Ashly Power Amplifiers FET-200 User manual
ASHLY
MOS-FET
POWER
AMPLIFIERS
OPERATING
INSTRUCTIONS
ASHLY
AUDIO
INC
TABLE
OF
CONTENTS
Page
!•
Introduction
2
2.
Unpacking,
Installation
3.
Input
&
Output
Connections,
Stereo
Operation
5
4.
Mono
Operation
7
5.
Bridging
Operation
7
6.
Meter
Display
g
7.
Thermal
Status
Indicator
g
3.
Specifications/Block
Diagram
g
9.
Definition
of
Terms
9
1
INTRODUCTION
The
Ashiy
tEX-200
and
FET-500
represent
an
entirely
new
breed
of
power
amplifiers
which
are
destined
to
replace
conventional
amps
in
virtually
every
application.
Far
from
being
just'another
variation
on
well
worn
designs,
these
amplifiers
have
been
engineered
from
the
ground
up
to
take
full
advantage
of
au
exciting
new
semiconductor
technology
which
has
recently
become
availabie_the
Power
MOS-FET
(metal-oxide-semiconductor,
field-effect-
ttausistor).
Combining
many
of
the
desireable
operating
characteristics
of
vacuum
tubes
with
the
efficiency
of
transistors,
the
MOS-FET
offers
superior
audio
fidelity
and
introduces
an
entirely
new
level
of
field
reliability.
Ashiy
power
amplifiers
put
all
of
these
features
together
into
a
carefully
thought
out,
roadworthy,
user-oriented
package
which
will
provide
years
of
maintenance—free
service.
WHY
MOS-FET’3?
coavtntiouai
power
amplifier
design
as
typically
produced
a
circuit
which
consists
of
two
parts;
1)
the
amplifier
itself,
and
2)
a
collection
of
protective
circuits
which
keep
the
amplifier
from
destroying
itself
and
the
speakers
it
is
driving.
Some
of
the
more
common
protective
circuits
include
VI
iimitiug,
ciiermai
feedback,
detectors
that
monitor
DC
at
the
output
terminals,
short
circuit
protection
and
turn-on
delay
circuits
that
keep
the
speatcers
from
jumping
out
of
their
cabinets
when
power
is
applied.
The
result
has
typically
been
a
compromise
in
audio
performance,
greatly
compounded
electronic
and
mechanical
complexity,
and
amplifiers
which
are
intolerant
of
less
than
ideal
operating
environments.
The
basic
weakness
of
these
amplifiers
has
always
been
the
power
output
transistors
themselves,
which
are
prone
to
failure
as
a
result
of
"thermal
runaway
.
This
breakdown
occurs
when
the
amplifier
is
delivering
a
lot
of
power
and
begins
to
heat
up.
Increasing
temperature
produces
an
increase
in
coiltator
current
in
the
output
transistors,
which
in
turn
produces
more
heat.
If
this
cycle
is
unchecked,
the
transistor
will
be
destroyed.
ProDaoiy
tiic
greatest
advantage
of
power
MOS-FET's
for
professional
audio
use
is
their
complete
immunity
to
thermal
runaway.
Not
only
does
this
remove
the
primary
failure
mechanism
of
the
conventional
amplifier
and
eliminate
the
need
for
elaborate
thermal
protection
circuits,
it
also
allows
the
design
engineer
to
use
a
mucii
nigher
quiescent
current
in
the
amplifier's
output
stage,
thereby
insuring
that
the
output
devices
are
always
operating
in
their
most
lineal
region.
This
results
in
consistently
lower
distortion.
In
addition,
the
simpler
input
drive
requirements
of
the
MOS-FET
devices
makes
possible
a
clean,
concise
amplifier
design.
The
resulting
reduction
in
component
count
and
internal
wiring
provides
for
a
compact
design
and
enhanced
reliability.
THE
ASHLY
DESIGN
Our
goal
in
designing
the
FET—200
and
FET—500
was
to
produce
amplifiers
that
combine
the
sonic
excellence
of
a
high-end
stereo
amp
with
the
ruggedness
and
stamina
necessary
in
pro
audio.
2
ELECTRONIC
Both
amplifiers
are
fully
complementary,
push-pull
type
with
totally
discreet,
high
voltage,
wide
bandwidth
electronics.
This
approach
inherently
assures
low
noise,
low
distortion,
and
excellent
transient
response.
Inputs
are
bringing,
active
balanced
(transformerless),
equipped
with
both
1/4"
jacks
and
XLii-type
connectors
of
both
sexes
to
facilitate
linking
several
amplifiers
together.
All
input
connections
can,
however,
operate
as
balanced
or
unbalanced.
This
is
determined
by
the
connector
used
in
conjunction
with
the
input.
Stereo,
mono
and
bridging
modes
are
user
selectable
by
means
of
rear
panel
switches,
requiring
no
internal
modifications
or
additional
components.
All
electronic
components
are
conservatively
rated
and
are
mounted
on
a
rugged
glass-epoxy
circuit
board.
An
efficient
U-I
laminated
power
transformer
saves
space
and
minimizes
magnetic
flux
leakage,
permitting
other
low-level
equipment
to
be
mounted
above
or
below
the
amplifier
with
no
danger
of
induced
hum.
Large
value,
computer
grade
electrolytic
capacitors
assure
long
service.
Two
lU-segment,
27
dB
range
LED
meter
displays
provide
an
easily
viewed
indication
of
power
levels,
and
a
separate
LED
indicates
thermal
overload.
HECiL\NICAL
ihe
Ashly
MOb-EST
power
amplifiers
are
packaged
in
a
rugged,
one-piece
welded
16
gauge
steel
chassis
with
an
anodized
aluminum
front
panel
and
an
easily
removed
steel
top
cover.
The
chassis
and
ail
internal
components
are
integrated
into
a
single,
rigid
unit.
The
FET-500
requires
5
1/4"
of
rack
space
and
ttie
FET-200
requires
only
3
1/2".
The
power
transformer
is
located
near
the
front
of
each
amplifier,
reducing
mechanical
stress
on
the
chassis.
Each
channel's
electronics
and
heat
sink
are
combined
into
a
compact,
plug
in
module
which
can
be
removed
from
the
amplifier
in
seconds.
Hard
wiring
is
at
an
absolute
minimum.
Large
heat
sinks
and
an
aerodynamic
internal
design
permit
the
use
of
an
ultra-quiet,
slow
speed
fan
which
pulls
air
in
through
the
front
panel
directly
across
the
heat
sinks
and
power
transformer,
and
out
through
the
rear
panel.
It
is
unnecessary
to
provide
space
or
ventilation
above
or
below
the
amplifier,
allowing
for
economical
use
of
rack
space.
The
amplifier's
output
connectors
are
conveniently
arranged
on
standard
3/4"
spacing
tor
quick
interconnect
via
banana
plugs,
delecting
the
bridging
output
involves
only
moving
the
banana
plug
to
the
two
center
(RED)
connectors.
Both
the
AC
line
and
the
speaker
terminals
are
fused
protected.
Fuses
can
be
removed
instantly
without
tools.
There
are
no
internal
fuses.
IN
USE
The
result:
better
sounding
amplifiers,
remarkably
un—fussy
about
how
you
use
them.
They
will
tolerate
low
impedance,
highly
reactive
loads
and
hot,
crowded
racks.
They
are
highly
immune
to
RF
interference
and
will
not
be
damaged
by
intermittent
short
circuits—sustained
shorts
will
simply
blow
the
output
fuse.
Due
to
their
balanced
circuit
design,
the
use
of
delay
circuits
and
output
relays
are
unnecessary.
There
is
no
turn-on
thump
and
the
volume
controls
can
remain
up
when
power
is
applied
and
removed.
Both
amps
will
keep
on
running
right
through
a
brown-out,
even
when
line
voltages
fall
to
as
low
as
20
volts!
3
This
manual
will
explain
the
proper
installation
and
use
of
Ashly
amplifiers
and
their
controls.
Please
read
it
carefully
and
refer
to
it
in
case
of
difficulty.
UNPACKING
As
part
of
our
system
of
quality
control,
every
Ashly
product
is
carefully
inspected
before
leaving
the
factory
to
ensure
flawless
appearance.
After
un¬
packing
please
inspect
for
any
physical
damage.
iave
the
shipping
carton
and
all
packing
materials,
as
they
were
carefully
designed
to
reduce
to
a
minimuiu
the
possibility
of
transportation
damage
suould
the
unit
again
require
packiu,;
and
shipping.
In
the
event
that
damage
has
occurred,
immediately
notify
your
dealer
so
chat
a
written
claim
to
cover
the
aamages
can
be
initiated.
THE
RIGHT
TO
ANY
CLAIM
AGAINST
A
PUBLIC
CARRIER
CAN
BE
FORFEITED
IF
THE
CARRIER
IS
NOT
NOTIFIED
PROMPTLY
AND
IF
THE
SHIPPING
CARTON
AND
PACKING
MATERIALS
ARE
NOT
AVAILABLE
FOR
INSPECTION
BY
THE
CARRIER.
SAVE
ALL
PACKING
MATERIALS
UNTIL
THE
CLAIM
HAS
BEEN
SETTLED.
INSTALLATION
Ashly
MOS-FET
amplifiers
are
designed
to
mount
in
a
standard
ly"
equipiacnf
rack.
Since
forced-air
cooling
is
employed,
it
is
not
necessary
to
leave
any
ventilation
space
above
or
below
the
amplifier.
This
permits
efficient
use
of
rack
space
and
multiple
stacking
of
amplifiers.
The
only
precaution
to
observe
is
to
leave
the
front
panel
air
inlets
and
rear
panel
fan
outlet
unobstructed.
The
use
of
four
front
panel
screws
is
recommended
to
evenly
distribute
the
stress
on
the
panel.
The
amplifier
chassis
is
sufficiently
strong
to
support
itself
by
the
front
panel
alone
in
permanent
installations
or
where
the
rack
is
moved
only
occasionally.
For
amplifiers
which
will
spend
much
of
their
time
in
transit,
it
is
suggested
that
some
method
of
rear
support
be
used.
Connect
all
amplifiers
to
a
3-wire
grounded
outlet
supplying
120
Volts
50-60Hz
Maximum
power
consumption
is
600
watts.
Maximum
current
required
is
5
amps.
4
INPUT
AND
OUTPUT
CONNECTIONS
STEREO
OPERATION
Connections
for
stereo
operation
are
shown
in
figure
4
below.
R
L
V-
OUTPUTS
^
MIXING
CONSOLE
+
+
Figure
4
Stereo
Operation
INPUTS
The
input
of
Asnly
amplifiers
is
a
balanced
bridging
type,
with
an
input
impedance
of
lOk
ohms.
Use
of
the
balanced
input
provides
superior
hum
and
noise
rejection
while
eliminating
ground
loops.
The
input
may
also
be
used
in
a
single-ended,
unbalanced
mode
by
simply
using
unbalanced
input
connectors.
Each
channel
provides
a
choice
of
either
1/4"
jacks
or
XLR
input
connectors.
All
four
connectors
are
in
parallel.
Since
only
one
of
the
four
connectors
is
used
as
an
input
at
any
one
time,
the
others
may
be
used
to
jumper
other
amplifiers
to
the
same
source.
Signal
connections
are
as
follows:
The
(+)
or
in-phase
connection
is
on
the
tip
of
the
1/4"
stereo
phone
jacks,
and
is
on
pin
3
of
the
XLR
connectors.
The
(-)
or
out-of-phase
connection
is
on
the
ring
of
the
phone
jacks
and
on
pin
2
of
the
XLR's.
Chassis
ground
and
shield
is
on
the
sleeve
of
the
1/4”
jacks
and
pin
1
of
the
XLR's.
5
When
feeding
the
amplifier
from
an
unbalanced
source,
use
either
an
XLk
connector
or
a
standard
stereo
1/4"
phone
plug
and
connect
the
signal
"hot"
connection
to
XLR
pin
3
or
to
the
phone
plug
tip.
Connect
signal
ground
to
the
XLR's
pins
1
and
2
or
to
the
phone
plug’s
ring
and
sleeve.
The
latter
uiay
also
be
accomplished
by
simply
inserting
a
standard
1/4"
mono
phone
plug,
which
automatically
connects
ring
and
sleeve
together.
In
the
special
case
where
the
amplifier
is
physically
mounted
in
the
same
rack
with
the
signal
source
that
is
feeding
it,
you
may
wish
to
use
an
alternate
connection
system
to
avoid
ground
loops;
connect
the
signal
hot
to
XLR
pin
3
or
to
the
phone
plug
tip.
Connect
signal
ground
to
XLR
pin
2
or
to
the
phone
plug
ring.
Leave
the
XLR’s
pin
1
and
the
jack
sleeve
unconnected.
SPEAKER
OUTPUTS
The
speaker
output
connections
are
combination
banana
jacks/binding
posts
spaced
on
standard
3/4"
centers.
Speaker
connections
may
be
accomplished
either
by
inserting
banana
plugs
or
by
feeding
bare
stranded
wire
into
tho
binding
posts.
Figure
6
MONO
OPERATION
With
the
MONO
switch
depressed,
the
Channel
1
input
will
feed
both
sides
of
the
amp.
Volume
for
both
sides
is
controlled
with
the
channel
1
LEVEL
control.
IN
BRIDGING
OPERATION
Ashly
amplifiers
are
in
ttie
bridging
mode
when
both
the
MONO
switch
and
BRIDGING
switch
are
depressed.
In
this
mode,
the
channel
one
input
feeds
both
sides
of
the
amp,
but
the
phase
of
the
channel
two
amplifier
is
inverted
180
degrees,
so
that
the
two
amplifiers'
outputs
are
out
of
phase.
The
speaker
connection
is
then
made
to
the
two
RED
output
Jacks,
as
shown
in
Figure
8.
The
black
output
jacks
are
not
used.
7
METERS
The
meters
on
the
front
panel
respond
to
the
peak
output
voltage
of
the
amplifier
as
measured
at
the
speaker
terminals.
A
ten
segment,
three
color
LED
display
covers
a
twenty-seven
decibel
range.
the
LED’s
on
one
channel
light
up
and
stay
on
with
only
a
small
input
signal,
a
blown
speaker
fuse
or
faulty
speaker
wiring
is
indicated.
THERMAL
STATUS
INDICATOR
In
the
event
that
the
amplifier
overneats,
it
will
automatically
shut
down
and
the
green
THERMAL
STATUS
LED
will
turn
off.
The
fan
will
continue
to
run,
and^
vdien
the
heat
sink
temperature
returns
to
normal
the
green
THERMAL
STATUS
LED
will
come
back
on
and
the
amplifier
will
turn
itself
back
on.
It
is
extremely
unlikely
that
any
combination
of
musical
program
material
and
load
conditions
will
activate
the
thermal
shutoff
mechanism
in
normal
use.
Should
overheating
occur,
check
to
be
sure
that
the
air
flow
in
front
of
and
behind
the
amplifier
has
not
been
blocked.
Note^
that
there
is
a
very
generous
safety
margin
between
the
temperature
required
to
activate
the
thermal
cutouts
and
temperatures
which
could
damage
components
in
the
amplifier.
SPECIFICATIONS:
FET-200
RATED
POWER
100
Wotts/channel
Both
channels
driven
into
8
ohms
160
Wofts/chonnel
Both
channels
driven
into
4
ohms
320
Watts
into
8
ohms
bridged
mono
FET-500
RATED
POWER
250Wcitts/channel
Both
chonneis
driven
into
8
ohms
400Watts/channel
Both
channels
driven
into
4
ohms
SOOWotts
into
8
ohms
bridged
mono
FREQUENCY
RESPONSE
HARMONIC
DISTORTION
IM
DISTORTION
(SMPTE)
DAMPING
FACTOR
±.5db
lOHz-SOKHz
<
.05%
20Hz-20kHz.
100
watts,
8
Ohms
<
.01%
100
watts,
8
ohms
>
100
20Hz-20kHz
SLEW
RATE:
50V/
fisec
RISE
TIME
2
fisec
10%-90%
FREQUENCY
RESPONSE
±.5db
10Hz-50kHz
HARMONIC
DISTORTION
IM
DISTORTION
(SMPTE)
DAMPING
FACTOR
SLEW
RATE:
RISE
TIME
<
.05%
20Hz-20kHz,
100
watts,
8
Ohms
<
.01%
100
watts,
6
ohms
>
100
20Hz-20kHz
50V/
fisec
2
fisec
10%-90%
8
DEFINITION
OF
TERMS
AS
USED
IN
THIS
MANUAL
ACTIVE
ectronic
circuits
which
use
devices
such
as
transistors
and
c
rcuits,
and
which
are
capable
of
voltage
and
power
gain
as
OSS.
xrcuits
using
only
resistors,
capacitors,
transformers,
referred
to
as
passive.
integrated
well
as
etc.,
are
AMPLITUDE
voltage
level
of
a
signal.
May
be
measured
in
volts
or
decibels,
era
y
corresponds
to
the
volume
or
intensity
of
an
audio
signal.
BALAfJCED
^
circuit
arrangement
in
which
two
conductors
are
designated
as
signa
~)»
and
the
third
is
a
shield
and
chassis
ground.
The
sigua
ines
are
of
opposite
polarity
at
any
given
moment,
and
are
of
equal
potential
with
respect
to
ground,
balanced
input
amplifiers
are
use
on
a
Ashly
SC
series
products^to
improve
hum
and
noise
rejection,
umpering
signal
minus
(—)
to
ground
provides
an
unbalanced
input.
BREATHING
A
usually
undesirable
fluctuation
of
background
noise
compressor
action.
(Also
called
"Pumping.”)
resulting
from
BUTTERWORTH
f
particular
filter
response
shape.
The
response
is
ssentially
flat
within
the
pass-band,
is
3dB
down
at
the
cutoff
frequency,
and
continues
to
attenuate
at
a
constant
slope.
Also
called
a
maxima
y
t
at
or
critically
damped”
filter
shape,
it
is
very
popular
for
crossovers
and
shelving
filters.
CENTER
FREQUENCY
The
frequency
(or
parametric
equalizer
boost/cut
control
has
pitch)
at
which
a
filter
is
most
effective.
In
a
»
it
refers
to
the
frequency
where
a
particular
maximum
effect.
COMPRESSOR
An
amplifier
wliich
reduces
predetermined
"threshold."
its
gain
as
its
input
is
increased
beyond
a
DAMPING
A
force
which
opposes
the
tendency
of
a
system
to
oscillate,
dB
A
unit
by
wnich
audio
levels
can
be
COMPARED.
Often
thoroughly
misun
erstood
are
the
concepts
that
decibels
represent
the
level
of
a
signal
compared
to
some
reference
level
(15
dB
cut
means
a
certain
level
ess
an
a
previous
level
the
absolute
level
of
the
signal
need
not
decibels
are
a
logarithmic
unit.
Some
handy
numbers
to
remember
when
dealing
with
decibels;
+3
dB
-
Double
Power
+10
dB
=
lOX
Power
+6
dB
-
Double
Amplitude,
+20
dB
=
lOX
Amplitude,
lOOX
Power
Quadruple
Power
9
dBm
unit
of
measurement
in
decibels
wnere
0
dBm
=
a
power
level
of
1
into
a
600
ohm
load.
Originally
defined
by
the
telephone
company
to
measure
line
levels.
dBV
Decibel
Volts,
an
update
of
the
dBm
definition
where
0
dBV
=
tiie
same
voltage
level
as
0
dBm,
but
with
no
regard
to
power
or
impedance.
0
d3V
=
0.775
Volts.
This
unit
is
much
more
appropriate
for
modern
audio
equipment
with
high
impedance
inputs
and
low
impedance
outputs.
DISTORTION
Generally
refers
to
ANY
modification
of
an
audio
signal
which
produces
new
frequencies
which
were
not
in
the
original.
Examples
are
harmonic
distortion,
where
a
circuit
adds
overtones
to
a
fundamental
signal,
and
intermodulation
or
IM
distortion,
where
two
frequencies
beat
together
to
produce
sum
and
difference
frequencies.
EQUALIZATION
Modification
of
the
frequency
response
of
an
audio
system
for
either
corrective
or
enhancement
purposes.
FEEDBACK
Generally
refers
to
any
process
wiiere
an
output
is
in
some
form
routed
back,
to
an
input
to
establish
a
loop..
Negative
feedback
tends
to
be
be
seif
stabilizing,
while
positive
feedback
causes
instability.
FILTER
A
circuit
designed
to
pass
some
frequencies,
but
not
others.
There
are
three
general
categories
of
filters:
High-pass,
band-pass,
and
low-pass.
The
high-pass
filter
passes
frequencies
above
a
certain
limit,
the
low-
pass
passes
frequencies
below
a
limit,
and
the
band—pass
passes
one
group
of
frequencies
without
passing
those
above
or
below.
Our
equalizer
uses
band-pass
filters,
crossovers
use
high
and
low-pass
filters.
FREQUENCY
The
repetition
race
of
a
waveform.
Frequency
is
measured
in
Hertz.
One
cycle
per
second
(cps)
is
one
Hertz
(Hz).
The
higher
a
note
on
a
musical
scale,
the
higher
its
frequency.
FREQUENCY
RESPONSE
Refers
to
relative
gain
and
loss
at
various
frequencies
across
the
audio
band.
May
be
illustrated
by
a
graph
called
a
frequency
response
plot,
usually
graphing
decibels
vs.
Hertz
or
octaves.
HERTZ
(Hz)
The
unit
of
frequency
measurement.
(Formerly
called
Cycles-per-Becond:
this
explains
it
perfectly)
HEADROOM
Refers
to
the
increase
in
level
above
normal
operating
level
that
can
be
obtained
without
clipping.
Usually
expressed
in
dB.
10
IMPEDANCE
Essentially
the
AC
equivalent
of
resistance.
It
describes
the
drive
capability
of
an
output,
or
the
amount
of
drive
required
for
an
input
at
any
given
signal
level.
KHz
Kilohertz.
1,000
Hertz.
LEVEL
The
magnitude
of
a
signal,
expressed
in
decxoels
or
volts.
LIMITER
An
amplifier
which
reduces
its
gain
as
its
input
is
increased
beyond
a
predetermined
threshold.
Usually
used
to
protect
audio
systems
against
sudden,
high
level
signals,
and
possible
overload.
LIJJE
LEVEL
i'leaning
somewhere
around
OdBV*
as
opposed
to
MIC
level
of
around
-40dBV.
MILLISECOND
1/lOOOtn
of
a
second
MICROSECOND
1/1,000,000th
of
a
second
OCTAVE
A
logarithmic
unit
to
compare
frequencies.
+1
Octave
means
double
frequency,
-1
Octave
means
half
frequency.
OHM
The
unit
of
electrical
resistance
or
impedance.
PHASE
Describes
how
well
two
signals
are
in
step.
In-phase
means
that
positive
and
negative
peaks
in
two
signals
occur
together,
while
out-of-phase
means
they
do
not
occur
together.
Variations
in
signal
timing
as
well
as
polarity
can
make
two
signals
in
or
out
of
phase,
or
anywhere
in
between.
Phase
is
usually
measured
in
degrees
where
0
degrees
is
in-phase,
180
degrees
is
out-of-phase,
and
90
degrees
is
in
between
(sometimes
called
quadrature).
PREAMPLIFIER
The
first
stage
of
amplification,
designed
to
boost
very
low
Level
signals
to
line
level.
"Q"
A
measurement
describing
the
sharpness
or
broadness
of
a
filter.
PvESONAt^CE
The
tendency
of
an
electrical
or
mechanical
system
to
vibrate
(or
oscillate)
at
a
certain
frequency.
SATURATION
The
point
at
which
the
magnetic
storage
capability
of
a
piece
of
recording
tape
is
exceeded.
11
SIBILANCE
The
distortion
caused
by
loud
high
frequency
signals,
such
as
the
"Ssss..."
sounds
in
hinnan
speech.
SHELVING
Describes
an
equalization
action
where
all
frequencies
above
or
below
a
particular
frequency
are
boost
or
cut.
SLOPE
In
a
filter
or
equalizer,
a
description
of
the
rate
of
boost
or
attenua¬
tion.
Usually
specified
in
dB/octave
(6,
12,
18,
and
24dB/octave
slopes
are
most
common).
The
steeper
the
slope,
the
higher
the
"Q"
in
a
filter.
THRESHOLD
An
arbitrary
signal
level,
above
which
a
limiter
or
noise
gate
activates.
TRANSIENT
A
sudden
burst
of
energy
in
an
audio
signal,
such
as
a
breath
blast
in
a
microphone,
the
sound
of
a
snare
drum,
or
a
deep
scratch
in
a
record.
Transients
frequently
reach
peak
levels
of
10
to
30
dB
above
standard
operating
level,
and
may
cause
distortion
or
even
damage
to
equipment.
UNITY
GAIN
Output
level
=
Input
level.
VGA
Voltage
Controlled
Amplifier.
An
amplifier
capable
of
both
gain
and
loss,
controlled
by
a
variable
DC
voltage.
WIRING,
PHONE
PLUG
AND
XLR
A
stereo
phone
plug
is
wired
+
to
the
tip,
-
to
the
ring,
and
shield
to
the
sleeve.
For
a
mono
phone
plug,
combine
-
and
shield,
and
connect
both
to
the
sleeve.
An
XLR
(3
Pin)
connector
is
wired
+
to
pin
3,
-
to
pin
2,
and
shield
to
pin
1.
SIeeve
Mono
Phone
Plug:
(for
unbalanced
inputs
and
outputs)
Stereo
Phone
Plug:
(for
balanced
in¬
puts
and
outputs)
XLR
Type
Connector:
(Male
Shown)
12
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