frequency Response

+0, -1dB 5Hz to 40kHz (200W RMS

Rated Power & Load

Total Harmonic Distortion

Less than 0.1% (200mW~200W RMS, 20Hz~20kHz) Typically below 0.05%

Compressor Dynamic Range

Greater than 26dB

Hum and Noise

At least 110dB S/N ratio, 20Hz~20kHz At least 113dB S/N ratio IHF-A weighted

Damping Factor

Greater than 200 (1kHz

Input Sensitivity

+4dBm (1.23V)

Input Impedance

Output Connector

Phone Jack X2

Power Requirement

600 W 120V AC 50/60Hz

Dimensions (WXHXD)

605X371X356mm (23.8X14.6 X14.0) inch

Weight

27.2 kg (60 Ibs)

*0dBm is referenced to 0.775V RMS.

Specifications are subject to change without notice.

Mechanism

1 Motor 3 Solenoid Mechanism

Control

4 Bit Micro Computer

Tape

Compact Cassette C-30, C-46, C-60 or C90

Track Format

4-Track, 2-Channel (Stereo)

Heads

2 Channel Stereo Recording/Play Back (Permalloy)

Erase (Ferrite Double Gap)

Tape Speed

1-7/8 ips (4.75 cm/s)??l%

Motor

Electronically Governor

Frequency Response

40 Hz to 12.5 kHz (Metal) (Overall Record/Playback)

Noise Reduction

*DBX type II (IN/OUT Switchable)

Signal to Noise Ratio

70dB *DBX IN 20 Hz~20 kHz

90 dB *DBX IN IHF-A Weighted

Total Harmonic Distortion

Less Than 3% at 1kHz 0dB

Bias Frequency

85kHz