Toa RXA-212 Instruction Manual

TOA POWERED CONSOLE
Operating Instruction Manual
Model RXA-212, RXA-216
RXA-212
RXA-216
TOA ELECTRIC CO., LTD.
KOBE, JAPAN

General Description ......................................... 2
Features ................................................... 2
Front Panel, Input ection ................................... 3
Front Panel, Output ection .................................. 4
Meter Panel (RXA-212, RXA-216) ........................... 5
Rear Panel, (RXA-212) ........................................ 6
Rear Panel, (RXA-216) ........................................ 7
Connection Example (RXA-212) .............................. 8
Connection Example (RXA-216) .............................. 9
Connection Example (RXA-216) .............................. 10
ignal Flow ................................................ 11
Caution on Installation ...................................... 11
How to get a good mixing..................................... 12
Channel and Graphic EQ's application ...................... 13~14
General pecification (RXA-212; RXA-216) .................... 14
Input & Output pecifications ................................ 15
Characteristic Diagrams ..................................... 16
Block Diagram.............................................. 17
Level Diagram .............................................. 18
Dimensional Diagrams....................................... 18
1. Power Switch
The power switch should be on after all connections have been completed.
2. XLR (Cannon) Connectors
The connectors are wired in the following manner: Pin 1 is ground (shield); pin 2 is
cold (low, minus); pin 3 is hot (high, plus).
3. Descri tion of com onents and functions on the RXA-212 and RXA-216.
In our Operating and Instruction Manual explanation of components and functions
is made according to our usage for them.
- 1 -
Contents
Precautions

The RXA-212 is a self-powered console with 12 input channels, 2 program outputs, 2
foldback outputs, 1 echo output, and 2 built-in power amplifiers of 120 watts each into
8 ohms. The RXA-216 is a self-powered console with 16 input channels, 2 program
outputs, 2 foldback outputs, 1 echo output, and 4 built-in power amplifiers of 120
watts each into 8 ohms. Each input channel has a balanced, low impedance,
transformer-isolated, XLR connector, and a high impedance, unbalanced, 1/4" jack.
An input level switch and trim control on each input channel are provided to permit
optimum gain settings. A four-band equalizer is included on each input channel. A
peak indicator LED on each input detects excessive inputs and helps avoid clipping. A
pan control on each input channel assigns the fader output signal of the channel to
program L and R. A cue switch on each input channel, stereo input, aux-echo input,
program output, foldback output and echo send allows monitoring the respective, pre-
fader (pre-volume) signals through the phones output. All faders are log-linear type
with 60mm travel. Two additional stereo inputs are used to connect stereo playback
decks, disk players and other auxiliary equipment. Two independent foldback
outputs are included, (pre-fader, pre-EQ) signals. An analog, electronic echo is built
in, but can be bypassed (via Echo end/Return) for external delay, reverb or special
effects. Dual Graphic Equalizers (1/1 octave, 9 bands) are switchable to program
outputs, foldback outputs, or "off". A fluorescent bargraph peak meter (2-color,
vertical type) monitors the outputs of program L and R, and foldback 1 and 2. Each
power amplifier is switchable to either program or foldback outputs or can be
connected to external input sources. The RXA-212 and 216 are designed for use in
professional sound reinforcement systems, and provide the versatility necessary to
meet a wide range of requirements. The high performance and modular construction
assures reliability, easy maintenance, and serviceability.
1. 2 built-in power amplifiers of 120 watts each into 8 ohms (RXA-212). 4 built-in
power amplifiers of 120 watts each into 8 ohms (RXA-216).
2. Internal power amplifiers may be used for either program outputs or foldback
outputs, or can be used independently with external sources.
3. Balanced, low impedance, (transformer-isolated) XLR connector plus unbalanced
high impedance 1/4 inch jack, on each input channel.
4. Input level switch and trim control on each input channel.
5. Peak indicator LED on each input channel.
6. Four-band equalizer on each input channel.
7. Cue switch on each input channel, stereo input, AUX echo input, program output,
foldback output and echo send for permitting monitoring the respective pre-fader
(pre-volume) signals through the phones output.
8. All faders are log-linear type with 60mm travel.
9. Two additional, stereo inputs for connecting stereo playback decks, disk players
and other auxiliary equipment.
10. Built-in, electronic analog echo unit.
11. Dual graphic equalizers (1/1 octave, 9 bands) are switchable to either the program
or foldback outputs.
12. Fluorescent bargraph peak meters for monitoring the program L and R, and
foldback 1 and 2.
- 2 -
General Descri tion
Features

- 3 -
Peak Indicator
The peak indicator lights if clipping occurs in the pre-amp stage of the corresponding input
channel. When the light comes on, an adjustment must be made with the Input Level elector
witch and/or the Input Trim control.
In ut Level Selector Switch (INPUT)
election is made in accordance with the output of the microphone or other equipment
connected to each input channel (XLR connector and phone jack). (-20, -40 and -60) dB
indicates the input sensitivity of the XLR connector input when the trim control is set at the "0"
position. The "UN-BAL" position permits using the phone jack input. The unbalanced input
sensitivity is -30dB when the trim control is set at the "0" position.
In ut Trim Control (TRIM)
The input trim varies the gain of the pre-amplifier stage of each input channel, providing a
continuously variable control of gain in the range of 0 to -30dB from the input level switch
position. For instance, with the input level selector switch set at -60dB, the variable range is
between -60dB and -30dB.
High Equalizer Control (HIGH EQ)
The high control in each input channel alters the frequency response of the channel input,
allowing a variety of high frequency characteristics. The high control provides ±15dB of
continuously variable shelving equalization at 10kHz, having flat audio response at the
detented "0" position.
High-Mid Equalizer Control (HI-MID EQ)
The high-mid control provides ±15dB of continuously variable peaking equalization at 3kHz.
The detented "0" position is flat.
Low-Mid Equalizer Control (LOW MID EQ)
The low-mid control provides ±15dB of continuously variable peaking equalization at 300Hz,
having flat audio response at the detented "0" position.
Low Equalizer Control (LOW EQ)
The low control provides ±15dB of continuously variable shelving equalization at 100Hz,
having flat audio response at the detented "0" position.
Foldback Control 1 (FB 1)
The Foldback 1 control assigns the pre-equalizer, pre-fader input signal to the foldback 1
mixing bus. This control is used to route the input signal to stage monitor systems.
Foldback Control 2 (FB 2)
The Foldback 2 control assigns the pre-equalizer, pre-fader signal to the foldback 2 mixing
bus.
Echo Control (ECHO)
The echo control assigns the post-equalizer, post-fader signal to the echo bus.
Pan Pot (PAN)
This control assigns the fader output signal of the channel to the Program L, R mixing busses.
At the center position, the pan pot routes the signal equally to the L and R mixing busses.
Panning from one side to the other gradually assigns the input signal to either the Program L or
R mixing busses exclusively.
Writing Block
The name of the input equipment or microphone setting can be written in with an eraseable
felt pen or a wax pencil.
In ut Fader
The fader provides continuously variable adjustment of the channel's output to the program L
and R mixing busses, and to the echo mixing bus. The nominal level is at the "0" position, with
the fader retaining a 6dB margin.
Cue Switch (CUE)
The cue switch is for monitoring the post-EQ, pre-fader signal in each input channel through
headphones. The switch is a "push-on push-off" type. When more than two switches are "on",
the signals are combined.
Front Panel, In ut Section (RXA-212, RXA-216)

FB 1 Volume Control (FB1)
This control attenuates the echo-
return signals from the built-in echo
or an external echo unit and assigns
them to the FB 1 mixing bus.
FB 2 Volume Control (FB2)
This control attenuates the echo-
return signals from the built-in echo
or an external echo unit and assigns
them to the FB 2 mixing bus.
Stereo In ut Switches (INPUT)
Each switch has two positions, aux
and phono. The aux position accepts
line level signals such as tape
recorders. The phono position
provides direct input and RIAA
equalization for a turntable.
FB 1 Volume Control (FB1)
This control attenuates the stereo
input signals, mixes them to a
monaural signal, and assigns them
to the FB 1 mixing bus.
FB2 Volume Control (FB2)
This control attenuates the stereo
input signals, mixes them to a
monaural signal, and assigns them
to the FB 2 mixing bus.
Balance Control (BALANCE)
This control adjusts the level
balance of the stereo input signals
fed to the program L & R mixing
busses.
Writing Block
The name of the input equipment
can be written in with an eraseable
felt pen or a wax pencil.
Stereo In ut Volume Controls
(STEREO 1, STEREO 2)
These controls adjust the level of the
stereo in 1 and 2 signals to be fed to
the program L and R mixing busses.
Cue Switch (CUE)
The cue switch is for monitoring the
pre-fader signal in each stereo input
channel through headphone. This
feature is useful for cueing the start
of a tape or record.
Writing Block
The name of the input equipment or
microphone setting can be written in
with an eraseable felt pen or a wax
pencil,
Program Fader L and R
(PGM L, PGM R)
The program faders control the
overall signal level of the program
mixes which are fed to the program
L & R outputs, and thus the output
level of the assigned internal power
amplifier.
Cue Switches (CUE)
The cue switch is for monitoring the
pre-fader program signals through
headphone. This is useful for
independent audition of the
program mixes.
Echo Time Control (T1 DELAY)
This control permits continuously
variable adjustment of the echo time
in either short or long ranges. The
short range is from 14m to 40m
seconds; the long range is from 40m
to 140m seconds.
Echo Time Switch
(SHORT, LONG)
The switch changes the echo time to
either the short or the long range.
Regeneration Control (T2 REGEN)
The T2 control is provided to adjust
the echo pattern (number of repeats)
of the internal analog delay.
Head hone Jack
The headphone jack will accept any
stereo headphone with 8 ohms
impedance, or higher.
Phones Level Control (PHONES)
The phones level control adjusts
both the program L and R signals fed
to the phones output and permits
stereo monitoring when the cue
switch is off. When the cue switch is
on, the control adjusts the corres-
ponding cue signal. When two or
more of the cue switches are on, the
control adjusts the corresponding
combined cue signals.
Pan Pot (PAN)
The pan pot control assigns the
signals from the built-in echo or
external echo unit to the program L
and R.
Echo Return Volume Control
(ECHO RETURN)
This control sets the signal level
from the built-in echo or from an
external echo unit and sends it
(through the pan control) to the pro-
gram L and R.
Echo Send Volume Control
(ECHO SEND)
This control is provided to adjust
the overall signal level of the echo
mix to the echo send output, or to the
internal analog delay.
Cue Switch (CUE)
The cue switch is used for monitor-
ing the signal prior to the Echo/ end
volume control.
Cue Switch (CUE)
The cue switch is used for monitor-
ing the signal prior to the
Echo/Return volume control.
FB Fader 1 and 2 (FB1, FB2)
These faders control the overall
signal level of the mixes which are
fed to FB outputs 1 and 2.
Cue Switch (CUE)
The cue switch is used for monitor-
ing the signals prior to the FB 1 and 2
outputs.
- 4 -
Front Panel, Out ut Section (RXA-212, RXA-216)

RXA-212
Gra hic Equalizer (EQUALIZATION)
Two channel, 1/1 octave graphic equalizer
with 9 bands (filters) enables 12dB of boost
and attenuation at each center frequency
with the "0" position of each filter providing
flat response. The graphic equalizer is
switchable to either the program or foldback
outputs, or "off" for A-B comparison.
Power Am lifier Indicators
(POWER AMP 1, 2)
Green LED's indicate that each amplifier is
connected to either the FB output or program
output; red LED indicates that the output of
each amplifier is near clipping. The power
amplifier assignment switch is located on the
rear panel.
Program L Out ut Meter (PGM L)
The meter indicates the program L output
level.
Program R Out ut Meter (PGM R)
The meter indicates the program R output
level.
FB 1 Out ut Meter (FB 1)
The meter indicates the FB 1 output level.
FB 2 Out ut Meter (FB 2)
The meter indicates the FB 2 output level.
Gra hic Equalizer Selector Switch
(PGML, FB1, OFF)
The 3-position switch assigns the equalizer
to either the program L or FB 1 circuits, with
the "off" position completely removing the
equalizer from the signal flow path.
Gra hic Equalizer Selector Switch
(PGM R, FB 2, OFF)
The 3-position switch assigns the equalizer
to either the program R or FB 2 circuits, with
the "off" position completely removing the
equalizer from the signal flow path.
RXA-216
*The RXA-216 is the same in its meter panel functions as the
RXA-212, except for the Power Amplifier Indicators.
Gra hic Equalizer (EQUALIZATION)
Power Am lifier Indicators, 1, 2, 3 and 4
(POWER AMP 1, 2, 3, 4)
Green LED's indicates that the corresponding
amplifier is connected to either the FB output
or program output; red LED indicates that the
output of the corresponding amplifier is near
clipping.
Gra hic Equalizer Selector Switch
(PGM L, FB 1, off)
Gra hic Equalizer Selector Switch
(PGM R, FB 2, off)
Program L Out ut Meter
Program R Out ut Meter
FB 1 Out ut Meter
FB 2 Out ut Meter
- 5 -
Meter Panel (RXA-212, RXA-216)

- 6 -
Power Fuse (FUSE)
Power Switch (POWER)
This switch provides AC power to the
mixer. Power should only be applied after
all audio connections have been completed.
Power Am lifier 1 Sensitivity Switch
(SENSITIVITY)
This switch changes the input sensitivity of
built-in amplifier 1 to either +20dB or +4dB.
Power Am lifier 1 In ut Selector Switch
This switch assigns built-in amplifier 1 to
either FB1 or PGM L mix.
Power Am lifier 1 In ut Jack (EXT IN)
The jack is provided to independently drive
power amplifier 1 with external equipment.
When a plug is inserted, the amplifier is
automatically "switched" out or the internal
mixing circuitry.
Channel In ut, Unbalanced Jacks
(CHANNEL IN 1—12)
These 12 standard 1/4" phone jacks are unbalanced
with an input level of –30dB and input impedance of
10k ohms. They will accept low or high impedance
sources. When plugs are inserted into these jacks, the
input level switch must be set to the "UN-BAL"
position.
Channel In ut, Balanced Connectors
(CHANNEL IN 1—12)
The XLR connectors are balanced, transformer-
isolated, floating, with an input impedance of 600
ohms, and will accept low impedance microphones
as well as other impedance sources. When the XLR
connectors are employed, the input level switch on
the front panel must be set at the "BAL" positions.
Proper adjustment of both input level switch and
trim control make it possible to provide the optimum
setting for each input.
Ground Terminal
(GND)
The chassis must be
grounded.
Power Cord
Power Am lifier 2 In ut Jack (EXT IN)
The jack is provided to independently drive
power amplifier 2 with external equipment.
Power Am lifier 2 Sensitivity Switch
(SENSITIVITY)
The switch changes the input sensitivity of
the built-in amplifier 2 to either +20dB or
+4dB.
Power Am lifier 2 In ut Selector Switch
This switch assigns the built-in amplifier 2
to either FB 2 or PGM R mix.
S eaker Out ut Jacks (SPEAKER)
Each built-in amplifier will drive speaker
systems with an impedance of 8 ohms. When
more than two speakers are connected to
each paired speaker jack, the total impedance
of the speaker systems may be 8 ohms. These
jacks are locking type, so that press the
stopper on the plug when taking off the jacks.
Line Out ut Jacks
(LINE OUT, PGM L, R, FB1, 2)
These jacks are the outputs of the console
deriving the signals prior to the built-in
power amplifiers. The jacks are provided for
connection to external power amplifiers, and
can be also for output cascading. The output
impedance and level are 600 ohms and +4dB,
respectively.
Sub In ut Jacks
(SUB IN PGM L, R, FB 1, 2, ECHO)
These five jacks are directly connected to the
corresponding mixing busses (program L, R,
FB1, 2, and echo), and are provided for
cascade connection to expand the input
capacity.
Stereo In ut Pin jacks (STEREO IN 1, 2)
Each stereo input has both AUX input and
PHONO input connectors that are switch-
able on the front panel. RIAA equalization is
provided on the phono input for accepting
turntables with magnetic cartridges.
Ground Terminals (GND)
These may be used to provide ground connec-
tion for tape decks or turntables.
Recording Out ut Pin Jacks
(REC OUT, PGM L, R)
The jacks are unbalanced and provide pre-
graphic EQ, pre-program fader signals for
connection to tape recorders.
Auxiliary Echo In ut Jack
(AUX ECHO IN)
This standard phone jack is unbalanced and
accepts low or high impedance sources at
nominal —20dB level. The jack sends an echo
or reverb return signal directly to the
program L and R mixing busses. Inserting a
plug in the jack interrupts the return signal
from the built-in echo unit. The echo or
reverb return signal can be controlled by the
echo return volume on the front panel.
Echo Out ut Jacks (ECHO SEND)
These jacks are unbalanced, with an output
impedance of 600 ohms. One jack is for +4dB
output and the other is for —20dB output. The
jacks are provided for connection to external
echo machines. The +4dB jack can be used for
output cascading.
Rear Panel (RXA-212)

The RXA-216 is the same as the RXA-212 in functions, except that the RXA-216 has 16 inputs
and 4 built-in amplifiers.
Power Fuse (FUSE)
Power Switch
Power Am lifier Sensitivity Switches
(SENSITIVITY 1—4)
Power Am lifier In ut jacks (EXT IN 1—4)
The jacks are provided to independently drive the
power amplifiers with external equipment.
Power Am lifier 1—4 In ut Selector Switches
Each switch changes the connection of the
corresponding power amplifier to either the FB or
Program. Power amplifiers 1 and 3 are switchable
to either the FB 1 or program L, and power
amplifiers 2 and 4 to either FB 2 or program R. For
many applications power amplifiers 1, 2, 3 and 4
are connected to the program L, program R, FB 1
and FB 2 respectively.
Channel In ut, Unbalanced Jacks
(CHANNEL IN 1-16)
Channel In ut, Balanced Connectors
(CHANNEL IN 1-16)
AC Cord
Power Cord Clam
A plastic covered metal clip is
provided to prevent accidental
disconnection of the AC power
cord.
S eaker Out ut Jacks 1—4
(SPEAKER 1—4)
These jacks are speaker level outputs for the
4 built-in amplifiers. Each built-in amplifier
will drive speaker systems with an
impedance of 8 ohms. When more than two
speakers are connected to each paired
speaker jack, the total impedance of the
individual speaker systems may be 8 ohms.
These jacks are locking type, so that press
the stopper on the plug when taking off the
jacks.
Sub In ut Jacks (SUB IN PGM L, R, FB 1, 2, ECHO)
Line Out ut Jacks (LINE OUT, PGM L, R, FB 1, 2)
Stereo In ut Pin Jacks
(STEREO IN 1, 2)
Ground Terminals
Recording Out ut Pin Jacks
(REC OUT, PGM L, R)
Auxiliary Echo In ut Jack
(AUX ECHO IN)
Echo Out ut Jacks
(ECHO SEND)
- 7 -
Ground Terminal
Rear Panel (RXA-216)

When the built-in power amplifiers are used to drive the speaker systems for main speaker
systems, the power amplifier input selectors shown by "
*
" mark should be set to the PGM L
and R.
Sub-mixer
Wireless tuner or other
associated equipment
with line level output.
The line outputs (PGM L, R, FB 1 and FB 2) and Echo end
output of another RXA-212 or RXA-216 should be connected to
the ub inputs (PCB L, R, FB 1, FB 2 and Echo) for cascade
connections to expand input capability.
Channel In ut Connector
These XLR connectors are
transformer-isolated, floating and
accept low impedance sources of from
+10dB to -60dB nominal level. The
input level must be adjusted by the
input level selector switch and trim
control.
Main Mixer
Ground for turntables
Power Am lifiers
Record Player with
magnetic cartridge
Playback Ta e-Deck
Associated equipment with an output
level of –20dB to +4dB, such as a
playback tape-deck
Dashed lines indicate chassis ground
Foldback S eaker Systems
(Stage Monitor S eaker Systems)
Main S eaker Systems
Ta e-Deck for recording
- 8 -
Connection Exam le (RXA-212)

When the 4 built-in power amplifiers are used to drive the main speaker systems and monitor
speaker systems, the power amplifier input selectors shown by "*" mark should be set
properly.
ub-mixer to expand input capability
Wireless tuner or other
associated equipment
with line level output.
The line outputs (PGM L.R. FB 1 and FB 2) and Echo end
output of another RXA-212 or RXA-216 should be connected to
the ub inputs (PGM L, R, RB 1, FB 2 and Echo) for cascading.
Channel In ut Connectors
These XLR connectors are
transformer-isolated, floating and
accept low impedance sources of
+10dB to -60dB nominal level. The
input level must be adjusted by the
input level selector switch and trim
control.
Main Mixer
Record Player with
magnetic cartridge
Foldback S eaker Systems
( tage Monitor peaker ystems)
The impedance of the speaker
system connected to the built-in
power amplifier should be 8 ohms.
In case more than two speaker
systems are connected in parallel,
the total impedance also should be
8 ohms.
Main S eaker Systems
Associated equipment with an
output level of -20dB to +4dB,
such as a playback Tape-Deck
Dashed lines
indicates motor
ground of a
record player,
and chassis
ground of a tape-
deck.
Ta e-Deck for recording
- 9 -
Connection Exam le (RXA-216)

The following connection example indicates that the 4 built-in power amplifiers are used for
multiple amplification of speaker systems. The built-in graphic equalizers are connected to the
program L and R.
Two-way S eaker System
(Multiple driving)
Two-way S eaker System
(Multiple driving)
RV-14
RV-14
Electronic Dividing Network
Electronic Dividing Network
Two-channel Gra hic Equalizer
for Foldback S eaker System
Dual Power Am lifier
for Foldback S eaker System
Foldback S eaker Systems
( tage Monitor peaker ystems)
- 10 -
Connection Exam le (RXA-216)

From Channel In ut
From Stereo In ut 1
From Stereo In ut 2
The signal from the built-in echo unit is fed to
the ECHO RETURN VOL via the AUX
ECHO jack. When connecting an external
echo machine, a connection must be made
from the ECHO END of the console to the
input of the echo machine and from the
output of the echo machine to the AUX
ECHO input of the console.
mark indicates the signal flow to the
master fader via the graphic equalizer
selector switch on the meter panel.
To the line output jacks and to the power amplifiers
via the power amplifier input selector switches.
•
Do not cover over the ports on both top and
bottom panels as the RXA-212 and RXA-216
incorporates high power amplifiers. Covering
over will cause damage or trouble.
Do not put drink on the top panel. pilling drink
will cause damage or trouble.
Care must be taken to assure that the speaker cables and microphone cables keep a distance
between them as the RXA-212 and RXA-216 have high gain. Keeping them near will cause
trouble like oscillation.
- 11 -
•
•
Signal Flow on Out ut Section (RXA-212, RXA-216)
Caution on installation

Before connecting the equipment to the self-powered console, check the impedance and level
of both. If the impedances and levels do not match, mixing will be very difficult and the /N
ratio will also be adversely affected.
Each input channel of the RXA-212 and RXA-216 is provided with a Trim control. Thorough
understanding of the function of a Trim control will make mixing easier.
The function of the Trim control is that the negative
feedback volume of the head amp is changed so that the
gain of the head amp can also be changed. Because of this,
enough dynamic range even for the high level signals is
ensured. Also, /N ratio will be better by decreasing the
gain of the head amp proper.
For example, 2 microphones with
output levels of -50dB, -35dB
respectively, and a wireless tuner
with an output level of –20dB can
be connected to the console.
Micro hone in
-50dB level
Micro hone in
-35dB level
Wireless tuner in
-20dB level
First the Trim control must be turned down so that the
peak indicator will not be lit if an excessive signal comes in.
Nevertheless, if it is still on, the input level switch must be
rotated to the left 1 step. This can be applied to the "BAL"
inputs only, not to the "UN-BAL" inputs.
The input selector switch is set as shown in the left figure.
Trim control is set as shown in the left figure. Also, if the
volume balance of each instrument (microphone) is kept by
the Trim control the position of each channel fader will be
uniform, thus mixing becomes easier.
The faders in each channel are used in general between 0
and 10. If the hall is full and there is not enough volume, the
master fader must be turned up.
The level meter will not almost light up when the output
volume is low therefore making it difficult to take an
accurate reading. To correct this the sensitivity switch of a
power amplifier must be changed from +4dB to +20dB
position and the program fader must be turned up, then the
level meter is easier to read. (Please refer to the function
explanation of the rear panel on page 6 or 7.)
- 12 -
•
•
•
How to get a good mixing

Equalization for music
The Graphic Equalizer is designed not only for use in preventing feedback and equalizing
uneven room frequency response to be flat, but also for equalizing frequency response to your
tastes and producing favourable sound for you. Fig. 1 shows each frequency band and its
corresponding auditory feeling. Fig. 2 and Table 1 show the relation between each musical
instrument and its frequency band. They can be of great help in the equalizer operation. (They
are referenced from a book entitled "Practical Guide for Concert".)
EQUALIZATION CHART
These sounds
are felt more
than really
heard. They
give a sense of
power. Too
much produces
a muddy
sound.
The rhythm
section appears
here. Either a fat
or thin sound can
be heard by mis-
EQ here. Too much
becomes boomy.
Bass guitar- nare-
Toms.
Probably the most
important of all. Most
all instruments
contain harmonics
here.
300Hz boosting can
cause horn-like
sounds. 1k to 2k
sounds tinny. Too
much here sounds
like the telephone.
Figure 1
Upper vocal region.
Too much here will
cause great fatigue,
and loss of speech
intelligence. Reducing
3k can bring vocals
on top.
Presence range.
Great achievement
in overall level can
be had here. Too
little causes a "far
away" sound.
ibilance
levels can be
controlled
here. Bright,
clean defini-
tion.
INSTRUMENT CHART
INSTRUMENT EQUALIZATION CHART
Figure 2
Acoustic guitar
Electric guitar
Bass guitar
Human voice
Piano (Acoustic)
Piano (Electric)
Organ
Violin
Brass instruments
Bass drum
Snare drum
Tom Tom
Floor Tom
Hi Hat
Cymbal overhead
Talk Box
Bass strings resonate between 70 to 120Hz, body around 300Hz.
Avoid boosting these to stop feedback. 3kHz and 5kHz give great
"clarity".
Resonances differ — depending on type. Good full sounds around
300 to 500Hz. Clarity at 3kHz.
Extreme lows are at 60 to 90Hz. "Pick" or "pluck" sounds are
around 800 to 1200Hz. Upper harmonics clarified about 3kHz.
Good fullness at 150Hz. Watch for "boominess" around 250Hz.
Mid-range 10kHz.
Bass strings resonate around 100Hz, Watch for sub-harmonics at
30 to 50Hz.
Good mid-clarity at 3kHz to 5kHz thins out rapidly in high end. Be
careful around 1.5kHz to 2.5kHz to avoid the "bar room sound."
Usually dies under 200Hz. Has great mid-sounds around 1200 to
2000Hz. Top end cuts off at 6kHz.
Rich fullness at 400Hz. Natural mids around 1500 to 2500Hz.
Avoid "scratch" sounds at 8kHz.
Watch for "hot" mids around 2kHz. Low end boost around 400Hz.
Top end clarity at 6kHz.
Great low "kick" at 40Hz. The mids at 2kHz gives the familiar
"punch."
Good fullness at 100Hz. The "crack" is boosted at 2kHz. The
snares extend to above 4kHz.
The main fullness is around 200Hz. The mid punch extends to
4kHz.
ame as torn, but extends down to 80Hz.
Watch for the "gong" sound around 300Hz. Good "shimmer"
sounds are around 8kHz to 10kHz.
About the same as hi-hat but has more low end around 150Hz.
Depending on the guitar sound driving it and the resonance of each
player's mouth, should have great "bite" around 1200Hz and dies
above 6kHz.
Table 1
- 13 -
Channel and Gra hic Equalizers

Feedback Prevention
When the overall gain of a sound system is increased, feedback will occur at frequencies where
the system response has peaks. uppose the system has uneven frequency response like that
shown in the following diagram.
The frequency at which feedback will occur when gain is increased is about 500Hz. In this
case, feedback may be prevented by attenuating levels at 500Hz by 3dB to 5dB with an
equalizer. If the overall gain is again gradually increased, feedback will occur next at about
125Hz. It may be stopped by attenuating the levels 3dB to 5dB at that frequency. In this
procedure, sufficient gain in the sound system is obtained before feedback.
Frequency Res onse (Measurement of source impedance 150
ohms)
LINE OUT (CH IN — LINE OUT) at +4dB*
+0dB, –0.5dB 50Hz to 15kHz
+0dB, –2dB 20Hz to 30 kHz
PEAKER OUT (EXT IN — PEAKER OUT) at 1W
+0dB, –0.5dB 30Hz to 30kHz
+0dB, –1.5dB 20Hz to 60kHz
Total Harmonic Distortion
LINE OUT
0.3% (+4dB*/600 ohms at 1kHz)
0.05% (+20dB*/600 ohms at 1kHz)
PEAKER OUT
0.025% (120W/8 ohms at 1kHz)
0.3% (120W/8 ohms 20Hz to 20kHz)
Power Out ut
120W/8 ohms
Hum and Noise
LINE OUT (Input termination of 150 ohms, Input level sw at
BAL -60, Trim at "0", output termination of 600 ohms)
Equivalent Input Noise
-126dB* (20Hz — 20kHz)
-128dB* (IHF-A weighted)
/N (Program fader and one input fader at nominal)
66dB (20Hz — 20kHz)
68dB (IHF-A weighted)
PEAKER OUT (EXT Input short circuit, sensitivity
switch at "+4dB", output termination of 8 ohms)
Equivalent Input Noise
-104dB* (20Hz — 20kHz)
–111dB* (IHF-A weighted)
/N
108dB (20Hz — 20kHz)
115dB (IHF-A weighted)
Maximum Voltage Gain
104dB CH IN to PEAKER OUT
76dB CH IN to LINE OUT (PGM, FB)
82dB CH IN to ECHO END (+4)
56dB CH IN to REC OUT
Channel Equalizer (+15dB maximum)
LOW 100Hz helving
LOW MID 300Hz Peaking
HI-MID 3kHz Peaking
HIGH 10kHz helving
Gra hic Equalizer (±12dB maximum)
Center Frequency
63Hz, 125Hz, 250Hz, 500Hz, 1kHz, 2kHz,
4kHz, 8kHz, 16kHz
Crosstalk
60dB at 1kHz, input to output
Internal Echo Unit
Delay Time HORT 12msec— 40msec
LONG 40msec— 140msec
Peak Indicator
LED built into each input channel turns on when the pre-
fader, post EQ signal reaches 6dB before clip.
LED built into each built-in power amplifier turns on when
the output level reaches 3dB before nominal.
Meter ("0" = +4dB* out ut at LINE OUT)
2 pairs of fluorescent bargraph meter for PGM L, R AND FB
1,2.
Power Consum tion
RXA-212 260W
RXA-216 500W
Finish
Black panel, rosewood trim
Dimensions (W×D×H)
RXA-212
574 × 751 × 206 mm 22-5/8" × 29-5/8" × 8-1/8"
RXA-216
694 × 751 × 206 mm 27-3/8" × 29-5/8" × 8-1/8"
Weight
RXA-212 29kg (64 lbs)
RXA-216 40kg (88 lbs)
Accessory
Fuse
*0dB is referenced to 0.775V RM
- 14 -
Channel and Gra hic Equalizers
General S ecifications (RXA-212, RXA-216)

INPUT SPECIFICATIONS
Input
CHANNEL IN
TEREO IN
BAL –60
BAL –40
BAL –20
UN-BAL
AUX
PHONO
AUX ECHO IN
UB IN
EXT IN
+4
+20
Actual
Load
Impedance
550 ohms
800 ohms
900 ohms
25k ohms
10k ohms
50k ohms
10k ohms
10k ohms
12k ohms
14k ohms
For Use
With
Nominal
50 to 600
ohms
10k ohms
10k ohms
47k ohms
10k ohms
10k ohms
10k ohms
ensitivity*
–72dB (0.2mV)
–52dB (2mV)
–32dB (20mV)
-42dB (6.2mV)
-32dB (20mV)
-62dB (0.62mV)
-32dB (20mV)
-2dB (615mV)
+4dB (1.23V)
+20dB (7.8V)
Input Level (Trim 0 to Trim –30 )
Nominal
–60dB (0.78mV) to –30dB (25mV)
–40dB (7.8mV) to –10dB (250mV)
–20dB (78mV) to +10dB (2.5V)
-30dB (25 mV) to 0dB (775mV)
-20dB (78mV)
–50dB (2.5mV)
-20dB (78mV)
+4dB (1.23V)
+4dB (1.23V)
+20dB (7.8V)
MAX Before Clip
–40dB (7.8mV) to –10dB (250mV)
–20dB (78mV) to +10dB (2.5V)
0dB (775mV) to +30dB (25V)
–10dB (250mV) to +20dB (7.8V)
+10dB (2.5V)
-20dB (78mV)
0dB (775mV)
+24dB (12.3V)
Connector *
XLR-3-31
type
PHONE JACK
RCA
PIN JACK
PHONE JACK
PHONE JACK
PHONE JACK
OUTPUT SPECIFICATIONS
Output
PEAKER OUT
LINE OUT
ECHO END
+4
-20
REC OUT
PHONE
Actual ource Impedance
0.5 ohms
220 ohms
180 ohms
64 ohms
1k ohms
18 ohms
For Use With Nominal
8 ohms
600 ohms
600 ohms
10k ohms
8 ohms or higher
Output Level
Nominal
120W/8 ohms,
+32dB (31V)
+4dB (1.23V)
+4dB (1.23V)
–20dB (78 mV)
–10dB (250mV)
75mW/8 ohms,
0dB (775mV)
MAX Before Clip
+20dB (7.8V)
+20dB (7.8V)
-4dB (490mV)
+10dB (2.5V)
370mW/8 ohms,
+ 7dB (1.7V)
Connector**
PHONE JACK
PHONE JACK
PHONE JACK
RCA PIN JACK
TEREO
PHONE JACK
0dB is referenced to 0.775V RM .
* ensitivity is the level required to produce a nominal speaker output level.
**All XLR type connectors are floating, balanced and transformer-isolated.
tereo phone jack is wired: Tip=Left, Ring=Right and leeve=Common
Note:
As is described in the beginning of the operation manual, the XLR type connectors of the RXA-212 and RXA-216 are wired as follows
Pin No. 1 — Ground
Pin No. 2 — Cold (Low)
Pin No. 3 — Hot (High)
pecifications are subject to change without notice.
- 15 -
In ut & Out ut S ecifications

Frequency Res onse
In ut EQ Characteristics
Gra hic EQ Characteristics
Power Band Width (Power Am lifier Section) Total Harmonic Distortion
(Power Am lifier Section)
- 16 -
Characteristic Diagrams

Block Diagram
- 17 -

RXA-212 RXA-216
- 18 -
Level Diagram
Dimensional Diagrams

TOA ELECTRIC CO., LTD.
KOBE, JAPAN
Printed in Japan
133-02-562-20