J. W. Davis & Company DMC-16 User manual

16 CHANNEL STEREO MIXER
JWD MODEL DMC-16
USER’S MANUAL
The Mark of the Professional...
NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
090709144

NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
1
TABLE OF CONTENTS
1. ARCHITECTURE
2. MONO INPUT CHANNEL
2.1 Input level setting
2.2 Equalizer
2.3 Aux Sends
2.4 Fading and panning
2.5 PFL
3. STEREO INPUT CHANNEL
3.1 Input level setting
3.3 Aux Sends
3.4 Volume control and panning / balancing
4. MASTER SECTION
4.1 Aux sends
4.2 Stereo Aux-Returns
4.3 Metering
4.4 TAPE/REC (“2-Track”) to MASTER
4.5 Master / PFL to Control Room
4.6 Monitoring
5. SETTING UP
5.1 Mixer normalization
5.2 Selecting inputs
5.3 Initializing channels for unity gain
5.4 Auditioning a signal and setting up a channel
5.5 Recording levels
5.6 Inserts
6. CONNECTIONS
7. APPENDIX
7.1 Specifications
7.2 Block diagram
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3.2 Equalizer
SAFETY INSTRUCTIONS 2, 3
6.1 Plug Types
6.2 Insert Connections
6.3 Headphone Connection
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The Mark of the Professional...
FEATURES 2
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INTRODUCTION 3
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PRACTICE SETUP PROCEDURE 4
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FRONT & BACK VIEWS 5
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NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
Congratulations! In purchasing the DMC-16 Mixer, you have acquired a product whose small size belies its
exceptional versatility and outstanding audio performance as indicated by the following list of features.
The Mark of the Professional...
SAFETY INSTRUCTIONS
This symbol, wherever it appears,
alerts you to the presence of
uninsulated dangerous voltage inside
the enclosure - voltage that may be
sufficient to constitute a risk of shock.
This symbol, wherever it appears, alerts you
to the important operating and maintenance
instructions in the accompanying literature.
Read the manual.
It is important that you observe the safety and operating warnings shown throughout this manual. There-
fore, please carefully note the signs and explanations shown below before beginning to use your new
mixer.
8 mono input channels with XLR and Line inputs
Ultra-low noise discrete Mic pre-amps with +48 VDC phantom power
4 stereo input channels with balanced TRS jacks
2 additional multifunctional stereo line inputs
Extremely high headroom - offering more dynamic range
Balanced inputs for highest signal integrity
Ultra-musical 3-band EQ on all channels
Peak LEDs and switchable low-cut filter on all mono channels
2 Aux sends per channel for external effects and monitoring
Separate master mix, control room and headphone outputs
“2-Track” inputs assignable to master mix output
Highly accurate 10 segment LED meters
High-quality Panasonic 60 mm faders
High-quality Panasonic sealed potentiometers
Rugged design power supply ensures superior signal integrity
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FEATURES OF THE DMC-16 CHANNEL MIC/LINE MIXER
Rack mounting hardware included
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The Mark of the Professional...
NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
INTRODUCTION
First, be sure to read the Warranty Agreement on page 13, and return the Warranty Card within 10 days from
the date of purchase. If you do not do this, you may forfeit your benefits stated in the Agreement.
Second, examine the packaging. The DMC-16 was carefully packed in the factory and the packaging was
designed to protect the unit from rough handing. Nevertheless, we suggest that you carefully examine the
packaging and its contents for any signs of physical damage which may have occurred in transit. It also is
good practice to save you shipping carton and packing material.
If the unit is damaged, do not return it to J. W. Davis & Company. Notify the shipping
company immediately; otherwise, claims for damage or replacement may not be
granted. Shipping claims must be made by the consignee. If you need further assis-
tance, call Customer Service, 800-527-5705.
Fourth, connect the Power Supply (PSU) as indicated. Any amplifier circuit is limited in its transient re-
sponse by the available current. Every mixer has numerous line level operational amplifiers (op-amps) inside.
When being driven hard, many mixers begin to show signs of stress due to power supply limitations. Not so
with the DMC-16. The sound will always stay clean and crisp right up to the operating limits of the op-amps
themselves, thanks to the generous 30 Watt external Power Supply Unit. Do not be concerned if parts of the
mixer and the power supply unit become warm. This is normal during operation.
Third, read and observe the following safety and operating instructions:
Last, we recommend that you experiment with your mixer away from the pressures of a live program in
order to get a feel for its operations. It is a musical instrument, and for best performance should be
approached given this appreciation.
The PRACTICE SETUP PROCEDURES on pages 5 and 6 will assist you in becoming familiar with the mul-
titude of variations possible with your new DMC-16, and make reading the balance of the User’s Manual more
readily understood. Optimum results always begin with good setup routines.
3
Connect only the provided DMC-16 power supply unit (PSU) to the DMC-16.
Do not connect the PSU to the DMC-16 while the PSU is connected to
115VAC outlet. The correct starting sequence is: (1) connect mixer and PSU
and then (2) connect the PSU to the 115VAC outlet.
To reduce the risk of electrical shock, do
not remove the cover (or back). No user
serviceable parts inside; refer servicing
to qualified personnel.
To reduce the risk of fire or electrical
shock, do not expose this equipment to
rain or moisture.
To avoid overheating, be sure that there
is enough space around the unit for
cooling and that the DMC-16 is not
placed on high temperature devices
such as power amplifiers, etc.
When you shut down your equipment,
always turn off your amplifiers first.
When powering up, always turn on your
amplifiers last.

AUX
Pre
Master
AUX
Pre
Out
MIC
Line
MIC
Preamp
Hi Pass
Filter
Insert
EQ
Fader
Pan
Master
Mix
Master
Out
PFL
AUX
Pre
PFL
Master
Head
Phones
Monitor
Monitor
Out
AUX
Post
Master
AUX
Post
Out
AUX
Post
The Mark of the Professional...
NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
MODEL DMC-16 MIXER FLOW DIAGRAM
The following flow diagram shows the signal path through the console. It is a useful overview that provides a
quick reference for determining the sequence of the mixer’s components.
A block diagram is shown on page 15.
4

Microphone Line Channels
Repeat the above steps for channels 2 through 8 on the console.14.
Press the PFL switch for channel 1to disengage the switch.13.
If adjusting EQ, repeat step 11.
12.
Adjust the TRIM control so that the LED meter indicates approximately -4dB with transient
peaks not exceeding 0dB.
11.
Plug a microphone into channel 1MIC input.1.
Turn on the mixer POWER switch located on the back pannel.2.
Slide the Channel Fader Control to unity gain 0dB.
3.
Slide all other Channel Fader Controls down to the infinity “∞∞
∞∞
∞” position.
4.
Set TRIM control fully counter-clockwise.5.
Set the three EQ controls (HIGH , MID , LOW , at the center detent position (12 o’clock).6.
Bring MASTER MIX volume control down to the infinity “∞∞
∞∞
∞” position.
7.
Push in the PFL switch for channel 1.
8.
Push in the MASTER/PFL TO CONTROL ROOM switch in the output section. (The lower
LED’S should light.)
9.
Generate a signal by speaking or singing into the microphone.10.
The Mark of the Professional...
NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
PRACTICE SETUP PROCEDURE
This procedure is referenced to the front and back views of the mixer cabinet on page 5 with the bracketed
numbers corresponding to similar bracketed numbers. The first column shown is a replica of the eight mono
channels (“LINE 1” through ”LINE 8”). The second column is a replica of the four stereo channels (“LINE 9-
10” through “LINE 15-16”). The third column is a replica of the Master Control section. The bottom drawing is
an abbreviated view of the back of the mixer.
4
5
15.
Stereo Line Channels
Slide the MASTER MIX fader to approximately -20dB, and you have set up your mixer.22.
Generate a signal source by connecting a tape player, keyboard or similar equipment into chan-
nels 9-10 .
17.
20.
After all channels are set at unity gain (0dB), push in the MASTER/PFL TO CONTROL ROOM
switch to disengage the MASTER/PFL TO CONTROL ROOM switch.
21.
18. The LED meter should indicate approximately -4dB with transient peaks not exceeding 0dB. The
stereo inputs are fixed at the above setting. If source has output adjustment, adjust to achieve the
above setting.
Push in PFL switch for channels 9-10 .16.
If adjusting EQ, repeat step 18.
19.
Slide Channel Fader Control for channels 9-10 to the 0dB mark.
Repeat steps 15 through 19 for channels 11-12, 13-14 and 15-16.
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The Mark of the Professional...
NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
Model DMC-16
J. W. Davis & Company
Dallas TX • 800-527-5705 • [email protected]
Console Mixer
Front and Back Views of DMC-16 Mixer
6

MIC/LINE Channel input level is determined by adjusting the TRIM control . In addition to Master Mix
metering, a channel PEAK LED illuminates when a channel is going into overload. These LEDs take
their cue from post-EQ. This level sampling is particularly useful when using extreme EQ settings.
Each mono channel comes with an XLR Mic input and a balanced Line input on ¹⁄₄" jack . Phantom
Power is switchable from the rear panel . The TRIM circuit has a wide range from +10 dB to +60
dB, eliminating the need for midline switching. The crucial operating input level +4 dBu and -10 dBV are
clearly and accurately marked.
2.1 Input level setting
2.2 Equalizer
2.3 Aux Sends
2.4 Fading (Volume up or down) and panning (Signal right or left)
AUX send volume controls (PRE , POST ) are mono and post-EQ. AUX 1 is set PRE-
fader, while Aux 2 is POST-fader.
The Mark of the Professional...
NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
All mono input channels are fitted with three-band EQ, plus a switchable High Pass Filter (“LOW CUT”)
filter for eliminating unwanted subsonics. The upper and lower shelving controls have their
frequencies fixed at 12 kHz and 80 Hz, respectively. The Mid Range control has a peaking re-
sponse, with Q fixed at 2 octaves and frequency at 2.5 kHz. All three bands have up to 15 dB of cut and
boost, with a center detent for “off”. The Low Cut filters slope at 18 dB/octive, -3 dB at 75Hz, are
ideally suited for reducing floor rumble, breathing noises, popping, mushy low end, etc.
2. MONO INPUT CHANNEL
Gain to the Master Mix bus is ultimately determined by the Channel Fader control . Channel Pan
positions the output of the channel in the stereo field. Its constant-power design ensures there are no
level discrepancies whether a signal is hard-panned, center-stage or somewhere in between. Such
pinpoint accuracy will be a revelation if you have been working on consoles with lower quality circuits.
1. ARCHITECTURE
In addition, a stereo Tape input is provided, which may also be routed to the MASTER MIX, giving the
DMC-16 a total of 14 possible inputs during mixing. Channels 1-8 on the DMC-16 have PEAK LED’s,
while the MASTER MIX output has 10-segment bargraph meters. The L/R meters double up as mono PFL
(Pre Fade Listen) meters.
Mono Input Channels: Channels 1 to 8 are mono, with a choice of balanced Mic or Line inputs. A large
external power supply ensures low noise and superior transient response at all times.
Stereo Input Channels: A further 8 Line inputs are configured as 4 stereo input channels. These are
ideal for accepting outputs from MIDI and other electronic instruments.
Channel Outputs: A high-quality true logarithmic 60 mm fader feeds the MASTER MIX bus via the channel
fader.
Aux Sends: There are two AUX SEND busses on the DMC-16. Aux 1 is pre-fader. Aux 2 is post-
fader.
Stereo Line Inputs: There are two line-level Stereo Aux Returns at the top of the output section.
They can be used to return stereo effects or MlDl instruments etc. The AUX RETURNS have thier own
volume controls .
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It is the same as for mono Channels (see 2.3). Note that a mono sum is taken from the stereo
input.
A stereo equalizer is generally preferable to using two mono equalizers when EQ-ing a stereo signal
since discrepancies can often occur between left and right settings.
The Stereo inputs are designed for any line level signal. Most line level sources such as MIDI instruments
and FX units will have their own output level control. Those that do not (such as consumer CD players),
all have an output level within the scope of the DMC-16. When the PFL switch & MASTER/PFL switch
are engaged the LED meters should read between -4 and 0 dB. Note that there is a 15 dB gain on fixed
outputs via the channel fader as well as master fader.
Depressing the PFL switch , & the MASTER/PFL TO CONTROL ROOM switch , allows the signal
to be viewed at LED as a MONO signal for TRIM adjustment. This function will also allow you to
check the paticular channel for activity prior to sending to MASTER MIX. During a live performance, keep
in mind the channel’s fader must be first set in the “∞∞
∞∞
∞”(infinity) position, then brought up to unity gain
(0 dB). This function is also helpful to monitor a channel.
2.5 PFL (Pre Fade Listen)
3. STEREO INPUT CHANNEL
3.1 Input level setting
3.2 Equalizer
3.3 Aux Sends
3.4 Volume control and panning/balancing
4. MASTER SECTION
4.1 Aux Sends
Each stereo channel comes with two balanced line level inputs on ¹⁄₄" TRS jacks for left and right
signals. When only the left input is connected, the channel operates in mono.
There are no Low Cut filters on stereo channels; otherwise, the EQ is in principle identical to that on
MONO Channels (see 2.2). The EQ is stereo.
The only difference to the mono Channel, described in (2.4), is the implementation of the Balance control
. When a channel is run in stereo, this control determines the relative balance of the Left and Right
Channel signals being sent to the left and right MASTER MIX busses. For example, with the Balance
control turned fully clockwise, only the right portion of the channel’s stereo signal will be added to the
MASTER MIX.
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The Mark of the Professional...
NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
If a Stereo Channel is run in mono (only the left input connected), the Balance control acts as a pan in
the normal way.
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14
25
AUX SENDS are provided on balanced ¹⁄₄" TRS jacks . Adjust the input level control of your
effects unit to match the output level of the Mixer.This can be done when typical signals are run
through the DMC-16 and the AUX SENDS are set to center (0 dB). If your effects unit does not
have an input gain and the effects levels seems too low, every channel’s AUX SEND has up to 15
dB gain which should be more than enough to drive any effects unit.
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8 9
8 9
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The Mark of the Professional...
NEW TECHNOLOGY OLD RELIABILITY
J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
Sales 800-527-5705 • Fax [phone] • Corp 214-651-7341 • Fax [phone] • [email protected] • www.jwd.com
9
Sometimes an engineer wants to narrow the stereo width of a reverb field. To do
this you will have to come back on two mono channels to get independent Pan for
the left and right signals.
RCA phono jack outputs (REC OUT ) are provided for easy connection to DAT, cassette desk etc. A
single pair (L/R) of unblanced ¹⁄₄" jacks and balanced XLR connectors deliver the MASTER MIX
output to the PA system, or “2-Track” recorder.
4.3 Metering
4.4 TAPE / REC (“2-Track”) to MASTER
4.5 MASTER / PFL TO CONTROL ROOM
4.6 Monitoring
MASTER MIX level is displayed on a pair of accurate 10-segment bargraph peak meters . Two
further LEDs indicate POWER on and +48 VDC Phantom Power on .
The “2-Track” input also can be used as another stereo line input, allowing you to monitor/mix
extra sources such as cassette, CD, etc.
The MASTER MIX can be sent by switch MASTER/PFL TO CONTROL ROOM into the HEAD-
PHONE/CONTROL ROOM LEVEL , to control the CTRL R OUT & PHONE jacks.
The DMC-16 has a separate headphone output (PHONES ). The PHONE’s signal follows the CON-
TROL ROOM OUTPUT . A single volume control adjusts the level of the headphones and
master monitors.
A “2-Track” input on RCA phono jacks TAPE IN , provides easy connection to DAT and other profes-
sional and semiprofessional audio equipment. The “2-Track” input is primarily for auditioning mix play-
back from tape. However, it can also be routed to the MASTER MIX via switch TAPE/REC TO MAS-
TER. With depressed you have another stereo line input available to the mix.
Input (TAPE IN)
Output (REC OUT)
The MASTER MIX bargraph meters should average close to 0db during loud passages. If they read
persistently high, or are peaking above +7 dB (top segment of the display), reduce either the Channel
fader or the MASTER MIX volume slider, or (as a last resort) the channel’s input trim or instrument unit
output level.
Level is ultimately determined by the precision MASTER MIX volume control .
The L/R meters follow the MASTER MIX .
4.2 Stereo Aux-Returns
There are two additional stereo inputs (Stereo AUX RETURN 1 and 2 ) on the DMC-16. Their level is
adjusted with and . The Stereo AUX RETURN’s are permanently assigned to the MASTER
MIX . If a jack is connected only to the left socket, the Stereo AUX RETURN operates in mono. This
enables you to provide a “wet cue mix” (signal with effect such as reverb) for the headphones or
foldback speakers.
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