Yamaha Em2820 User manual

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1

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POWERED

MIXER

TABLES

DE

MIXAGE

AMPLIFIEE

AKTIV-MISCHPULT

OPERATION

MANUAL

MODE

D'EMPLOI

BEDIENUNGSANLEITUNG

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SEDE

With

your

purchase

of

the

YAMAHA

EM2820

Powered

Mixer,

you

have

entered

into

the

fine

world

of

advanced

Yamaha

powered

mixer

technology.

The

EM2820

represents

a

new

level

of

refinement

for

stereo

output

mixers

dedicated

to

superior

performance

in

small

to

midsize

PA

and

sound

rein-

forcement

applications.

In

addition

to

stereo

output

powered

by

a

built-in

200

watt

amplifier

into

4

ohm

loads,

the

EM1620

features

three-band

equalization

on

each

one

of

the

eight

input

channels,

a

left

and

right

master

seven-band

graphic

equalizer,

and

an

internal

limiter

circuit

that

prevents

distortion

of

the

output

signal.

As

a

result,

shaping

channel

signals

and

overall

output

mix

is

versatile,

convenient,

and

safe.

Input

channels

offer

a

choice

of

XLR-type

or

phone

jack

connectors,

and

stereo

output

can

be

easily

configured

with

the

accessible

front

panel

controls

and

incorporation

of

external

effects,

speakers,

and

monitoring

systems.

A

Phantom

Master

switch

is

also

included

to

supply

+48

V

when

needed

for

smooth

integration

of

condenser

microphones.

You

can

be

assured

of

reliable

performance

day

in

and

day

out

for

even

the

most

demanding

applications.

To

fully

benefit

from

the

exceptional

capabili-

ties

of

your

EM2820

Powered

Mixer,

please

read

this

manual

thoroughly

and

keep

itin

a

safe

place

for

future

reference.

CONTENTS

PRECAUTIONS

a

OPERATION

sis

marker

gie

Si

wana

OPERATING

TIPS

.........

A

BASIC

SYSTEM

......

GENERAL

SPECIFICATIONS

.........................

LIMITER

OPERATION

......

TROUBLE

SHOOTING

...

BLOCK

&

LEVEL

DIAGRAM

.

DIMENSIONS

..........

PRECAUTIONS

A

5

ee

1.

Avoid

Excessive

Heat,

Humidity,

Dust

and

Vibration

Keep

the

unit

away

from

locations

where

it

is

likely

to

be

exposed

to

high

temperatures

or

humidity

—

such

as

near

radiators,

stoves,

etc.

Also

avoid

loca-

tions

which

are

subject

to

excessive

dust

accumula-

tion

or

vibration

which

could

cause

mechanical

damage.

Avoid

Physical

Shocks

Strong

physical

shocks

to

the

unit

can

cause

dam-

age.

Handle

it

with

care,

Do

Not

Open

The

Case

Or

Attempt

Repairs

Or

Modifications

Yourself

This

product

contains

no

user-serviceable

parts,

Re-

fer

all

maintenance

to

qualified

Yamaha

service

per-

sonnel.

Opening

the

case

and/or

tampering

with

the

internal

circuitry

will

void

the

warranty.

4.

Make

Sure

Power

Is

Off

Before

Making

Or

Removing

Connections

Always

turn

the

power

OFF

prior

to

connecting

or

disconnecting

cables.

This

is

important

to

prevent

damage

to

the

unit

itself

as

well

as

other

connected

equipment.

5.

Handle

Cables

Carefully

Always

plug

and

unplug

cables

—

including

the

AC

cord

—

by

gripping

the

connector,

not

the

cord.

6.

Clean

With

a

Soft

Dry

Cloth

Never

use

solvents

such

as

benzine

or

thinner

to

clean

the

unit.

Wipe

clean

with

a

soft,

dry

cloth.

7.

Always

Use

the

Correct

Power

Supply

Make

sure

that

the

power

supply

voltage

specified

on

the

rear

panel

matches

your

local

AC

mains

sup-

ply.

Also

make

sure

that

the

AC

mains

supply

can

deliver

more

than

enough

current

to

handle

all

equipment

used

in

your

system.

Dette

apparat

overholder

det

gaeldende

EF-

direktiv

vedrørende

radiostoj

Cet

appareil

est

conforme

aux

prescriptions

de

la

directive

communautaire

87/308/CEE

Diese

Geráte

entsprechen

der

EG-Richtlinie

82/499/EWG

und/oder

87/308/EWG

This

product

complies

with

the

radio

fre-

quency

interference

requirements

of

the

Council

Directive

82/499/EEC

and/or

87/308/

EEC

Questo

apparecchio

é

conforme

al

D

M

13

aprile

1989

(Direttiva

CEE/87/308)

sulla

sop-

pressione

dei

radiodisturbi

Este

producto

está

de

acuerdo

con

los

requisitos

sobre

interferencias

de

radio

freguencia

fijados

por

el

Consejo

Directivo

87/30B/CEE

YAMAHA

CORPORATION

IMPORTANT

NOTICE

FOR

THE

UNITED

KINGDOM

Connecting

the

Plug

and

Cord

WARNING

:

THIS

APPARATUS

MUST

BE

EARTHED

IMPORTANT.

The

wires

in

this

mains

lead

are

coloured

in

accordance

with

the

following

code:

GREEN-AND-YELLOW

:

EARTH

BLUE

:

NEUTRAL

BROWN

:

LIVE

As

the

colours

of

the

wires

in

the

mains

lead

of

this

apparatus

may

not

correspond

with

the

coloured

markings

identifying

the

terminals

in

your

plug

procced

as

follows:

The

wire

which

is

coloured

GREEN-AND-YELLOW

must

be

connected

to

the

terminal

in

the

plug

which

is

marked

by

the

letter

E

or

by

the

safety

earth

symbol

=

or

coloured

GREEN

or

GREEN-AND-YELLOW.

The

wire

which

is

coloured

BLUE

must

be

connected

to

the

terminal

which

is

marked

with

the

letter

N

or

coloured

BLACK.

The

wire

which

is

coloured

BROWN

must

be

connected

to

the

terminal

which

is

marked

with

the

fetter

L

or

coloured

RED.

*

This

applies

only

to

products

distributed

by

YAMAHA

-

KEMBLE

MUSIC

(U

K)

LTD.

1

dh

Bi

FRONT

PANEL

CONTROLS

OPERATION

14

o

Ge

88

Ee

|

fimi

e

Zort

|

al

Pot

o

CE

Ce

1

e

Ê

Ie

TT

|

i

libido

!

Et

TET

;

E

pis

pg

|

>

=

a

m

Rape

d

EE

E

DUT.

o

Q

ey

erh

|

CHEIO

THE

+

—

B

=

LAR

ae

A

|

fk

om

mn

|

molida

AIC,

TO

|

TN

Ti

a

2

finfino

n

Be

¡>

cem

|

DUDU

H

ITT

|

ASKE

KY:

MULA

A

Å

f

hallal

popping

|

R

no

inn

INPUT

CHANNELS

@

PAD

switch

This

switch

attenuates

the

signal

applied

to

the

cor-

responding

channel

input

by

15

dB

prior

to

the

head

amplifier.

The

15

dB

switch

effectively

increase

the

range

of

input

signal

levels

that

can

be

handled

by

the

mixer,

preventing

overloading

of

the

input

cir-

cuitry

when

receiving

high-level

signals.

The

pad

is

ON

when

the

15

dB

switch

is

in

the

=

(lower)

po-

sition,

HIGH,

MID

and

LOW

EQUALIZER

con-

trols

These

three

controls

permit

selective

modification

of

the

frequency

response

for

each

channel.

The

HIGH,

MID,

and

LOW

EQUALIZER

controls

have

the

following

characteristics:

Control

Freq.

|

Control

HIGH

10

kHz

Shelving

MID

2

kHz

Peaking

100

Hz

|

Shelving

15

LOW

BOOST

MID.

20091

|

i

pu

;

HIGH

"ATI

NG

ii

Cc]

BOOST

Å

UI

a

CLD

4

Forme

E

=

[3

il

|

Ki

| |

pa

HIGH

CUT

LOW

CUT

la

MID

CUT

il

100

D

Toe

FREOUENOY

(Hz)

@

EFFECTS

control

The

EFFECTS

contro!

determines

the

level

of

the

signal

sent

from

the

corresponding

channel

to

the

EFFECTS

mixing

bus.

At

the

bus,

the

EFFECTS

signals

from

all

channels

are

mixed

and

fed

to

the

EFFECTS

SEND

control

and

the

rear

panel

EFF

SEND

jack.

The

EFFECTS

control

configuration

is

factory

preset

to

post-EQUALIZER/post-

VOLUME.

As

aresult,

the

EFFECTS

signal

is

directly

depend-

ent

on

the

settings

of

the

channel

EQUALIZER

and

VOLUME

controls.

@

MONITOR

control

The

MONITOR

control

determines

the

level

of

the

signal

sent

from

the

corresponding

channel

to

the

MONITOR

mixing

bus,

At

the

bus,

the

MONITOR

signals

from

all

channels

are

mixed

and

fed

to

the

master

MONITOR

control

and

the

rear

panel

MON

OUT

jack.

The

MONITOR

control

configuration

is

factory

preset

to

pre-EQUALIZER/pre

VOLUME.

As

a

result,

the

MONITOR

signal

is

independent

of

the

settings

of

the

channel

EQUALIZER

and

VOL-

UME

controls.

PAN

control

The

PAN

control

determines

the

position

in

the

stereo

sound

field

at

which

the

sound

from

that

channel

is

heard.

Rotated

fully

counterclockwise

the

channel

signal

will

be

delivered

from

the

left

output

only,

and

will

be

heard

at

the

far

left

of

the

stereo

sound

field.

If

the

PAN

control

is

turned

fully

clockwise,

the

sound

from

that

channel

will

appear

at

the

far

right

of

the

stereo

sound

field.

If

the

PAN

control

is

set

at

its

center

position,

the

channel

signal

will

be

sent

equally

to

both

the

left

and

right

channels,

causing

the

sound

to

appear

at

the

center

of

the

sound

field.

Intermediate

PAN

control

settings

cause

the

sound

to

be

heard

at

the

corresponding

position.

Channel

fader

This

is

the

main

level

control

for

each

input

chan-

nel.

The

setting

of

the

fader

control

determines

the

level

of

the

channel

signal

in

the

overall

master

stereo

output

signal.

As

a

precaution,

if

the

channel

is

not

being

used,

the

fader

control

should

be

set

to

the

lowest

level

to

prevent

unwanted

noise

from

being

added

to

the

main

signal.

Master

Control

Section

]

@

TAPE

TO

MONITOR

control

The

TAPE

TO

MONITOR

control

adjusts

the

level

of

the

signal

received

from

the

rear

panel

TAPE

IN

inputs

(RCA

pin

jacks

TAPE

IN

R

and

L).

The

adjusted

signal

is

then

fed

to

the

master

MONI-

TOR

control

and

the

rear

panel

MON

OUT

jack.

The

TAPE

TO

MONITOR

control

selectively

deter-

mines

the

output

level

of

tape

recorders

or

other

such

devices

in

the

MON

OUT

signal.

TAPE

IN

control

The

TAPE

IN

control

regulates

the

level

of

the

sig-

nal

sent

from

rear

panel

TAPE

IN

inputs.

The

regu-

lated

signal

is

then

added

to

the

SP

OUT,

REC

OUT,

and

LINE

OUT

signals.

The

TAPE

IN

control

sets

the

output

level

of

tape

recorders

or

other

such

de-

vices

in

the

main

program

signal.

When

recording

from

the

REC

OUT

jacks,

this

con-

trol

must

be

set

at

a

minimum

to

avoid

electronic

feedback.

As

a

result,

recording

and

playback

can-

not

be

accomplished

at

the

same

time

with

one

tape

machine,

EFFECTS

TO

MONITOR

control

The

EFFECTS

TO

MONITOR

control

adjusts

the

level

of

the

combined

signal

received

from

the

rear

panel

EFF

RTN

inputs

(1/4"

phone

jacks

EFF

RIN

R

and

1.)

before

the

signal

is

fed

to

the

rear

panel

MON

OUT

jack.

The

EFFECTS

TO

MONITOR

control

selectively

determines

the

output

level

of

external

effects

in

the

MON

OUT

signal.

EFFECTS

RETURN

control

The

EFFECTS

RETURN

control

regulates

the

level

of

the

combined

signal

sent

from

the

rear

panel

EFF

RTN

inputs.

The

regulated

signal

is

then

added

to

the

main

program

signal.

The

EFFECTS

RETURN

control

sets

the

output

level

of

external

effects

in

the

main

program

signal.

EFFECTS

SEND

control

This

control

adjusts

the

output

level

of

the

overall

mix

derived

from

the

input

channel

EFFECTS

con-

trols

and

feeds

the

signal

to

the

rear

panel

EFF

SEND

jack,

The

EFFECTS

SEND

control

should

be

used

to

optimally

match

the

mixer

EFF

SEND

out-

put

level

to

the

input

sensitivity

of

the

connected

external

effect

or

signal

processor.

@

MONITOR

fader

The

independent

monitor

bus

features

a

master

MONITOR

control

for

adjustment

of

the

overall

monitoring

level.

This

control

adjusts

the

output

level

of

the

overall

mix

derived

from

the

input

channel

MONITOR

controls

and

feeds

the

signal

to

the

rear

panel

MON

OUT

jack.

STEREO

L

and

R

MASTER

faders

The

output

level

of

the

main

program

signal

is

regu-

lated

by

the

MASTER

faders.

The

regulated

signal

is

fed

directly

to

the

rear

panel

LINE

OUT

L

and

R

jacks

and

via

the

graphic

equalizer

to

the

rear

panel

SPOUTLandR

jacks.

Graphic

Equalizers

For

precise

response

shaping

of

the

SP

OUT

signals,

the

seven-band

graphic

equalizers

provides

12

dB

of

boost

or

cut

in

each

band.

There

are

seven

independ-

ent

linear

controls

at

the

standard

ISO

center

fre-

quencies

of

125,

250,

500,

1k,

2k,

4k,

and

8k

Hz

peaking.

LIMITER

indicator

The

EM2820

is

equipped

with

a

limiter

circuit

which

limits

the

maximum

level

of

the

signal

at

SP

OUT

L.

and

R

to

prevent

the

signal

from

distorting.

The

LIMITER

indicator

is

lit

when

the

limiter

cir-

cuit

is

activated.

PROTECTION

indicator

The

PROTECTION

indicator

lights

for

approximately

6

seconds

after

the

POWER

switch

is

pressed

to

indicate

that

the

protection

circuitry

is

operating.

No

sound

is

output

at

SP

OUT

L

and

R

while

this

indicator

is

lit.

This

indicator

will

also

light

and

the

sound

will

be

cut

off

at

SP

OUT

L

and

R

when

the

protection

circuitry

is

activated

at

any

other

time

during

the

amplifier

operation

due

to

factors

such

as

a

detection

of

excessive

DC

voltage

at

SP

OUT

ora

thermal

overload.

When

the

problem

is

corrected,

the

protection

circuitry

is

automatically

deactivated,

the

indicator

goes

out,

and

the

amplifier

resumes

normal

operation.

POWER

ON/OFF

indicator

When

the

power

is

ON

(==),

the

POWER

indicator

LED

will

be

lit.

El

REAR

PANEL

soo

B

POWER

ON/OFF

switch

The

power

switch

turns

the

power

ON

or

OFF.

It

is

recommended

that

all

fader

controls

be

set

to

their

lowest

levels

before

the

power

is

switched

ON.

This

will

prevent

sudden

power

surges

to

any

external

equipment.

LINE

and

MIC

INPUT

connectors

Each

input

channel

offers

a

choice

of

two

input

connectors:

a

MIC

IN

connector,

a

balanced

4

kohm

impedance

XLR-3-31

connector,

and

a

LINE

IN

connector,

an

unbalanced

10

kohm

impedance

1/4"

phone

jack.

The

MIC

connectors

are

primarily

in-

tended

for

use

with

professional

low-impedance

mi-

crophones

or

electronic

instruments

having

low-im-

pedance

balanced

outputs.

The

LINE

connectors

will

accept

unbalanced

signals

from

musical

instruments

or

other

such

source

equipment.

PHANTOM

MASTER

switch

This

switch

applies

built-in

standard

#48

V

power

to

all

MIC

(XLR)

input

connectors

for

biasing

Phan-

tom

powered

condenser

microphones.

Aa

VS

S

O

BO

©

OG

e.a

MICROPHONE

CABLES

AND

MICROPHONES

CONNECTION

TO

PREVENT

HAZARD

OR

DAMAGE,

ENSURE

THAT

ONLY

MICROPHONE

CABLES

AND

MI-

CROPHONES

DESIGNED

TO

THE

1EC268-15A

STANDARD

ARE

CONNECTED.

MON

OUT

jack

This

mono

1/4"

phone

jack

(unbalanced)

delivers

the

monitor

output.

This

output

can

be

used

to

feed

the

external

monitor

system.

The

output

impedance

is

150

ohms

and

the

nominal

output

level

is

+4

dB.

This

signal

is

not

amplified.

ST

OUT

L

and

R

jacks

The

EM2820

is

equipped

with

unbalanced

1/4"

phone

jacks

which

deliver

a

stereo

mix

of

the

input

channel

signals.

The

ST

OUT

signal

can

be

used

to

drive

a

power

amplifier

and

speaker

system,

powered

key-

board

speakers,

or

a

main

mixing

console.

Nominal

output

level/load

impedance

for

the

phone

jack

out-

puts

is

+4

dB/10

k-ohms.

@

POWER

AMP

mode

switch

The

POWER

AMP

switch

changes

the

mode

of

the

SP

OUT

signals.

When

the

switch

is

in

the

STEREO

position,

the

SP

OUT

L

and

R

jacks

deliver

stereo

signal

output

with

200

watt

amplification

into

4

ohm

loads.

When

the

switch

is

set

to

the

MON

(MONI-

TOR)

position,

the

SP

OUT

L

jack

delivers

an

amplified

monaural

L+R

signal.

The

SP

OUT

R

jack

provides

an

amplified

+4

dB

MON

signal

with

150

ohm

im-

pedance.

(Amplification

is

200

watt

into

4

ohm

loads.)

©

STEREO

mode

EM2820

SP

OUT

RAMON)

LAR)

POWER

AMP

“ou

STEREO

Main

Speaker

Main

Speaker

for

Left

Channel

for

Right

Channel

O

SP

OUT

Land

R

jacks

SP

OUT

1

and

SP

OUT

2

are

standard

mono

1/4"

phone

jacks.

The

jacks

are

wired

in

parallel

and,

as

a

result,

if

you

connect

a

speaker

system

to

only

one

of

the

two

jacks,

then

the

total

load

impedance

of

the

speaker

system

may

be

no

less

than

4

ohms.

If

you

plug

speaker

systems

into

both

of

the

SP

OUT

jacks,

the

total

load

impedance

of

each

speaker

sys-

tem

must

be

no

less

than

8

ohms.

O

L+R/MON

mode

EM2820

SP

OUT

RAMON)

ULA)

POWER

AMP

Bon

STEREO

Main

Speaker

+

Monitor

Speaker

2

o

B

2

D

Es

E

Z

pd

2

MASTER

“=

3

O

FADER

@

POWER

AMP

mode

på

p

Switch

|

an

GRAPHIC

POWER

4]

I

o

|

EQUALIZER

|

Vil

ur)

—

@

MASTER

LR

|

e

o

FADER

i

B

SP

OUT

y

e

o

o

T

x

MÄ

GRAPHIC

o

EQUALIZER

VA

mon

—

@

NONITOR

MON

o

MASTER

FADER

Le

t

Lå

O

EFF

SEND

jack

The

signal

adjusted

by

the

EFFECTS

SEND

control

is

delivered

to

this

1/4"

phone

jack

(unbalanced).

Its

output

impedance

is

150

ohms

and

the

nominal

out-

put

level

is

-10

dB.

O

EFF

RTN

jacks

The

output

from

an

external

signal

processing

de-

vice

fed

by

the

EFF

SEND

output

can

be

returned

to

the

main

program

and

monitor

signals

via

the

EFF

RIN

jacks.

These

1/4"

phone

jacks

(unbalanced)

have

an

input

impedance

of

10

kohms

and

a

-20

dB

nominal

input

level,

@

REC

OUT

jacks

The

REC

OUT

RCA

pin

jacks

deliver

a

-10

dB

line-

level

signal

which

has

not

been

affected

by

the

MASTER

level

control,

The

REC

OUT

signals

can

be

fed

to

a

tape

or

cassette

recorder

for

convenient

recording

of

the

main

program.

The

jacks

have

an

output

impedance

of

600

ohms.

@

TAPE

IN

jacks

These

-10

dB

RCA

pin

jack

inputs

are

ideal

for

receiving

the

signals

from

tape

recorders

or

any

other

line-level

sources.

The

TAPE

IN

jacks

have

an

input

impedance

of

10

kohms.

OPERATING

TIPS

CONNECTING

SOURCES

]

|

SOUND LEVEL

BALANCE

AND

CONTROL

INPUT

MIC

-

4548

PIN

1:

GROUND

PIN

3:

COLD

(-)

*

MAKE

SURE

THE

MIXER'S

POWER

SWITCH

IS

OFF

WHEN

CONNECTING

OR

DISCONNECT-

ING

ANY

CABLES.

*

ALWAYS

TURN

THE

MIXER'S

POWER

ON

AFTER

TURNING

ON

CONNECTED

SOURCES

SUCH

AS

ELECTRONIC

INSTRUMENTS,

ETC.

CONNECTING

SPEAKERS

|

The

EM2820

powered

mixers

have

two

1/4"

phone

jack

speaker

outputs

which

are

internally

connected

in

paral-

lel.

This

place

some

restrictions

on

their

use.

*

IF

YOU

CONNECT

SPEAKER SYSTEMS

TO

ONLY

ONE

OF

THE

AVAILABLE

SPEAKER

OUTPUTS,

THE

TOTAL

IMPEDANCE

OF

THE

CONNECTED

SPEAKER

SYSTEM

MAY

BE

NO

LESS

THAN

4

OHMS.

*

IF

YOU

CONNECT

SPEAKER

SYSTEMS

TO

BOTH

OF

THE

AVAILABLE

SPEAKER

OUTPUTS,

THE

TOTAL

IMPEDANCE

OF

THE

SPEAKER

SYS-

TEM

CONNECTED

TO

EACH

OUTPUT

MAY

BE

NO

LESS

THAN

8

OHMS

(equalling

a

total

of

4

ohms).

While

a

higher

total

load

impedance

than

the

recom-

mended

impedance

will

only

result

in

a

loss

of

power

output,

a

total

load

impedance

that

is

too

low

can

actu-

ally

damage

the

powered

mixer.

With

a

total

load

im-

pedance

of

8

ohms,

the

maximum

output

power

of

EM2820

mixers

is

120

watts,

With

a

total

load

impedance

of

4

ohms,

maximum

output

power

is

200

watts.

*

NEVER

CONNECT

OR

DISCONNECT

SPEAKERS

WHILE

THE

MIXER'S

POWER

IS

TURNED

ON!!

Before

turning

ON

the

mixer

AC

power

switch,

connect

all

inputs,

outputs,

and

speakers,

and

be

sure

the

monitor

control

is

at

“0”.

If

other

electronic

equipment

or

elec-

tronic

instruments

are

connected

to

the

inputs

of

the

EM2820,

turn

ON

that

equipment

before

turning

on

the

mixer.

This

will

not

only

avoid

annoying

hum,

it

will

also

prevent

power-on

transients

from

damaging

speak-

ers

or

other

equipment.

To

obtain

a

good

S/N

ratio

with

little

noise

and

wide

dynamic

range,

it

is

important

to

establish

a

proper

bal-

ance

between

each

channel

fader

control

and

the

MAS-

TER

control.

Generally

speaking,

to

set

the

volume

of

the

signals

at

SP

OUT

and

to

obtain

a

good

S/N

ratio,

the

channel

fader

control

should

be

set

as

high

as

possible

and

the

MASTER

fader

controls

should

be

set

low.

However,

if

the

channel

fader

is

set

too

high,

the

signal

will

clip,

and

the

sound

will

become

distorted.

Initially,

set

the

channel

fader

to

“O”,

and

the

MASTER

fader

controls

to

about

“3”.

Increase

channel

sensitivities

one

at

a

time

until

the

desired

mix

balance

is

achieved;

the

fader

of

the

channel

with

the

lowest

signal

level

should

be

set

somewhere

between

“8”

and

“9”.

At

this

point,

if

the

overall

sensitivity

is

too

high

or

too

low,

readjust

the

MASTER

faders

accordingly.

The

same

considerations

apply

to

the

MONITOR

output.

Although

the

LIMITER

circuitry

is

capable

of

handling

reasonable

signal

overranges

without

distortion,

exces-

sively

large

power

signals

will

be

distorted.

The

best

policy

for

stable

signal

output

is

to

keep

the

signal

turned

down

to

avoid

situations

that

activate

the

limiter

circuitry.