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.
8
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.
22
8 9
8 9
25

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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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
5. SETTING UP
5.1 Mixer normalization
5.2 Selecting inputs
Experience indicates that cables in a studio environment get tangled very quickly (inviting mistakes). A
patchfield will significantly facilitate patching and repatching.
All board settings should be set to the normal default condition before or after every session. Usually,
faders are set to zero “∞∞
∞∞
∞”(infinity), EQs set flat, and AUX (1 & 2) turned fully counter-clockwise etc.
Mono Channels accept Mic or Line inputs. If you are using the Mic input, make sure nothing is con-
nected to the Line input (and vice-versa).
1)
Stereo Channels accept any line-level signals. Any stereo channel can be run in mono simply by
connecting into the left jack socket only. These channels are suitable for a variety of line-level sources
including MIDI instruments and Tape Returns from multi-track.
2)
STEREO AUX RETURNS are primarily designed for returning effects units, however, these also
may be utilized for tape returns or MIDI instrument outputs.
3)
Fig 5.1: Setup Example
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10
The Mic inputs are more sensitive than the Line inputs. Do not
connect mics with PHANTOM Power switched on. Never use
unbalanced mic cables with Phantom Power switched on! Shorting
the +48 V to earth can cause serious damage.
Where applicable, engage the LOW CUT switch for most mics, except for signals with de-
sired low frequency content.
3)
5.3 Initializing channels for unity gain (“0dB”)
Set TRIM to minimum and all AUX controls (1 & 2) to off (fully counter-clockwise).1)
Set EQ to flat (all knobs at 12 O’clock).2)
3
33
24

For stereo LINE inputs, use the output volume of the source or instrument to control the gain adjust-
ment until transient peaks are regularly hitting -4 dB. Continous signals should not exceed 0 dB.
4)
5.4 Auditioning a signal and setting up a channel
5.5 Recording levels
Bring up channel volume to unity gain ( to “0dB”). All the other channel volume controls should be
brouht down to “∞∞
∞∞
∞”(infinity) position. Set TRIM control fully counter-clockwise. Set the EQ con-
trols (HIGH , MID , LOW ) to the center detent position(12 o’clock). The MASTER MIX
volume control should brought down to “minus infinity”.
1)
Depress PFL switch for channel being setup. Depress MASTER/PFL TO CONTROL ROOM
switch . Generate a signal; i.e., a voice through a microphone. There should now be some activity
at the LED meters .
2)
For MIC/LINE Channels adjust the TRIM control until transient peaks are regularly hitting -4 dB.
Continuous signals should not exceed 0 dB.
3)
Altering EQ (HIGH , MID , LOW ) will affect a channel’s input level. If EQ is adjusted at any
time, repeat steps 3 and 4.
5)
Bring down the channel’s volume control to the “∞∞
∞∞
∞”(infinity) position. Move onto next channel and
repeat steps 1 thru 5.
6)
Once all channel inputs have been set for unity gain (0dB), slide all active channel fader controls back
to 0 dB. You are now ready to start mixing.
7)
When recording to digital, keep the recorder’s peak meters below 0 dB. Most (not all, especially
samplers) read 0 dB with some headroom left. This is because, unlike with analog, the onset of digital
distortion is sudden. To take the recording level to the limit (and fully exploit 16-bit digital’s 96 dB dy-
namic range, for example) calibrations are necessary. One method is to run a tone at 0 dB from the
mixer and use that as the DAT or ADAT reference. If the DAT or ADAT is well under its maximum input
limit, a better method to calibrate the recorder is to incrementally increase the record level until the onset
of digital distortion, then subtract 5 or 10 dB, and never exceed that level. Engage “peak hold” on the
recorder before recording to confirm that the level will not be exceeded. Peak meters read
more-or-less independent of frequency. Aim for 0 dB recording level for all signals.
13
4
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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
6. CONNECTIONS
You will need a lot of cables for different purposes - see the following figures to make sure you have the
right ones. Unbalanced equipment may be connected to balanced inputs/outputs. Either use mono ¹⁄₄"
jacks or connect the ring and the sleeve of TRS jacks.
5.6 Inserts
INSERTS are useful for adding dynamic processing or broader EQ to a channel. Unlike reverbera-
tion, processors, etc., which are usually added to the “dry” signal, dynamic processing is normally ap-
plied across an entire signal. Here an AUX SEND function would not be appropiate. Instead the signal is
intercepted somewhere along the channel, fed through the dynamics processor &/or EQ, then returned
to the console at the same point where it left. The INSERTS will interrupt a channel’s signal only when a
jack is plugged into it.
11
4
23
12
17
22
13
31
5 6 7
5 6 7

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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
Phantom power (+48 V DC) is provided, and can be turned on or off by the +48 V PHANTOM switch .
The +48VDC phantom power effects all eight MIC channels.
It is recommended to connect the DMC-16 Mixer with other devices in a balanced configuration to allow for
maximum interference immunity.
12
33
Care should be taken NOT to plug mics into the console (or stagebox)
while the phantom power is on. Also, mute the monitor PA speakers
when turning phantom power on or off. Allow the system to adjust for at
least 3 seconds after engaging phantom power setting input gains.
6.2: INSERT Send & Return
6.1: Different plug types.
6.3: Headphone connection

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
J.W. DAVIS & COMPANY electronic products are carefully inspected and tested at the factory
prior to packaging and shipment to provide lasting service, given proper installation and use.
J.W. DAVIS & COMPANY agrees to correct every defect due to imperfect material or workman-
ship which may develop through ordinary and proper use for a period of one year from the date
of purchase or, at J.W. DAVIS & COMPANY’S option, replace the product, making no charge
for correction or replacement. Any repair of any defect under this warranty shall only be made
by J.W. DAVIS & COMPANY, or one its authorized service agents. J.W. DAVIS & COMPANY
will not be responsible for any expenses incurred by the purchaser for repairs other than re-
pairs made by J.W. DAVIS & COMPANY or its authorized agents.
THIS WARRANTY IS CONDITIONED ON RECEIPT BY J.W. DAVIS & COMPANY OF A PROP-
ERLY COMPLETED REGISTRATION CARD WITHIN TEN (10) DAYS FROM THE DATE OF
PURCHASE. This warranty is further conditioned on the electronic product being found on
inspection not to have been subjected to abuse, misuse, negligence, or accident, nor to
have been installed, altered, or repaired contrary to factory designated procedures without
the prior written consent of J.W. DAVIS & COMPANY authorized personnel.
Defective products must have a RETURN AUTHORIZATION NUMBER provided by J.W.
DAVIS & COMPANY and be returned properly packaged, freight prepaid to J.W. DAVIS &
COMPANY, 3030 Canton Street, Dallas, Texas 75226, insured for full value, as a condition
of this warranty. Attempted deliveries of unauthorized packages are refused.
Exclusion of Expressed and Implied Warranty. J.W. DAVIS & COMPANY has made no affir-
mation of fact and has made no promise relating to the product being sold which has be-
come any basis of the bargain made or has created or amounted to any express warranty
that the product would conform to any such affirmation or promise other than those con-
tained in this warranty. This express warranty excludes and is in lieu of all implied warran-
ties.
Limitation of Damages. If J.W. DAVIS & COMPANY breaches any warranty, J.W. DAVIS &
COMPANY’S liability is limited to repairing or replacing a nonconforming product. J.W.
DAVIS & COMPANY is not liable for any other direct or consequential damages.
Since many troubles encountered in sound installations are external to the electronic prod-
uct, customers are requested to call a J.W. DAVIS & COMPANY electronic technician for
assistance prior to sending back the product for repair in order to avoid unnecessary returns.
Products repaired under warranty by J.W. DAVIS & COMPANY will be returned to the sender
freight prepaid.
OWNER’S WARRANTY
13

7. APPENDIX
7.1 Specifications
Mono Inputs
Mic Input. . . . . . . . . . . . . . . . . . . .
Bandwidth. . . . . . . . . . . . . . . . . . .
Distortion (THD & N). . . . . . . . . .
Mic E.I.N (22 Hz - 22 kHz). . . . . .
Electronically balanced, discrete input configuration
10 Hz to 60 kHz ± 3 dB
0.01% at +4 dBu, 1 kHz, Bandwidth 80 kHz
-129.5 dBu, 150 Ohm source
-117.3 dBqp, 150 Ohm source
-132.0 dBu, input shorted
-122.0 dBqp, input shorted
+10 dB to +60 dBGAIN(TRIM) range. . . . . . . . . . . . .
Line Input. . . . . . . . . . . . . . . . . . . .
Bandwidth. . . . . . . . . . . . . . . . . . .
Distortion (THD & N). . . . . . . . . . .
Line Level range. . . . . . . . . . . . . .
Electronically balanced
10 Hz to 60 kHz ± 3 dB
0.01% at +4 dBu, 1 kHz, Bandwidth 80 kHz
+10 dBu to +40 dBu
Equalization
Hi Shelving . . . . . . . . . . . . . . . . . .
Mid Range. . . . . . . . . . . . . . . . . . .
Lo Shelving. . . . . . . . . . . . . . . . . .
12 kHz ±15 dB
2.5 kHz ±15 dB
80 Hz ±15 dB
Line Input. . . . . . . . . . . . . . . . . . . .
Bandwidth. . . . . . . . . . . . . . . . . . . .
Distortion (THD & N). . . . . . . . . . .
Unbalanced
10 Hz to 55 kHz ± 3 dB
0.01% at +4 dBu, 1 kHz, Bandwidth 80 kHz
Stereo Inputs
Equalization
Hi Shelving. . . . . . . . . . . . . . . . . . .
Mid Range. . . . . . . . . . . . . . . . . . .
Lo Shelving. . . . . . . . . . . . . . . . . .
12 kHz ±15 dB
2.5 kHz ±15 dB
80 Hz ±15 dB
Master Mix Section
Max Output. . . . . . . . . . . . . . . . . .
Aux Send Max Out. . . . . . . . . . . .
Control Room Out. . . . . . . . . . . . .
Signal-To-Noise Ration. . . . . . . . .
+22 dBu unbalanced
+22 dBu unbalanced
112 dB, all channels assigned & at Unity Gain (0 dB)
+28 dBu, balanced XLR
+22 dBu, unbalanced ¹⁄₄"phone jack
Power Supply
Main Voltage. . . . . . . . . . . . . . . . . . IN ~115 V AC, 60 Hz, 0.4A, power supply unit (PSU)
Physical
(H * W * D). . . . . . . . . . . . . . . . . . .
Physical. . . . . . . . . . . . . . . . . . . . .
Shipping Weight. . . . . . . . . . . . . . .
2 ³⁄₄"x 15 ³⁄₄"x 13 ¹⁄₂"
11 lbs. (psu not included)
16 lbs. (rack mount hardware included)
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J.W. Davis & Company •
3030 Canton Street • P.O. Box 710219 • Dallas, Texas 75371-0219
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OUT ~18V AC, 700mA
14

7.2 Block diagram
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Block Diagram of the DMC-16 Mixer
15