AMR 64 User manual

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• 6 inputs with 4 channel and stereo outp
• Separate monitor mixer section to use
overdubbing, leaving all 6 inputs free
recording or mixing
• Monitor mixer section can also double as 4
additional “line” inputs, giving the AMR 64
up to 10 line inputs
• Input channel patching to insert a limiter,
equalizer or other effects device on a given
input
Sweepable equalization on each input

Getting Started
Enclosed in the shipping carton, you should find the following:
1 AMR ™ 64 Mixer
1 wall mount power supply with cord and connector
1 Operating Instructions brochure
Connecting Power to the AMR 64
Connect the wall mount power supply to a nearby AC power
outlet. It is wise to see that audio signal lines are not near the
power transformer (to prevent hum pickup). Power then can be
applied to the mixer by turning on the front panel power switch.
Connecting Signal Lines to the AMR 64
There are various system setups in which the AMR 64 mixer
may be used, all of which cannot be covered in this operating
instruction sheet. For a guideline, you will find a line drawing
below that indicates where various pieces of equipment are con¬
nected to the AMR 64 mixer.
NOTE: All equipment that is connected to the AMR 64 mixer in
the below line drawing is “line level,” with exception to the micro¬
phone signals. Be careful when connecting your mixer to other
equipment that you do not connect it to any microphone inputs
on such equipment (use line level inputs and outputs only).
Rack Mounting the AMR 64
The AMR 64 may be rack-mounted, if desired, with the acces¬
sory rack mount kit. See your AMR dealer and ask for a RM ™ 64
rack mount kit.
The AMR 64 is a compact mixer that features six inputs with
four channel and simultaneous stereo outputs. The features and
functions have been optimized for speed and flexibility in making
high-quality multi-track recordings. The AMR 64 incorporates
many features found on large mixing consoles such as input
channel patching, separate monitor mixer, sweepable equaliza¬
tion, etc. As you become familiar with the operation of the AMR
64, you will grow to appreciate the attention to detail that makes
this an exceptional mixer.
Each input channel features low impedance XLR microphone
inputs, line level channel “insert” patching (mic preamp output
and line input), mic/mute/tape switch, input gain control, three-
band equalization (fixed high and low frequencies and a sweepa¬
ble midrange), auxiliary send, linear level control, pan pot and
output assignment switch, in addition to a peak reading LED to
indicate an overload condition on that specific input.
The AMR 64 features a separate (4 x 2) monitor mixer that will
allow you to have all input channels free during the overdubbing
process. Typically, pre-recorded tape tracks are brought back
through the normal input channels for monitoring purposes dur¬
ing overdubbing. In addition, the monitor mixer can be used as
four additional line inputs during the mixdown process (provid¬
ing a total of ten line inputs).
There are many more features that are incorporated on the
AMR 64. As you read the detailed explanation of each feature,
you will soon grow to appreciate its well thought out features and
design.

insert: This jack supplies an insert point (between
the microphone preamp output and line input) on
the front panel for the purpose of doing “insert”
patching on any input channel. By this method, a
microphone level signal is brought up to line level so
it can be routed to the input of a line level piece of
auxiliary equipment. The output of the auxiliary
equipment is then routed back into the line input of
the I nsert Jack. The insert jack is a three-circuit (tip/
ring/sleeve) type with the sleeve acting as ground,
the microphone preamp output signal on the tip and
the line level input on the ring. A special “insert”
patch cable is required for this purpose, such as the
AMR CAL ™ 32/YP cable.
A Word About Insert Patching
Insert patching is a process of inserting a piece of auxiliary
line level equipment into the signal path of a given input
channel. Signals from such equipment are best inserted
early on in the input channel prior to the level controls,
equalization, auxiliary sends, etc. This insertion point must
come after the microphone preamplifier (which brings the
microphone level up to a line level signal).
The Insert Jack provides the input signal to the piece of
auxiliary equipment (from the mixer mic preamplifier out¬
put), in addition to a return or input back to the input channel
(from the output of the auxiliary equipment). This Insert Jack
is normalled (connected) together internally, until some¬
thing is inserted into the jack (which breaks the normal). A
special cord must be used for insert patching (AMR CAL ™
32/YP).
Gain: Adjusts input gain to suit the various input
signal levels (either microphone or line level sig¬
nals). Clockwise rotation increases sensitivity for
weaker signals such as microphone level signals.
Counter-clockwise rotation decreases the input
sensitivity for stronger line level signals such as tape
recorder outputs, electronic keyboards, etc.
Auxiliary Send: A send level control for the use of
external reverberation, echo, delay or other signal
processing. This sends the signal after the equalizer
(post EQ), thereby allowing the signals sent to any
signal processing gear to be equalized along with
the main signal. The Auxiliary Send Control is also
prior to the Input Fader (pre fader), which will not
allow the auxiliary signal level to be changed by the
level settings of the Input Fader.
Pan Pot: This control adjusts the signal level
between channels. Rotated full counter-clockwise
will route full signal level to one channel; rotated full
clockwise, full signal level will be routed to another
channel. In the center position the signal will be
divided equally between the two channels. Varying
degrees in between are available by rotating the Pan
Pot in either direction (either left or right of the
center position). The actual signal routing is done
by a combination of the Pan Pot and the Output
Assignment Switch.
Input Level (Channel Fader): Once the Input Chan¬
nel sensitivity has been adjusted with the Gain Con¬
trol, the Input Channel Fader is used to make level
adjustments of microphone, line or tape input
signals.
GAIN
3 0 3
0
-15 15+
HIGH
3 0 3
•O'
IgX^/l?
-1 5 15+
MID
fTy
\sJj
200 5K
MID SHIFT
3 0 3
0
-15 . 15+
LOW
0
r AUX
5001 " 12.5K
1.3.1/ PAN 2,4,R
Microphone Input: This input is a balanced, XLR-
type input for connection of low impedance (low Z)
signals from microphones. This microphone input
has the ability to accommodate a wide range of
input signal levels with the use of the Input Gain
Control.
Line In: This input will accommodate any line level
signal, such as the output of an individual tape track
or an output signal from a piece of auxiliary equip¬
ment (compressor/limiter, delay line, reverb, etc.).
Mic/Line-Mute-Tape Switch: Selects the input sig¬
nal for a given input channel (in either the mic/line
or tape position on Inputs 1-4). Keep in mind that
Inputs 1-4 are dedicated to Tape Recorder Outputs
1-4 (which appear at the AMR 64’s tape inputs).
Inputs 5 and 6 have this switch labeled Mic-Mute-
Line to indicate that there are no tape output signals
normalled into those inputs. When this switch is in
the Mute position, that input channel is discon¬
nected from any input. This is handy when doing
mixdowns and there are only parts of a track that
you desire to use: just turn the Input Channel on by
placing it in the Mic/Line or Tape position; when you
want it off, place in the Mute position.
Output Assignment Switch: Routes the output of the
Pan Pot to one of three channel pairs (1-2, 3-4 or
L-R). Positions 1-2 or 3-4 will route the signal to the
corresponding tape track of the multi-track recorder,
while the L-R position will route signals to the L and
R stereo bus (typically used in mixdown for making
a stereo master tape).
Peak LED Indicator: This LED indicates an overload
condition of a given input. It will flash when the input
levels are excessive (+10 dBV). The signal level is
measured post EQ and post Input Gain Control. It is
all right for this indicator to flash on occasion; how¬
ever, excessive flashing of this indicator warns of an
overload condition that will cause audible distor¬
tion. There is a 4 dB difference between the level
that will cause the Peak Indicator to glow and the
level that will cause audible distortion. Thereby, the
Peak Indicator is a warning that you are very close to
an overload condition (which will cause audible dis¬
tortion). The Peak LED Indicator can also beaguide
in adjusting the input signal levels via the Input Gain
Control.

Mid Frequency EQ: Is a quasi-parametric type
(often referred to as “sweepable”) of equalization.
Unlike “fixed” frequency EQ, this allows the opera¬
tor to adjust (tuning like a radio) to the specific
frequency range or desired sound. This is a very
flexible type of equalization that is preferred by
many mixing engineers. The operation incorporates
two controls: Mid Shift: Used to adjust (or select) the
center of the frequency range (adjustable from 200
Hz to 5 kHz). Boost/Cut: Used to select the amount
of boost or cut for the mid frequency section of the
equalizer.
About Sweepable Equalizers
The Mid Frequency EQ section of the AMR 64 utilizes a sweep-
able type equalization circuit. Such equalizers provide a continu¬
ous adjustment of frequencies within the equalizer’s operating
range (unlike normal fixed-frequency equalizers that offer one or
a handful of preset fixed frequencies). The sweepable type on the
AMR 64 will allow the range to be adjusted anywhere between
200 Hz and 5 kHz. You first determine if you wish to boost or cut,
then simply apply a moderate amount of boost or cut (+5 or -5 dB)
and adjust the frequency control to the desired frequency range.
This moderate amount of boost or cut will allow you to hear the
affected frequency range quite easily, thereby allowing you to
place the equalizer within the desired frequency range. Once you
have identified the desired frequency range (by this method),
then readjust the Boost/Cut Control (up or down) to the desired
amount. A set of graphs are shown to indicate the operational
characteristics of the sweepable midrange section of the AMR 64
! equalizer.
Fig. #1 Characteristic EQ Curve of the Sweepable Midrange
+10 dB
0 dB
-10 dB
50 100 200 500 IK 2K 5K 10K 20K
Fig. #2 Sweepable Midrange EQ @ 250, 500, IK, 2.5K, and 5 kHz
+10 dB
0 dB
-10 dB
50 100 200 500 IK 2K 5K 10K 20K
(Frequency/Hz)
High Frequency EQ: This is a shelving-type equal¬
izer for boosting or cutting high frequencies up to 15
dB.
Low Frequency EQ: This is a shelving-type equal¬
izer for boosting or cutting low frequencies up to 15
dB. _
About Shelving Equalizers
The High and Low Frequency Equalization of the AMR 64 utilize
a shelving-type equalizer circuit. While referring to the EQ graphs,
you will see that slight amounts of boost or cut affect only the
extreme high or low frequency ranges. If you will refer to Figure
#3, you will notice that a 5 dB boost at 50 Hz has little effect at 200
Hz, while a 15 dB boost at 50 Hz will boost 200 Hz by approxi¬
mately 6 dB. The same is true with the high frequency equalizer in
Figure #4 - a 5 dB boost at 10 kHz will boost 1 kHz approximately 3
dB, while a 15 dB boost at 10 kHz will boost 1 kHz approximately 6
dB.
With larger amounts of boost or cut, low frequency shelving
equalizers will affect the frequency ranges above as well as
below the indicated frequency of 50 Hz. Likewise, with larger
amounts of boost or cut, high frequency shelving equalizers will
affect the frequency ranges above and below 10 kHz.
Fig. #3
Auxiliary Master Send Control: This is a Master
Level Control for the Auxiliary Send Section of the
mixer. The mix is determined by the settings of the
six Auxiliary Send Controls on each input channel.
The Master Level Control will allow the overall level
to be increased or decreased without chang ing the
mix of the individual Auxiliary Send Controls on the
inputs.

Monitor Outputs (L & R): These two outputs contain
the same signal information as the Stereo L & R
outputs. This provides the means of sending the
same output signal to a monitor amplifier and
speakers for monitoring purposes. The level of the
monitor signal is controlled separately by its own
Monitor Level Control. The monitor output levels
have been optimized for driving conventional power
amplifiers.
Power Switch and Power On Indicator: This rocker-
type switch is used to apply power to the AMR 64.
The LED Power Indicator will indicate when the
mixer is “on” and power is applied.
4 3 6 4 3 6
0 0 0 0
10 0 10 0 10
'EL LEVEL LEVEL
-20 15 10 7 5 3
PAN R I L PAN R
4 g 6
MONITOR
MIXER
Monitor Mixer: This is an independent 4 in by 2 out
mixer that is used primarily for monitoring during
the overdubbing process, A Level Control and Pan
Control are provided on each of the four Inputs on
the Monitor Mixer. This “Monitor Mixer” will allow
you to monitor any or all four Tape Tracks, thereby
keeping all six Inputs free for incoming microphone
or line level signals.
The output signals from the multi-track recorder
(1-4, respectively) will appear on Inputs #1 through
#4 of the Monitor Mixer. Tape Tracks that are
already recorded will appear at the Monitor Mixer
when the recorder is in the Play Mode. Tape tracks
that you are currently recording can be monitored
through the monitor mixer as the recorder will be in
the Record Position (i.e., Record Switch activated).
The normal process of recording will allow you to
monitor any track previously recorded or currently
being recorded through the Monitor Mixer Section
of the AMR 64. The output of this mixer is internally
connected to the L & R Stereo Bus (L & R or Stereo
Output). The monitor level is controlled by the Mon¬
itor Level Control, which obtains its signal from the
L & R Stereo Bus).
The Monitor Mixer can also be used to mix other
signals to the Stereo Bus by connecting external
line level signals into the Input Jacks. When a plug is
inserted into the Input Jack, the recorder output is
lifted and the signal from the Input Plug is accepted.
When the plug is removed, the multi-track recorder
output again appears at the Monitor Mixer Input.
It should also be mentioned that if you desire to
add equalization or effects while monitoring (for
overdubbing purposes), the previously recorded
Tape Tracks can be fed back into Input Channels
1-4 for this purpose by switching the appropriate
Input Source Switch to Tape.
Auxiliary Master Return Control: This controls the
return signal level of any effects device that is con¬
nected to the Auxiliary Return.
Auxiliary Pan Control: This will adjust the balance of
the Auxiliary Return signal across any pair of chan¬
nels selected by the Assign Switch.
Master Level Controls (L & R): These two faders
control the signal level that appears at the L & R
“stereo” outputs.
Auxiliary Output Assignment Switch: This routes
the output of the Pan Pot to one of three channel
pairs (1-2,3-4 or L-R). Positions 1-2 or3-4 will route
the signal to the corresponding Tape Track of the
multi-track recorder, while the L-R position will
route signals to the L & R “stereo” bus.

SPECIFICATIONS
Frequency Response
Equivalent Input Noise
Distortion
Input Channels
Input Impedance
Output Impedance (Channel Out)
Output Impedance (Insert Out)
Microphone Input Attenuator (Pad)
Gain
Maximum Input Level (Mic)
Maximum Input Level (Line)
Maximum Channel Output Level
Maximum Insert Output Level
Equalizer
High Frequency
Low Frequency
Mid Frequency
Output Section
Impedance
Maximum Output Level
Nominal Headroom
Noise
Bus
Nominal
Output Level Indicators
Auxiliary Send and Returns
Send Output Impedance
Send Maximum Output Level
Return Input Impedance
Return Maximum Input Level
Return Gain
Monitor Mixer Section
Input Impedance
Maximum Input Level
Gain
Monitor Output Section
Output Impedance
Nominal Operating Level
Maximum Output Level
Headphone Section
Output Impedance
Output Power
Output Connector
Power Requirements
Dimensions:
Weight:
+/- 2 dB 20 Hz - 20 kHz (all EQ flat position)
-130 dBV at 40 dB Gain
-127 dBV at 30 dB Gain
(Mic Input to Channel Output; EQ flat; Slider
maximum)
Less than .003% THD at 0 dB output
Mic - 50K ohms
Line-15K ohms
Tape - 10K ohms
Insert On - 22K ohms
100 ohms
100 ohrjis (tip)
20 dB (fixed)
3 dB to 60 dB (adjustable)
+11 dBV (LED clip level indicator)
+15 dBV (maximum level before clipping)
+21 dBV (LED clip level indicator)
+25 dBV (maximum level before clipping)
+14 dBV (LED clip level indicator)
+18 dBV (maximum level before clipping)
+18 dBV
+/- 15 dB at 10 kHz (shelving-type)
+/- 15 dB at 50 Hz (shelving-type)
+/- 15 dB at selected frequency (adjustable
from 200 Hz to 5 kHz)
100 ohms (L&R)
+18 dBV (L&R)
+18 dBV (reference: 0 dBV)
-96 dBV (all channel sliders down; auxiliary
return down)
-91 dBV (all channels at 30 dB Gain; EQ flat,
sliders up; auxiliary return down)
0 dB = -10 dBV (factory calibrated)
0 dB is indicated by the LED display having the
0 dB LED illuminated (internally adjustable
from -17 dBV to +9.5 dBV)
IK ohms
+18 dBV
10K ohms
+30 dBV
14 dB (maximum)
lOKohms
+30 dBV
14 dB (maximum)
100 ohms
-10 dBV
+18 dBV
8 ohms to 300 ohms
0.5 watts into 8 ohms
%" phone (ring/tip/sleeve)
120 VAC at 50/60 Hz at 25 watts
220 and 240 VAC at 50/60 Hz available upon
request
Meets UL and CSA electrical codes
17" W x 17.5" H x 2.5" D
(431 mm x 444 mm x 63 mm)
16 lbs. (7.2 kg)

THIS LIMITED WARRANTY VALID ONLY WHEN PURCHASED AND REGISTERED IN THE UNITED STATES OR
CANADA. ALL EXPORTED PRODUCTS ARE SUBJECT TO WARRANTY AND SERVICES TO BE SPECIFIED
AND PROVIDED BY THE AUTHORIZED DISTRIBUTOR FOR EACH COUNTRY.
Diese Garantie ist nur in den USA and Kanada gultig. Alle Export-Produkte sind der Garantie und dem Service des
Importeurs des jeweiligen Landes unterworfen.
Ces clauses de garantie ne sont valables qu’aux Etats-Unis et au Canada. Dans tous les autres pays, les clauses de
garantie et de maintenance sont fixees par le distributeur national et assuree par lui selon la legislation en vigueur.
Esta garantia es valida solamente cuando el producto es comprado en E.U. continentales o en Canada. Todos los
productos que sean comprados en el extranjero, estan sujetos a las garantias y servicio que cada distribuidor
autorizado determine y ofrezca en los diferentes paises.
ONE-YEAR LIMITED WARRANTY
AMR (Audio Media Research) warrants this product, EXCEPT for covers, footswitches, patchcords, tubes and
meters, to be free from defects in material and workmanship for a period of one (1) year from date of purchase
PROVIDED, however, that this limited warranty is extended only to the original retail purchaser and is subject to the
conditions, exclusions and limitations hereinafter set fcrth:
AMR 90-DAY LIMITED WARRANTY ON TUQES AND METERS
If this product contains tubes or meters, AMR warrants the tubes or meters contained in the product to be free
from defects in material and workmanship for a period of ninety (90) days from date of purchase PROVIDED,
however, that this limited warranty is extended only to the original retail purchaser and is also subject to the
conditions, exclusions and limitations hereinafter set forth.
CONDITIONS, EXCLUSIONS AND LIMITATIONS OF LIMITED WARRANTIES
These limited warranties shall be void and of no effect if:
a. The first purchase of the product is for the purpose of resale; or
b. The original retail purchase is not made from an AUTHORIZED AMR DEALER; or
c. The product has been damaged by accident or unreasonable use, neglect, improper service or mainte¬
nance, or other causes not arising out of defects in material or workmanship; or
d. The serial number affixed to the product is altered, defaced or removed.
In the event of a defect in material and/or workmanship covered by this limited warranty, AMR will:
a. In the case of tubes or meters, replace the defective component without charge; or
b. In other covered cases (i.e., cases involving anything other than covers, footswitches, patchcords, tubes or
meters), repair the defect in material or workmanship or replace the product, at AMR’s option; and
provided, however, that in any case all costs of shipping (if necessary) are paid by you, the Purchaser.
THE WARRANTY REGISTRATION CARD SHOULD BE ACCURATELY COMPLETED, MAILED TO AND
RECEIVED BY AMR WITHIN FOURTEEN (14) DAYS FROM THE DATE OF YOUR PURCHASE.
In order to obtain service under these warranties, you must:
a. Bring the defective item to any AUTHORIZED AMR DEALER or AUTHORIZED AMR SERVICE CENTER
and present therewith the PERSONAL WARRANTY IDENTIFICATION CARD along with the ORIGINAL
PROOF OF PURCHASE supplied to you by the AUTHORIZED AMR DEALER in connection with your
purchase from him of this product.
If the DEALER or SERVICE CENTER is unable to provide the necessary warranty service, you will be directed to
the nearest other AUTHORIZED AMR DEALER or AUTHORIZED AMR SERVICE CENTER which can provide such
a. Ship the defective item, prepaid, to:
AMR NATIONAL SERVICE CENTER
HIGHWAY 503
DECATUR, MS 39327
including therewith a complete, detailed description of the problem, together with your PERSONAL
WARRANTY IDENTIFICATION CARD along with a legible copy of the original PROOF OF PURCHASE
and a complete return address. Upon AMR’s receipt of these items:
b. If the defect is remedial under these limited warranties and the other terms and conditions expressed herein
have been complied with, AMR will provide the necessary warranty service to repair or replace the product
and will return it, FREIGHT COLLECT, to you, the Purchaser.
AMR’s liability to the purchaser for damages from any cause whatsoever and regardless of the form of action,
including negligence, is limited to the actual damages up to the greater of $500.00 or an amount equal to the
purchase price of the product that caused the damage or that is the subject of or is directly related to the cause of
action. Such purchase price will be that in effect for the specific product when the cause of action arose. This
limitation of liability will not apply to claims for personal injury or damage to real property or tangible personal
property allegedly caused by AMR’s negligence. AMR does not assume liability for personal injury or property
damage arising out of or caused by a non-AMR alteration or attachment, nor does AMR assume any responsibility
for damage to interconnected non-AMR equipment that may result from the normal functioning and maintenance
of the AMR equipment.
UNDER NO CIRCUMSTANCES WILL AMR BE LIABLE FOR ANY LOST PROFITS, LOST SAVINGS, INCIDEN¬
TAL DAMAGES OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE
PRODUCT, EVEN IF AMR HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
THESE LIMITED WARRANTIES ARE IN LIEU OF ANY AND ALL WARRANTIES, EXPRESS OR IMPLIED,
INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR
A PARTICULAR USE, PROVIDED, HOWEVER, THAT IF THE OTHER TERMS AND CONDITIONS NECESSARY
TO THE EXISTENCE OF THE EXPRESS LIMITED WARRANTIES, AS HEREINABOVE STATED, HAVE BEEN
COMPLIED WITH, IMPLIED WARRANTIES ARE NOT DISCLAIMED DURING THE APPLICABLE ONE-YEAR OR
NINETY-DAY PERIOD FROM DATE OF PURCHASE OF THIS PRODUCT.
SOME STATES DO NOT ALLOW LIMITATION ON HOW LONG AN IMPLIED WARRANTY LASTS OR THE
EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITA¬
TIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. THESE LIMITED WARRANTIES GIVE YOU SPECIFIC
LEGAL RIGHTS, AND YOU MAY ALSO HAVE OTHER RIGHTS WHICH MAY VARY FROM STATE TO STATE.
THESE LIMITED WARRANTIES ARE THE ONLY EXPRESS WARRANTIES ON THIS PRODUCT, AND NO
OTHER STATEMENT, REPRESENTATION, WARRANTY OR AGREEMENT BY ANY PERSON SHALL BE VALID
OR BINDING UPON AMR.
In the event of any modification or disclaimer of express or implied warranties, or any limitation of remedies,
contained herein conflicts with applicable law, then such modification, disclaimer or limitation, as the case may be,
shall be deemed to be modified to the extent necessary to comply with such law.
Your remedies for breach of these warranties are limited to those remedies provided herein and AMR gives this
limited warranty only with respect to equipment purchased in the United States of America and Canada.
INSTRUCTIONS — WARRANTY REGISTRATION CARD
1. Mail the completed WARRANTY REGISTRATION CARD to:
AUDIO MEDIA RESEARCH
HIGHWAY 503
DECATUR, MS 39327
a. Keep the PERSONAL WARRANTY ID CARD along with your PROOF OF PURCHASE. In the event
warranty service is required during the warranty period, you will need these documents. There will be no
other identification card issued by AMR.
b. Defaced, mutilated or altered cards will not be honored.
2. IMPORTANCE OF WARRANTY REGISTRATION CARDS AND NOTIFICATION OF CHANGES OF
ADDRESS:
a. Completion and mailing of WARRANTY REGISTRATION CARDS - Should notification become neces¬
sary for any condition that may require correction, the REGISTRATION CARD will help insure that you
are contacted and properly notified.
b. Notice of address changes - If you move from the address shown on the WARRANTY REGISTRATION
CARD, you should notify AMR of the change of address so as to facilitate your receipt of any bulletins or
other forms of notification which may become necessary in connection with any condition that may
require dissemination of information or correction.
3. Any correspondence with the factory concerning this product should include the serial number of the
item(s).
RETAIN YOUR PROOF OF PURCHASE
DANGER
Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in susceptibility to noise induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense
noise for a sufficient time.
The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the following permissible noise level exposures:
Duration Per Day In Hours
8
6
4
3
2
Vk
1
%
Vt or less
Sound Level dBA, Slow Response
90
92
95
97
100
102
105
110
115
According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Ear plugs or protectors in the ear canals or over the ears must be worn when operating this amplification system in orderto
prevent a permanent hearing loss if exposure is in excess of the limits as set forth above. To insure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable
of producing high sound pressure levels such as this amplification system be protected by hearing protectors while this unit is in operation.
CAUTION
This mixer has been designed and constructed to provide adequate power reserve for recording or reproducing modern music which may require occasional peak power. To handle occasional peak power, adequate power “headroom”
has been designed into this system. Extended operation at absolute maximum amplifier power levels is not recommended since this could damage the associated loudspeaker system. Please be aware that maximum power can be
obtained with very low settings of the gain controls if the input signal is very strong.
Read all safety and operating instructions before using this product.
All safety and operating instructions should be retained for future
reference.
Obey all cautions in the operating instructions and on the back of the
unit.
All operating instructions should be followed.
This product should not be used near water; i.e., a bathtub, sink,
swimming pool, wet basement, etc.
This product should be located so that its position does not interfere
with its proper ventilation. It should not be placed flat against a wall or
placed in a built-in enclosure that will impede the flow of cooling air.
7. This product should not be placed near a source of heat such as a
stove, heater, radiator or another heat-producing amplifier.
8. Connect only to a power source of the type marked on the unit
adjacent to the power supply cord.
9. Never break off the ground pin on the power supply cord. For more
information on grounding, write for our free booklet, “Shock Hazard
and Grounding."
10. Power supply cords should always be handled carefully. Never walk
or place equipment on power supply cords. Periodically check cords
for cuts or signs of stress, especially at the plug and the point where
the cord exits the unit.
11. The power supply cord should be unplugged when the unit is to be
unused for long periods of time.
12. Metal parts can be cleaned with a damp rag. The vinyl covering parts
on some units can be cleaned with a damp rag or an ammonia-based
household cleaner if necessary.
13. Care should be taken so that objects do not fall and liquids are not
applied into the unit through the ventilation holes or any other
openings.
14. This unit should be checked by a qualifed service technician if:
A. The power supply cord or plug has been damaged;
B. Anything has fallen or been spilled into the unit;
C. The unit does not operate correctly; or
D. The unit has been dropped or the enclosure damaged.
15. The user should not attempt to service this equipment. All service
work should be done by a qualified service technician.
4MI?
AUDIO MEDIA RESEARCH ROUTE 2 HWY503 DECATUR, MS 39327 #80300535 4/86
Printed in U.S.A. ©1986