Input channel The PD 812 / PD 1216 offers two different kinds of input channels. On the PD 812 channels 5 to 8 are wired stereo while on the PD 1216 channels 9 to 16 are stereo. The remaining channels (1-4 and 1-8 respectively) are monaural, just as on any other mixer. All mixer channels have identical controls, the difference between the two channel groups lies within their input routings. When using a monaural channel one can use the XLR microphone input or the line input jack. The stereo insert jack acts as a separate serial effects loop for each channel. When in use, the tip of the stereo jack will carry the send signal from the mixer while the ring expects the returning signal from the external device. The insert jack can also be used as a separate channel output e.g. for recording purposes. In order to avoid shortening or interrupting the signal chain, a stereo plug with tip and ring terminals soldered together must be used for this type of configuration. All stereo channels feature two line input jacks which route their input signals to their assigned stereo outputs. If you want to use a stereo channel as a monaural channel just use the upper input jack (left/mono) as an input. The microphone input is always wired monaural. Microphone and line inputs on each channel can be used simultaneously, but you should keep in mind that the output volume controls of the connected instruments might counteract in some cases. The XLR microphone input is designed as a lowimpedance symmetrical input to connect all kinds of microphones and other low-impedance sources such as outputs from DI-Boxes or balanced outputs of electrical instruments or amplifiers. The line input jack below the XLR input is designed for high input impedance and unsymmetrical connection. It is best suited for all kinds of instruments such as keyboards, tape recorders, pickup systems etc. The gain control affects the input sensitivity of each channel. The yellow range LEDs (two of them on each stereo channel) light up whenever the signal strength is sufficient. Overshooting the required gain setting results in clipping (and distortion) of the signal causing the red clip LED to light up as a warning. For best results in signal-to-noise ratio set the gain control so that the red LED does just not flash during very loud passages.
6 owner`s manual PD 812, PD Zeck Music
0 dB 3 dB 10 dB 20 dB Stand by
Klangregelung Die Klangregelung ist in drei Bnder aufgeteilt: High-Regelung bei 10 - 20 kHz mit 10 dB, q Mid-Regelung bei 1 kHz mit 14 dB, q Low-Regelung bei 60 Hz mit 16 dB. Die Klangregelung sollte normalerweise linear stehen (alle Regler auf 0) und sollte nur dann vorsichtig benutzt werden, wenn bestimmte Soundvorstellungen oder die rtliche Akustik dies erfordern. Es macht keinen Sinn, alle Klangregler an den Anschlag zu drehen (vgl. Marshall-Syndrom), denn dies wrde in jedem Fall zu einer Verschlechterung des Klangbildes fhren.

Tone Control (Equalizer) The PDs channel equalizer section is capable of controlling three different ranges of the sound spectrum : q high frequencies from 10 kHz to 20 kHz with a boost/cut of 10 dB q midrange frequencies around 1kHz with a boost/cut of 14 dB q ow frequencies around 60Hz with a boost/cut of 16 dB As a general rule of thumb, the tone controls should be set for a moderate equalization, as this is the best way to achieve a natural sound reproduction. The general idea of channel equalization is to compensate for differences in the sound sources rather than trying to make poor microphones or instruments sound better. The controls Eff 1 and Eff 2 act as send controls into the built-in effect units Effect 1 (reverb/special effects) and Effect 2 (delay). These two controls are post fade in the signal chain. This means that the signals send into the effect units are also decreased gradually when the channel faders are being pulled down and that there is no effect signal audible when the faders are fully down. Next feature going down the channel knobs is the Mon control. This control allows the user to send a division of the channel signal to the monitor section which again controls the overall monitor output of the mixer. The Mon controls work pre-fade which means that they are not affected by the channel fader settings but only by the gain controls and the equalization. This leads to the positive effect that a musician is still able to control himself by a monitor control signal from a channel even when it is faded out. The pan control finally determines how much of the channel signal is send to the left or right master section of the mixer. When in center position, the channel signal is routed to the left and right side of the master section in equal proportions, while a rotation to either side makes the signal travel between left and right making it possible to place the channel signal somewhere in the stereo image. When the channel is used stereo, the two channel signals are stuck with their assigned sides and unable to move inside the stereo image so the pan control works in fact as a balance control as found on home stereo equipment. Finally, the channel fader rules over the output of the channel into the master section. If you notice that the red clip LED is lit or flashing too often, turn the gain control down and bring the channel fader up to compensate for a constant volume.

dyloc active on off

Mit den Eff1- und Eff2-Reglern kann man einen beliebigen Anteil des Eingangsignals auf den internen Effekt 1 (99 Programme, Hall/Spezialeffekte) und den Effekt 2 (16 Delay - Programme ) geben. Die Effektwege liegen `post-fade`, d.h. sie sind dem Kanal-Fader nachgeschaltet. Dies bedeutet, da an den Eingngen der Effekte nur dann ein Signal anliegt, wenn auch der Kanal-Fader auf ist. Der Mon-Regler legt einen beliebigen Anteil des Eingangsignals auf den Monitorweg. Der Monitorweg liegt pre-fade, d.h. er ist dem Kanal-Fader vorgeschaltet. Am Ausgang Mon Out liegt auch dann ein Signal an, wenn der Kanalfader ganz zu ist. Der Regler Pan (Panorama) verteilt das Eingangssignal anteilig auf die Masterschienen links/rechts. Steht Panorama in der Mittelstellung (0), so wird das Eingangssignal gleich stark nach links und rechts verteilt. Bei stereo-Anschlu eines Kanals ist der Panorama-Regler auch in Funktion, allerdings liegen die stereo-Kanle grundstzlich links und rechts, so da der Panorama-Regler dann nur den einen oder anderen Kanal ausblenden kann. Bei Mono-Belegung des Kanals ber den Klinkeneingang Left/Mono ist der Panorama-Regler normal in Funktion. Mit dem Kanal-Fader stellt man die Kanallautstrke ein. Falls die Clip-LED anspricht, mu der Gain-Regler zurckgedreht und der Kanal-Fader aufgezogen werden.

gelt, so da bei Maximalleistung der Frequenzgang wieder linear ist. Dies bewirkt ein offeneres, dynamischeres Klangbild bei gleichzeitiger Vermeidung von Aggressivitt bei hohen Lautstrken. Die Hhenkorrektur DTC kann dem dy l oc -processing zugeschaltet werden. Ohne aktiviertes dy l oc -processing kann die Hhenkorrektur nicht betrieben werden. Die Funktionsweise der gesamten dy l oc -Technik ist vereinfacht in der folgenden Grafik dargestellt.
PD 8 2, PD owners manual 1 1

Program Eff 2

At this point we would like to explain in short terms how the dy l oc -processor works. A common feature of all hard-suspensed high-powered PA speakers is that the voice coil has about the same lenght as the magnetic gap that it moves in. As the speaker cone, and thus the voice coil, is being displaced, part of the voice coil leaves the magnetic field and can no more contribute to the force that moves the cone. This effect violates the linearity of the transducer system and leads to increased distortion, especially in the low frequency range. The dy l oc -processor deals with this shortcoming by correcting phase and amplitude of the outgoing signal dynamically. The dy l oc processor continuously senses the actual stress being put on the speaker and is able to look after the amplitude margin of the speaker cone. With this control system, the danger of overheating of the speakers voice coil is significantly reduced. Only frequencies in the audible low-frequency range between 30 Hz and 80 Hz are being influenced, so that there is no power wasted on non-audible infrasound. Each channel has its own two-stage control and correction system making use of intelligent filters put to work by means of digital and analogue circuitry. The output signal going to the speakers is constantly measured and transformed into digital control signals which work extremely fast and accurate. DTC-control
pushing the button to the left of the dy l oc on/off button. Note that the DTC is only working when the dy l oc control is already activated.

Eff 2 to Mon

For a more open sound quality and enhanced transparency a newly developed treble-correction system has been added to the PD 812 and PD 1216 : the Zeck DTC. The DTC does the same sound correction that the dy l oc alone does to the bass frequencies but mirrors it to the overtone side of the sound spectrum around 8 kHz, giving an even more drastic inprovement of the overall sound coming out of the PD. Sharing the dynamic features with the dyloc, the DTC never makes the sound too sharp at high-volume passages, as its influence is also gradually reduced as the sound level increases. The DTC-control facility is added by

450 W / 450 W

Dynamic limiter Besides the dy l oc and DTC processors that optimize the frequency response in the treble and bass range, the PD 812 and PD 1216 employ an independent built-in dynamic limiter. It watches over the power amplifiers by detecting non-linear conditions in the output stages, e.g. overloading or impedance mismatching, and counteracting them by adjusting the input signal of the power amplifiers following an algorithm that has been specially calculated according to acoustical requirements. No dynamic loss however is noticeable whenever the limiter switches itself into action. Both control systems, the Zeck dy l oc processor and the dynamic limiter, are perfectly adjusted to each other and support each others operations resulting in the following benefits : distinct enhancement of the of the high and low end reproduction of the sound spectrum q increased safety for speakers by means of the dynamic bass correction q overload protection of the whole system through the dynamic controlled limiter q higher dynamics from the system by the cooperation of dy l oc and limiter circuitry
high-control at 10 kHz with 10 dB boost/cut mid-control at 1.5 kHz with 14 dB boost/cut ow-control at 90 kHz with 14 dB boost/cut
A row of 6 LEDs allows visual control over the PDs monitor signal output level.
The monitor path In normal mode, the monitor-send signals from the channels are collected at the Mon-Fader and level-adjusted alltogether from here. Powering monitor speakers from the PD 812 and PD 1216 requires either an external amplifier or self-powered active monitor speakers, e.g. the Zeck MS 12/2 active. The button Left/Right to Mon switches the left and right master output as a monaural mix to the monitor fader. Simultaneously the monitor signals and controls from the channels are disconnected. A 3-band equalizer has been added to the monitor section for a more versatile control, as the acoustical circumstances on stages mostly differ from the audience hall. Also, feedback problems that inevitabely occur from a certain sound level on, can be held under control by means of a monitor tone-control. The EQs frequencies are in detail:
Die Effekteinheiten PD 812 / PD 1216 sind mit zwei digitalen Effektgerten ausgestattet. Die Effekte werden jeweils mit der Taste Effect on eingeschaltet, es leuchtet dann die grne LED Effect on und die Nummer (1-99, 1-16) des Effektprogrammes wird stndig angezeigt. Wenn der Effekt ausgeschaltet ist, blinkt die Programmnummer. Mit den Fadern werden Effect1 und Effect2 dem Mastersignal zugemischt. Der Eff to Mon - Regler mischt das Effektsignal dem Monitorsignal zu.An der Klinkenbuchse Effects Footswitch on/off kann ein Fuschalter angeschlossen werden, der gleichzeitig auf beide Effekte wirkt. Der Fuschalter kann aber nur denjenigen Effekt ein- und ausschalten, der mit der Taste Effect on aktiviert ist. Das richtige interne Aussteuern der Effektgerte ist von sehr groer Bedeutung bezglich des Rauschpegels. Jeweils eine Range- und eine Clip-LED erleichtern das richtige Aussteuern (mit den Eff1- und Eff2-Reglern in den Eingangskanlen) der Effektgerte. Richtig ausgesteuert sind die Effektgerte, wenn die Range LED immer und die Clip LED gerade nicht leuchten. Dann ist ein minimaler Rauschpegel gegeben. Einstell-Empfehlungen fr die internen Effektgerte Alle digitalen Effektgerte haben einen begrenzten Rauschabstand (Quantisierungsrauschen). Der Rauschabstand der integrierten Module liegen, je nach Programm, bei ca. 55 - 60 dB. Der Rauschabstand der Eingangszge liegt bei ber 70 dB. Wenn beim PD etwas rauscht, dann ist es die Effekteinheit. Um dies zu vermeiden, sollte man folgende Einstellungen vornehmen: Gain-Regler soweit aufdrehen, da die rote Clip-LED gerade noch nicht leuchtet. Effect-Regler auf 5 - 9 stellen. Kanal-Fader auf ca 75 - 80 % hochziehen. So ist sichergestellt, da das Eingangssignal zum internen Effekt gro genug ist. Nur so ist ein brauchbares Verhltnis Nutzspannung / Strspannung fr die Effekte mglich. Den Effect-Fader zieht man dann nur noch so weit hoch, bis genug Effekt hrbar wird. In der Regel reicht es, den EffectFader bis etwa zur Mittelstellung hochzuziehen. The effect-units The PD 812 and PD 1216 come with two built-in digital effect devices, Effect 1 and Effect 2. Each of them can be activated by the pushbutton above the effect faders. When the effect is on, the green LED above the effect fader is lit and the effectdisplay shows its number continuously. Turning an effect off results in flashing of the program number display and the green LED becomes dark. The overall volume of each effect is adjustable by the corresponding fader and the Eff to Mon rotary knobs allow to blend the effects into the monitor mix. The jack Effects Footswitch on/off can be connected with a footswitch allowing to turn both effects on and off simultaneously. Only an effect that is activated by means of its pushbutton, however, can be controlled via this footswitch. A proper setting of the effect-send controls on the channels is crucial for a noise-free effect operation. The same rules that go with the channel gain settings apply here as well, there is a range and clip control for each effect. Just set all the send controls from the channels as high as you can without the red clip LED of the effects getting lit.

Recommended settings for the internal effect controls As all digital sound processors produce a quantization noise, the signal-to-noise ratio (S/N ratio) of digital effect units is limited to 55 - 60 dB, depending on the selected program. The S/N ratio of the PDs input channels is better than 70 dB, so if something is hissing, it is most likely one of the effect units. To avoid excessive audible hiss, one should follow these recommendations: - see the gain controls on the channel so that the red clip LED does just not flash - set the channel effect controls between 5 and 9 - operate the channel faders within 75 - 80% of their maximum setting Only with these settings a strong enough input signal is send to the effect units resulting in a reasonable S/N ratio. The effect faders should be pulled up just enough to make the effectsound clearly audible. Settings above half of the faders range should not be necessary following the rules given above. Effekt1 Der Effekt1 stellt 99 fest abgespeicherte Stereo-Programme zur Verfgung, z.B. verschiedene Hallprogramme und Ping-Pong Echo. Die Programme werden mit dem Program Select - Regler vorgewhlt und mit der Enter - Taste aktiviert. Wird der Program Select - Regler nach rechts gedreht, erhht sich die Programmnummer, nach links gedreht wird die Nummer erniedrigt. Die vorgewhlte Nummer wird durch zwei blinkende Punkte in der Nummernanzeige gekennzeichnet. Das neue Programm hat solange keinen Einflu, bis es durch das Drcken der Enter - Taste besttigt wird. Mit der Klangwaage Eff Filter kann die Klangcharakteristik des Effekt1 eingestellt werden. In der Mittelstellung findet keine Klangbeeinfluung statt. In Stellung Bright bleiben die Hhen erhalten und die Bsse des Effektsignals werden abgesenkt. In Stellung Dark bleiben die Bsse des Effektsignals erhalten und die Hhen werden abgesenkt. Die Programmtypen sind in der beigelegten Liste und im Anhang aufgefhrt. Effekt2 Der Effekt2 stellt 16 fest abgespeicherte Delay-Programme zur Verfgung. Die den 16 Programm-Nummern zugeordneten Verzgerungszeiten sind auf der Frontblende im Bereich des Effect2 aufgedruckt. Mit dem Program Select-Schalter werden die Programme abgerufen und die Programmnummer wird angezeigt.
ber den Repeat-Regler kann die Anzahl der Wiederholungen des Delay-Signals eingestellt werden. Zum Einschleifen eines externen Effektgertes (stereo oder mono) sind die Buchsen Effect2 send und Effect2 return Left/Right vorgesehen. Werden diese Buchsen belegt, so ist das interne Effektgert Effect2 abgeschaltet. Die Drehregler Effect2 in den Eingangskanlen wirken dann auf das externe Effektgert, der Fader Effect2 wirkt dann auf das Return-Signal des externen Effektgerts. The Effect 1 unit contains 99 different programs, including several kinds of reverb, delay (echo), special effects and combinations of them, all in stereo. The programs are dialed by a continuous endless incremental rotary switch (Program Select) that allows quick access to all programs from both ways by turning it left or right. When the number of the desired program appears in the Program Eff 1 display it will not be activated until the Enter button has been pressed. Until this, the old program that has been called up before remains active and the new program number is seen with a flashing point in the display. Pressing the Enter button activates the new program instantaneously. A tone-control for the Effect 1 programs has been provided to fit the overall effect units sound to your personal liking (Eff Filter). In the middle detent position of the rotary knob all frequencies pass unaltered for a linear frequency response. Turning the tone-control clockwise reduces the amount of bass frequencies with no effect on the high frequencies resulting in a crisp, bright effect sound. Turning the Eff Filter knob counterclockwise reduces the high frequencies leaving the low frequencies unaltered for a warm, darker sounding effect. For a detailed description of these programs and useful hints for using them please refer to the extra sheets that come with the mixers. The Effect 2 unit features a 16-bit digital delay unit with 16 different preset delay times. Like on Effect 1, the delays can be dialed through the Program Select rotary knob, but no enter button is needed here, the delay times changing instantaneously as you go through the program numbers. A printed-on table above the Program Select knob shows the corresponding delay times. As for the Effect 1 unit refer to the extra sheets for recommendations on setting the delay times. The Repeat knob below the Program Select determines how many times a delay is repeated. Three effect loop jacks have been provided for connecting an external stereo effect device to the PD 812 and PD 1216. Connecting these jacks automatically disables the internal Effect 2 device but leaving the Eff 2 fader in function.

Additional wiring facilities The Line Out jacks allow to connect external sound equipment such as mixers, amplifiers or active subwoofers to the PD. Their output volume is controlled by the Line Out Volume as well as by the master faders. If you want to use the PDs power amplifiers for other equipment you can easily connect these devices through the Line In jacks. Useful applications are manifold : any line-level stereo signal that needs no preamplifying will work well in this input, e.g. a submixerss output or the monitor output from a larger mixer using the PD as a monitor amplifier. The input level is adjusted by the Line In Volume control and as the inputs are placed before the master faders in the signal chain they are affected by them as well. The Tape In inputs come in the form of two cinch-type RCA phono jacks. They are useful for connecting playback-outputs from stereo home equipment such as tape decks or CD-players to the PD. Similar to the line inputs described above, the signals from this input can be blended into the mix by the Tape In Volume control and are also dependent on the master fader settings. A jack for stereo headphones with an own volume control is provided for silent monitoring of the master signal just before it reaches the master faders. Stand-by switch For short program interruptions use the Stand by switch on the front to mute the outgoing master signal without having to turn off the whole unit. The Stand by mode is indicated by the two lowest red LEDs of the master LED display.
So long, viel Spa mit Zeck!
Technische Daten / Technical Data Eingangskanle mono Input channels mono Eingangskanle stereo Input channels stereo Nennleistung Continious output power Frequenzumfang Frequency range 8 Ohm 4 Ohm Mixer + Power Amp Zeck Effekt

PD 812 4

PD 1216 8
x 150 W 2 x 200 W 000 Hz (2 dB) 000 Hz (2 dB) < 0,1 %

W 300 W

Gesamt-Klirrfaktor ohne Effekte Total harmonic distortion (THD) with effects off Intermodulationsverzerrungen IM distortion quiv. Eingangsrauschen, bezogen auf 200 Ohm Equiv. input noise @ 200 Ohms Geruschspannungsabstand Signal to noise ratio Masterfader max. Eingangsfader min., EQ Mittelstellung Master fader max., Input fader min., EQ flat Speaker min. 4 Ohms

Gruppe Doubler, Programme 81-83 Hier sind die Delay-Zeiten so kurz eingestellt, da das Gefhl entsteht, es wrden zwei Personen gleichzeitig singen. Dieser Effekt eignet sich dazu, Gesang und Instrumente voller klingen zu lassen. Auch diese Effekte sind in Stereo und erzeugen gleichzeitig ein rumliches Klangbild. Gruppe Special Delays, Programme 84-87 Vier klassische Effekte sind hier verwirklicht worden. Der Effekt Rockabilly (Programm 84) erzeugt genau den bekannten Echo-Effekt, der in den Rock and Roll-Aufnahmen der 50er Jahre durchweg angewendet wurde, und zwar in Stereo. Programm 85 ist der gleiche Effekt, nur mit einem zustzlichen Hallanteil. Tape Echo ahmt den Effekt alter Band-Echomaschinen nach, bei denen das Signal mit mehreren Wiedergabekpfen abgenommen wurde, wodurch sich ein galoppierender Echoeffekt ergibt, bei unserem Effektgert allerdings in Stereo. Dieser Effekt pat sehr gut zu Sologitarren-Passagen la The Shadows. Programm 87 entspricht Programm 86, allerdings mit zustzlichem Hall.
Sound description Multi-Effects-Processor Group Hall, Programs 1-16 and 65-72 The effects of this group simulate the acoustical behaviour of large halls of different sizes. Since the reverb effects of this group produce a very clean frequency response without any additional colouring of the sound they are well suited for general purpose use. Many different reverberation times from 0.5s to as much as 15s (!) can be dialed through the program numbers. One should though be careful with reverberation times longer than 3s, as they tend to mudden the overall sound of the music. For sparse musical arrangements, however, these can be very useful to create a spacious atmosphere. The reverberations from the group hall bright (programs 1-16) are more balanced towards a crisp, high-end response, while the effcts from the group hall dark (programs 65-72) come with an overall darker sound. Nevertheless these differences can be compensated for (or boosted) by means of the built-in effects tonecontrol. Group Room, Programs 17-32 By imitating the acoustical behaviour of walls, which in the first place means the many reflexions they send back, one can emulate the feel of a room electronically. Or to put it more simply : imagine yourself yelling inside a long tunnel with concrete walls. In the PD 12/16 we have included two different room sizes each of them being variable in reverberation time, making a total of 16 room programs (not including the compound programs desribed later on). Room programs are best suited for all kinds of percussive instruments and make these really come alive. In addition to that, sounds from solo instruments such as saxophones or guitars will be enhanced sonically when adding a touch of room to them. All room-programs in the PD 12/16 are designed for a bright response as this brings out their characteristics best. As with all programs, you can still tailor your own sound by making use of the effects tone-control. Goup Plate, Programs 33-48 In the old non-digital days electro-mechanical devices such as plates and springs with transducers had to be used to create high-quality reverberation effects. Still many users long for the specific sound that these devices had, but today they are normally only available in a rather poor quality or for horrifying prices. For this reason we at ZECK decided to add two different groups of digital plate reverb sounds to the PD 12/16, each one of them simulating a different pickup-characteristic in terms of the vintage devices. If you want to add a reverberation effect with a sound (in contrast to the true digital non-sound of the other programs) to your vocals or instruments, especially keyboards or guitars, these sounds might be just what you are looking for. Group Gate, Programs 49-56 A natural reverberation consists of a more or less long decay time in which the sound level degrades continuously. With a gated reverb, the reverberation sound is cut off at a fixed time after its start, no matter how loud it was at that time. Since such kind of reverberation doesnt exist in nature, a gated reverb effect always comes in very technologically and applies best to percussion instruments or brass sets for a contemporary sound. A gated reverb with its fixed cut-off time adds a timefactor to your music, so you might want to tune its decay time to match your beats. Therefore we included in our effects parameter list the corresponding beats per minute for every time-related program (see below for further information). Group Reverse, Programs 57-64 Using digital technology one is able to turn sounds, once they are sampled, totally over. Reverse reverb is one device making extreme use of this fact: sampled sounds are repeated backwards, mirroring the attack/decay behaviour of them. As most of the natural sounds have a short attack and a longer decay (piano, guitar, cymbals), the resulting reverse sounds begin to swell on for a while and then decay abrupt making for a rather artifical effect. In recording history backward-tape effects always found their use in attempts to create a sense of psychedelic aura. Group Reverb + Stereo-Delay, Programs 73-80 In this first compound-effects group we have set the reverbtime to a common 2.4 seconds while the added-on delays increase with the program numbers. A pleasant stereo-effect is created by having different delay times on the left and the right channel. Because we want the PD 12/16 users to get the most from their equipment, at this point we would like to talk about how to use delays rhythmically, and hence, musically. When choosing a delay time, one should make sure that the repeats from the delay unit land right on the musical beats, or at least very near to them (there are exceptions to this rule, but you should know the rules before you break them). Tempo in music is mostly given as beats per minute (bpm), leaving open whether these will be quarter or eighth notes, but this doesnt matter here. One example : a delay time of 200 milliseconds (ms) yields 5 echoes per second and 300 echoes per minute. This delay time will suit every division of 300 bpm being 300, 150 or 75. Most of the time, however, you will wish to calculate the other way round to find out which delay time has to be chosen for a given tempo. The following formula will help you to solve this problem: Delay time = bpm Following this formula, a given tempo of 130 bpm leads to a delay time of 230ms which can be obtained from the PD 12/16 program number 75. Also, program 73 with half of the delay time (110/125ms) could be used, albeit sounding slightly more hectical because of the faster repeats. The next division of 60ms would be almost too short to hear and thus make no musical sense. As a good rule of thumb one should settle with delay times above 120ms. Setting the delay times slightly shorter than the values obtained from the formula creates a forward feel in the music, while delay times a bit longer than the right ones tend to relax the overall rhythmic feel. The PD 12/16 contains massive amounts of diverse delay times in both of its effect units, so there should be something to be found for every tempo. As we mentioned above, the sound parameter table that comes with the PD 12/16 contains all the information that you need to choose the right delay effect, so there really should be no need to get involved into deep mathematics.

Group Doubler, Programs 81-83 Within this group we set the delay times so short that the original and the delayed signal blend into each other. When applied to vocals it actually sounds like theres another person singing along, a trick that is often used in recording business to make the vocals sound fuller. All three effects in this group are provided with reverb and stereo imaging for an even richer sound.
Group Special Delays, Programs 84-87 In this group we have made an effort to recreat four classic sound effects of the fifties and sixties. Program 84 (Rockabilly) gives you the sound associated with the early Rock and Roll recordings of the fifties and if that wasnt enough, we made it stereo. Just sing one Be-Bop-ALula into the microphone and youll know what this effect is about ! Program 85 is basically the same as 84, but with additional reverb. Tape Echo (program 86) simulates an old-style tape echo machine with several playback heads, tapping the signal in a more or less random order. When youre after the sixties guitar sound _ la The Shadows, be sure to have this one activated ! Of course in stereo. Program 87 is the same but with plate effect, making for an even more reverb-drenched sound. Group Room+Delay, Programs 88-92 An instrument amplifier disperses its sound more or less into its surrounding rather than aiming at one direction creating a certain room feel. When electrical instruments are direct-injected into a mixer, however, they often lack a feel of ambience compared to instruments played through a separate amplifier resulting in a lacklustre, dry sound. The delay programs in this group do away with this shortcoming by adding a room effect to the stereo delay for a real pleasant blend. These effects go along well with all kinds of instruments but this is the definite delay effect for a lush distorted lead guitar sound. Its also worth a try on your vocals. Group Stereo-Delay, Programs 93-96 Ultralong delays with uncorresponding delay times on each side are what you will find in this department. Here a very strong, stereo effect is created that can be applied to almost everything as a special effect. Group Ambience, Programs 97-99 These 3 effects produce an artificial room-image by mixing short delays and reverbs in a certain manner. For all opportunities where your speaker cabinets have to stand close to each other these programs can be really helpful by making the sound appear less concentrated but rather spread out. While program 98 is made for just broadening the sound, programs 97 and 99 give you an additional long delay/reverb decay.

4. Dynamic controlled limiter Apart from the Zeck dy l oc system, which optimises bass sound behavior fully independantly, an independant dynamic controlled limiter is also put to work. In each channel it recognizes non-linear operating conditions such as overload or mismatched impedances and regulates the incoming signal according to an acoustically optimised algorithm. This regulation system is set so that no dynamic loss occurs. Both regulation systems, the Zeck dy l oc systems and the dynamic controlled limiter, are tuned to each other and enhance each other to produce the following advantages:
clear improvement in the quality of the bass range and treble range sound improved speaker protection by dynamic bass correction.
overload protection for the whole system by dynamic limiter
dynamic gain for the whole system due to the cooperative effects of the dy l oc system and dynamic controlled limiting.
PD 6 2, MD owners manual 1 1
The effects unit 16 fixed effects programmes are available. The individual programmes are printed on the front panel: 9 different reverbs, 3 delays (echo), 2 gated programmes (short reverb without fade), 1 reverse echo and 1 special delay (longer echo). Individual programmes are chosen by the Program Select switch and the programme number is digitally displayed. The Effect on/off switch activates the effects unit. When switched off, the numbers display shows two horizontal lines. When switched on, it shows the number of the selected programme. The effects can also be switched on and off by a conventional footswitch connected to the Effect on/off jack socket. TFor this purpose the Effect on/off switch must be switched on. The Effect Volume control regulates the internal output volume (internal return) of the effects unit. The control position is important for regulating the noise generated by the effects unit. All digital effects units have a limited signal to noise ratio (SNR) (quantizing noise). The integrated Alesis module's SNR is around 45 - 50 dB and the input chanels have an SNR over 70 dB. If something in the power mixer is making a noise then it's the effects unit and, in order to avoid it, the following settings are to be recommended: Turn up the effect volume control till the noise is audible but not yet disturbing. Then turn up the Gain control, the Effect Technische Daten / Technical Data Nennleistung Nominal rating Frequenzumfang Bandwidth 8 Ohm 4 Ohm Mixer + Power Amp Effects Example of minimum noise setting (with one microphone connected) We recommend the following grade settings: Gain: turn up to a point where the red LED does not quite light up. Effect: 7 - 9 Volume: 7 - 9 Master Volume: 5 - 8 Effect Volume: 5 - 8 The same applies to the internal effects: the unit's input volume should be set as high as possible so that the output volume (and accompanying noise) can be kept low. Send control and the channel volume control as far as possible, because the effects input volume depends on these controls. The stronger the effect is regulated at the input, the less the Effect Volume has to be turned up. This is the way to keep the effect volume down and thus reduce the noise from the effects units.

Connection facilities on the rear panel of the PD 612 Aux Send Mono output socket for external effects, monitor power amp or active monitor speaker. Aux Return Mono input socket for effects return signal.
Insert Left/Right This separation and insert facility, (pre power amp) as a stereo switch socket, can be used for the following purposes: 1. Equipment insertion (eg. equaliser, effects unit). One uses a Y-cable with one stereo jack plug and two mono jacks. The tip of the stereo jack carries the send or output signal and the ring contact carries the return or input signal. 2. Using the internal power amp(s) eg. for monitor purposes. If one of the two power amp blocks is required as a monitor amp a special cable is required; one end with a mono jack and the other with a stereo jack, the tip of which remains unused and the ring contact carries the signal. The mono jack is connected to Aux Send with the stereo jack in Insert Left or Right. One of the power amps is now separated from the master and only amplifies the aux send signal whose volume is regulated by the Aux Send control. If both power amps are required for monitor purposes, two such special cables are connected to Aux Send by a double jack plug.
Line Out, Left/Right Output sockets (unbalanced) for master, left/right signal. Possible connections: q external power amp q another mixer q tape deck for recording Line In, Left/Right Input sockets for various uses - balanced or unbalanced. Balanced: with stereo jack Unbalanced: with mono jack Possible connections: q any source such as tape deck, submixer, synthesizer, etc. q any 'from PA' function such as the monitor signal from the main PA system, when the PD 612 is being used as a keyboards monitor. q the stereo return signal from an external effects unit. Speaker (min. 4 Ohm) Two 8 Ohm speaker units per channel can be connected here, either with jacks or XLR. The jack and XLR sockets are parallel connection in pairs. With XLR pin 2 is live, pin 1 is ground and pin 3 is free. One should take care that no less than a total impedance of 4 Ohms per channel is connected because less can lead to overheating in the power amps. In such a case, the temperature protection would come into action and switch the power amp off.

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