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OWNERS MANUAL

ENTERTAINMENT SYSTEM
IMPORTANT SAFETY INSTRUCTIONS
The lightning flash with arrowhead symbol, within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintance (servicing) instructions in the literature accompanying the appliance.
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions. Install only in rack with back cover. Only use attachments/accessories specified by the manufacturer. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. To completely disconnect mains power from this apparatus, the power supply cord must be unplugged
For US, CANADA and Japan only:
Do not defeat the safety purpose of the grounding-type plug. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an electrican for replacement of the obsolete outlet.
IMPORTANT SERVICE INSTRUCTIONS
CAUTION: These servicing instructions are for use by qualified personnel only. To reduce the risk of electric shock, do not perform any servicing other than that contained in the Operating Instructions unless you are qualified to do so. Refer all servicing to qualified service personnel.
1. Security regulations as stated in the EN 60065 (VDE 0860) and the CSA E60065-00 have to be obeyed when servicing the appliance. 2. Use of a mains separator transformer is mandatory during maintenance while the appliance is opened, needs to be operated and is connected to the mains 3. Switch off the power before retrofitting any extensions, changing the mains voltage or the output voltage. 4. The minimum distance between parts carrying mains voltage and any accessible metal piece (metal enclosure), respectively between the mains poles has to be 3 mm and needs to be minded at all times. The minimum distance between parts carrying mains voltage and any switches or breakers that are not connected to the mains (secondary parts) has to be 6 mm and needs to be minded at all times. 5. Replacing special components that are marked in the circuit diagram using the security symbol (Note) is only permissible when using original parts. 6. Altering the circuitry without prior consent or advice is not legitimate. 7. Any work security regulations that are applicable at the location where the appliance is being serviced have to be strictly obeyed. This applies also to any regulations about the work place itself. 8. All instructions concerning the handling of MOS - circuits have to be observed.
SAFETY COMPONENT (HAS TO BE REPLACED WITH ORIGINAL PART ONLY)

DESCRIPTION

CONTENTS
Introduction. Input/Mono. Input/Stereo. Effect. Transition/Phones. Master. Rear panel. Standard installation. Specifications. Block diagram. Dimensions. Warranty. 64 68
Congratulations! You will find out that purchasing a MP7 Entertainment System was an excellent decision.
The design of the MP7 is based on decades of experience, research and development as well as a steadfast manufacturer-customer-relationship in the professional audio market. With the MP7 you own a power mixer that offers a wide range of functionality in a truly compact frame. All the troubling experience with cabling and matching mixers, amplifiers, FX-units and equalizers now belongs to history. The mixers ergonomic layout and clearly structured controls allow instant access at all times. The MP7 additionally provides the possibility for connecting a litlite to compensate for poor lighting in a live mixing environment. Recessed carrying handles in both side panels and an extremely sturdy transport coverlid protecting the controls ensure easy and safe transportation. Besides, if you want to include your MP7 in a 19" rack system, the only thing you have to do is to exchange the side panels for metal rack ears. Its powerful 2x300W/4ohms power amp, a huge amount of functions, high dynamic range, low-noise design and its 18-bit Dual-Stereo FX-section, the MP7 is best equipped for universal use. The MP7 is going to fulfill all your expectations that you can possibly demand of an Entertainment System. Use this owners manual as a guide when exploring the capabilities of your MP7. The vast amount of integrated functions is all explained systematically and point-by-point. Moreover, you will find some useful tips on how to overcome general difficulties during live-performance applications.

Unpacking and Warranty

Open the packaging and carefully take out the MP7. Detach the protective foil covering the FX-unit display. In addition to this owners manual you will find the mains cord and the warranty card. Please make sure that the warranty registration form is filled out correctly. You will be able to apply for warranty claims only when this form has been completed. We grant 36 months of warranty, starting with the date of the original purchase. Therefore we ask you to also keep the original certificate of purchase, stating the date of purchase. Experience has shown that keeping the original packing as well as carefully storing all documents accompanying the appliance generally increases the price when reselling the device.
Installation and Connections Always install the MP7 on an even surface to allow for sufficient airflow during operation. The device is equipped with an electronically controlled fan to protect the power amplifier section against thermal overload. The ventilation direction is Front-to-Rear. Fresh, cold air enters the mixer at its front side and warm air leaves the appliance through the ventilation louvers in the rear panel. Do not cover the frontal or the rear ventilation louvers, since otherwise, the MP7 would automatically enter protect mode, preventing damage through thermal overload. When protect mode is engaged, the device is not going to be damaged. Nevertheless, regular operation is not possible during this period of time. In case you have decided to install the MP7 in a 19" rack system, make sure to leave at least 2RU of room above and at least 1RU of empty space below the appliance. Of course, you can cover the resulting gaps in the rack system using optionally available blinds with ventilation louvers. Before establishing the mains connection, please make sure that the appliance matches the voltage and frequency of your local mains supply. Mind the label next to the mains switch stating the operation voltage your MP7 is factory-preset to. When switching the MP7s power on, the internal fan will run for approximately 2 seconds at full speed. This is to provide you with an acoustic signal that the mixer is ready for operation. Additionally, any dust particles that might have gotten into the enclosure are blown out. The SPEAKER OUTPUTS on the rear panel of the MP7 are provided through professional standard SPEAKON high-performance connectors, which offer absolute secure connection. The pin-assignment of these sockets is 1+ (hot) and 1- (cold).

3. LO CUT 80Hz

The LO CUT-switch allows muting frequencies below 80 Hz by 18dB per octave. Especially for microphone applications using the LO CUT filter is good advice, since it efficiently suppresses popping sounds and rumbling noise as well as low-frequency feedback. Additionally, in most cases activating the LO CUT filter allows boosting the bass, without having the unwanted booming.
Another welcome side effect is, that the power amplifier and the connected loudspeaker systems are not polluted by low-frequency interference closing off the sound system, which certainly is not in yours or the audiences interest. Your speaker systems will provide you with a truly clear, natural, and powerful sound performance when using the Lo CUT filter.

4. GAIN

Rotary control for adjusting the MIC or LINE inputs sensitivity, while optimally matching the incoming signals to the mixers internal operation level. Cautious adjusting offers the benefits of an improved S/N-ration and provides you with the full bandwidth of the MP7s outstanding sound capabilities. On the XLR-type connectors an amplification of +10dB is achieved when the control is set all the way to the left and +60dB when the control is set to its maximum position to the right. Especially when dealing with very low input levels, like they occur during vocal recordings or when picking up distant sound sources, the high gain is extremely profitable. Using the LINE-input, the signal is generally attenuated by -20 dB, while maintaining the total adjustment range of 50dB. The LINE-inputs unity gain - no amplification (0 dB) - is achieved at the 20dB mark. The following is meant as a short note for your assistance on how to determine the correct input level. Note on how to set the input level: 1. Set the gain control and the corresponding channel fader to their minimum setting. 2. Connect the desired sound source (microphone, musical instrument,.) to the corresponding MIC or LINE input. 3. Play the sound source at its highest volume setting; respectively, sing or speak as loud as possible directly into the microphone. 4. While doing so, adjust the input level using the gain control, so that during the loudest passages the PEAK LED is just not lit, but the SIGNAL-LED lights constantly. This is the basic channel setting, leaving you with at least 8dB of headroom. Which means, you have at least a range of 8dB before signal clipping. In case you intend to make further adjustments to the channels EQ setting, you should perform steps 3. and 4. again afterwards, since changes in the sound shaping section also influence the channels overall level.

5. EQ SECTION

The mixers EQ section allows very differentiated shaping of the incoming audio signal within different frequency bands. Turning an EQ level control to the right enhances / amplifies the corresponding frequency range while turning it to the left lowers / attenuates the signal of that specific frequency band. Before altering to the sound, all EQ controls should be set to their neutral position; i.e. their markers point straight up (detent position). If possible, do not set the EQ controls to extreme positions. Usually, minor changes are totally sufficient and produce the best results in the overall sound. You should use a natural sounding reproduction as an orientation mark and rely on your musically trained ear, which still is one of the best instruments for judging the sound quality. Try to avoid excessive enhancement of the MID band. The moderate use of the MID control is the best remedy to avoid acoustical feedback. Lowering the frequency bands level more or less will provide you with high amplification rates without feedback. Set the LO-EQ in accordance to your personal taste, for instance to achieve the desired, voluminous vocal sound. Use the HI-EQ to provide vocals with more crisp.

6. PAN

The setting of the PAN control defines the input signals position within the stereo image. When set to its center position, the audio signal is fed with equal levels to the left and right master busses. The PAN sections design ensures that the overall relative level of an audio signal is maintained, no matter to what position within the stereo image the PAN control is set.

7. FX1/2

Using the FX1/2 control lets you route the corresponding input signal to the integrated digital effects units FX1 or FX2 at variable levels. In this way assigning special effects to musical instruments or vocals is fairly simple. When establishing an effect-mix, it is good advice to start with all FX-controls set to their center position. From this point you can increase or reduce the effects intensity, depending on your personal preferences. Please make sure to carefully monitor the PEAK LEDs in the FX1/2 channels during a performance. The indicator should only light briefly at the occurrence of peak signals. If the LED lights constantly, it is strongly recommended to lower the affected channels send levels at their FX1/2 controls. For further information, please refer also to the paragraphs on the FX1/2 units.

15. GAIN

The setting of this control defines a channels input sensitivity. It is fairly simple to match the input level of different audio signal sources by individually adjusting the GAIN controls of each channel, so that the signal LED SIG is constantly lit while the peak LED PK lights briefly during peak levels only. GAIN adjustment should always be carried out with EQ-controls set to their center position. This leaves enough headroom for later EQ-adjustment without clipping. Using the PFL/PGM Split function of the master display lets you trim a channels input level setting more precisely. Engage a PFL button and the yellow PFL/PGM LED beneath the master display will light while the right LED-chain indicates the level of the momentarily running master signal (PGM) and the left LED-chain indicates the PFL-bus level. Tip: The correct use of the PFL/PGM Split function during mixing facilitates the matching of different signal levels to a great extent. Presuming that during playback you have set the channel faders to their maximum position, pressing the PFL-button of the channel that you are about to adjust the level for, lets you monitor the different levels on the master display. The left LED-chain indicates the level of the PFL-channel while the right LED-chain displays the level of the momentarily played back audio signal. Using the GAIN-controls this allows optimally matching the two signal levels.

16. TONE CONTROL

The mixers tone control section allows very differentiated and effective shaping of the incoming audio signal within miscellaneous frequency bands. Turning one of the tone controls to the right enhances/amplifies the corresponding frequency range while turning it to the left lowers/attenuates the signal of the specific frequency band. Before altering the sound, all tone controls should be set to their neutral position; i.e. their marker points straight up (detent position). Please, keep in mind that the stereo channel EQs are so called KillEQs. Up to turning them to their -6dB marking the tone controls behave analogue to their counterparts in the mono-channels. When turning the controls further, the Kill-function becomes active and nearly totally attenuates the corresponding frequency band. The Kill-function is meant to be used as special effect providing you with the opportunity to produce mixes that are as creative and entertaining as possible. In this way and when using the MP7 for Karaoke, the MID-control lets you effectively mute the lead vocals of the original recording.

1.10 REVERB HALLS 11.20 REVERB PLATES 21.30 ECHO REVERB 31.40 CHORUS REVERB 41.50 DELAY STEREO 51.60 DELAY MONO 61.99 SPECIAL PROGRAMS

23. DISPLAY

The display always indicates the actually selected program number for the corresponding FX-unit.

24. UP/DOWN

The UP/DOWN-keys let you step through the effect programs one by one in increasing or declining order. Keeping either one button pressed for a longer period of time allows scrolling the effect program numbers with increased tempo.

25. FX ON

Engaging this switch turns the power of the corresponding internal FX-unit on and the green LED lights. For intelligibility reasons switching the FX-units off during announcements is recommended. Pushing down the TALK-button while making an announcement from the MIC1-input channel automatically reduces the audio signals effects portion.

26. PEAK LED

These indicators signal if the input stages of the internal FX-units are driven into clipping. To achieve an adequate S/N-ratio, please adjust the FX units input level as follows. Note on how to adjust the FX input signal:
1. Establish a dry mix - without effect settings - according to the previous descriptions. 2. Set the FX-return control (27) of the corresponding effect channel to its center position. 3. Use the UP/DOWN-buttons to select the desired FX-program preset. 4. Press the FX ON-switch. 5. Play the sound source of the desired input channel and adjust the desired amount of the FX-signal, using the FX-controls of the input channel until the resulting effect mix meets your requirements. Repeat this procedure for all input channels that you would like to include in the effect mix. 6. Please make sure that the PEAK LED only lights frequently at highly dynamic signal peaks. 7. Now, using the FX-return controls lets you alter the percentage of the effect signal in the main mix. It is good advice to keep an eye on the peak indicators when operating your MP7 to be able to quickly interact when the signal levels exceed the normal range and enter clipping.

27. EFFECT RETURN FX1 / FX2
The setting of these stereo controls determines the amount of the effect signal getting added to the main mix.

TRANSITIO N / PHONES

28. X/Y LED
These LEDs indicate whether an input channel has been assigned to either side of the TRANSITION FADER (29). When these LEDs are dimmed, the transition function has not been activated for either input channel and the TRANSITION FADER is inactive.
29. ASSIGNABLE TRANSITION
This assignable fader allows comfortably cross-fading between the audio signals of two selected input channels. Please refer to the paragraph TRANSITION SECTION in the chapter INPUT STEREO.

30. PHONES

This control lets you adjust the headphones volume. Caution: Depending on the type of headphones connected to the phones jack, the MP7 is capable of producing very high output levels via the phones output. Therefore, make sure to turn the control all the way to the left (minimum setting) before connecting the headphones. Be aware of the fact that listening to loud sound pressure levels over a longer period of time leads to hearing-damage!

31. PHONES MIX

This fader lets you cross-fade the PFL (audio signal sum of all channels with engaged PFL-function) and PGM (the actual master signal) audio signals via headphones. The fader lets you pre-listen the function of the TRANSITION FADER via headphones.

32. PHONES

STEREO phones jack for the connection of headphones with an impedance of 32 - 600 ohms. Two phones connectors are available: one on the controls panel and one on the mixers front panel.

33. LAMP

XLR-socket for connecting a gooseneck litlite (12VDC / 2.4W max.). Please be sure to painstakingly mind the specifications on the power consumption and pin-assignment of the used lamp. Overload or short-circuit can result in serious damage or failure of the output. If possible, only use the gooseneck litlite (112700), which is available from the DYNACORD accessory assortment. If in doubt, please consult your local dealer.

MASTER

34. MASTER B
This control allows setting the output level of the MASTER B, which is a second universal stereo output carrying the stereo-sum audio signal identical to the MASTER A. It is extremely useful in accomplishing sound reinforcement in a neighboring room or monitoring purposes using a second power amplifier. For more details, please refer to the CONFIGURATION EXAMPLES.

35. STEREO/MONO

The MASTER B outputs carry a stereo signal if this switch is set to the STEREO position (not engaged). When set to MONO (engaged), the MASTER B outputs the sum of the left and right channels.

36. PRE/POST

Setting this switch to PRE (not engaged) lets you control the MASTER B level independent from the level of the MASTER A. When set to POST (engaged), the MASTER B signal is post the MASTER A fader. Changing the level of MASTER A also alters the MASTER B level.

37. MONO OUT

This control lets you set the output level of the MONO OUT connector (40). The MONO OUT outputs the summed audio signal of the left and right channels independent from the setting of the MASTER A Fader (pre fader). The MONO OUT is mostly used for connecting the monitor system or a light control desk.

38. SUB OUT

The SUB OUT represents an output that is especially implemented for connecting a subwoofer via an external power amplifier. The SUB OUT audio signal relates to the MASTER A faders setting (post fader). It employs an internal 12dB/oct, 100Hz low-pass filter. The SUB OUT control lets you set the proportion between subwoofer and general output levels of the system. CAUTION: In case you would like to connect an active subwoofer to the SUB OUT connector, make sure that it does not incorporate an integrated frequency crossover or if so, that it is deactivated! If this is not possible, you are left with the options of choosing the Mono OUT or MASTER B outputs to accomplish the task. The SUB OUT audio signal is output via the SUB OUT connector (41).

39. RECORD SEND

These RCA-type connectors carry the MASTER A pre-fader audio signal, which means that the setting of the master fader doesnt affect the level of the audio signal that is present at the RECORD SEND connectors, which let you connect a CD/MD recorder or TAPE/DAT deck. The nominal level of -10dBV at this output is suitable for professional use as well as for home recording purposes.
40. - 43. OUTPUT CONNECTORS
Impedance-balanced outputs for the connection of external gear. The outputs are carried out as stereo phone-type jacks. Whenever possible use balanced cables. Balanced cabling is the best method for avoiding problems with interference and humming (see chapter: Configuration of a standard PA-system)

44. POWER AMP INPUT

Electronically balanced input of the internal power amplifier with signal-split function. Connecting a phone-type plug interrupts the signal path between MASTER A and internal power amp. You can now feed the internal power amplifier from the POWER AMP INPUT. The MASTER A audio signal is still output via the MASTER A OUTPUTS.

45. STATUS INDICATORS

These LEDs provide information about the actual operational status of the MP7s internal power amplifiers. POWER ON lights whenever the MP7s power is set to ON. If, after switching the MP7 on, the LED does not light, the first thing to do is to make sure that the mains plug is plugged in correctly. If that is the case and the LED still stays dimmed, please contact your dealer. The LIMIT indicator signals that the MP7s internal power amplifiers are actually operated at their limits. Frequent blinking of the LED is acceptable, since the amplifiers incorporated limiters prevent the occurrence of distortion. Continuous lighting indicates that degradation in the outputted sound is likely to happen. In that case, reducing the master level is recommended. The PROTECT indicator lights when one of the power amplifiers extensive protection functions - against thermal overload, HF-induction, DC at the outputs, and SOAR-protection - is activated. When the MP7 is in protect mode, the speaker outputs are muted and the inputs of the power amplifier are short-circuited to prevent the amplifiers from being damaged. In this case you should first check if the frontal and/or rear ventilation louvers are blocked. Another cause for the activation of the protect functions might be, that you have connected more than three 8ohms speaker systems per power output. Please also disconnect the SPEAKON connectors and check the speaker cables for short circuit. During the power-on operation, the PROTECT LED always lights for about two seconds. This is normal. It indicates that the MP7s protection circuitry is operational.

46. 7-BAND EQUALIZER

The MP7s integrated, switchable 7-Band Stereo Graphic Equalizer is located in the L/R master channel section. The seven frequency bands - each providing 10dB amplification/attenuation - offer the possibility to optimally match the overall sound to the acoustic conditions of different locations or shape it according to your personal taste.
The frequency ranges as well as the characteristics of the EQ-faders are designed to meet your day-in-day-out requirements. In case you intend to have a clear and highly intelligible sound, you might want to increase the level setting of the 8kHz or 16kHz band a bit. If the mid-range sounds a bit nasal, try attenuating the mid-band by some decibels. If you like to provide your sound with more bass, you have to boost the low frequency range, using the 80Hz or the 250Hz controls. On the other hand, if the overall sound is undefined with too much bass, lowering the levels of these two frequency bands will solve the problem. Especially when using the equalizer, being aware of the fact that in most cases less can be more is good advice.

47. EQ ON/OFF

This switch activates or deactivates (ON / OFF) the integrated 7-BAND-EQUALIZER.

48. MASTER DISPLAY

The MASTER DISPLAY offers two modes. The PFL/PGM LED (49) indicates which one is actually selected: a) MASTER A Level: LED (49) is dimmed. The two LED-chains indicate the audio level that is output via the MASTER A OUTPUTS L and R in dBu. b) PFL/PGM Split: LED (49) lights. This mode is automatically activated when pressing a PFL-button. The left LED-chain indicates the PFL-bus level while the right LED-chain indicates the audio level of the master sum. (please also refer to the chapter INPUT STEREO)

49. PFL/PGM SPLIT LED

Indicates the master display mode.

50. BAL

This control is for determine the ration of the levels of the left and right MASTER A output channels. During music playback, it is recommended to leave the BAL-control at its center position whenever possible. In most cases, extreme settings are only useful for effect purposes.

51. MASTER A FADER

Stereo fader for adjusting the overall volume as well as the output level of the internal power amplifiers and the MASTER A OUTPUTS. Please, make sure to close the fader of the corresponding input channel or at least the MASTER controls before connecting any audio signal sources. This will save yourself, your audience, and your equipment from unnecessary stress resulting from plug-in noise.

REAR PANEL

SPEAKER OUTPUTS RIGHT / LEFT
The MP7 provides professional SPEAKON-type high-performance connectors, which offer mechanically and electric secure connection that complies with any safety standards. Additionally, SPEAKON-type connectors allow utilizing highperformance loudspeaker cables with diameters of up to 4 x 2 2.5mm. Single plugs and jacks as well as high-performance speaker cables are available from the DYNACORD accessory assortment.
Mains switch for switching the MP7s power ON or OFF. The appliance is operational when the POWER ON-LED lights and the power relays have switched the power amplifier output signal to the speaker outputs. Before switching the mixers power on, make sure to set the master faders to their minimum position. This will save yourself, your audience, and your equipment from unnecessary stress resulting from switching or feedback noise. When switching your audio system on with additional power amplifiers or other electronic equipment, like for example CD-Players, MD-Recorders, etc. connected, please proceed in the following sequence: 1. switch the CD-Players power on 2. switch the MP7s power on 3. switch the additionally connected gear (power amps) on Please proceed in the opposite sequence when switching the audio system off.

PHONO GROUND

Facility for connecting the chassis ground of a turntable. Make sure to connect the chassis ground to the PHONO GROUND screw. Otherwise you might be facing hum and interference noise.

STANDARD INSTALLATION

CABLING
The mains cord is supplied with your MP7. The quality of all other cables is left to your responsibility. Carefully chosen high quality cables are the best precaution to prevent problems from occurring during the later operation. In the following we would like to provide you with some recommendations for the trouble-free operation of your setup.

SPEAKER CABLES

Our experience as a manufacturer of loudspeaker systems has taught us that flexible cables with a rubber jacket and 2 a diameter of 2.5mm per conductor, used in combination with SPEAKON plugs and sockets, are the best choice to guarantee the optimal connection of loudspeaker systems. The connection of the SPEAKON plugs to the corresponding connectors on the MP7s rear panel has to be in accordance to the corresponding diagram below. We recommend the use 4-wire cables where also the pins 2+ and 2- are connected through. This provides you with the possibility to use these cables in an active 2-way system configuration, as well. DYNACORD speaker cables with SPEAKON connectors and all other cables, plugs, and sockets are available at your professional audio dealer.
LF-CABLES BALANCED OR UNBALANCED?
For LF-cabling all the low current wiring your best choice are balanced cables (2 signal conductors + ground shielding) with XLR-type connectors or stereo phone jacks and plugs. The cables should be step proof, shielded, and never longer than absolutely necessary. Too many too long cables mostly lead to confusion and generate unnecessary problems. Of course, you can also connect unbalanced cables with monaural phone plugs to the MP7s in- and outputs and because of its superb grounding managing system, in most cases no interference will occur. Still, there is a minimal risk that problems could arise. Generally spoken, if you have the choice, balanced LF-cables are always the better solution and they should be preferred. Todays modern audio equipment like amplifiers, equalizers, FX units, mixing consoles, and even some keyboards offers balanced in- and outputs. In a balanced signal path, the cable screen provides a gapless connection of all metal parts, offering efficient shielding against the induction of external noise. The balanced cabling in conjunction with the common-mode rejection of the MP7s input stage effectively eliminates even existing artifacts of interference. All inputs of the MP7 provide balanced audio connections and high common-mode rejection. The mixing stage outputs MASTER B, MOMO OUT, etc. are laid out in GND-SENSING technology a special, impedance-balanced pin assignment of the output jacks, offering all advantages of the balanced signal transmission, but lets you also connect monaural phone plugs, without a problem. Nevertheless as mentioned above when longer cables are involved, using stereo phone plugs and balanced cables are the better alternative. The diagrams below show the pin assignments of plugs and cables like they can be used with the MP7.

MIC INPUT of the MP7

balanced connection of microphones
unbalanced All phone jack-type in/outputs of the MP7 external equipment with XLR-connectors for in- and output balanced
unbalanced All phone jack-type in/outputs of the MP7 external equipment with jack-type connector for inputs and outputs balanced
In the following we will explain how to set up a standard PA-system with monitoring facility using the MP7. The equipment list includes: MP7 Hi-range speaker system cabinets, e.g. CP 12-2 Bass speaker system cabinets e.g. CP 12-1 Loudspeaker pole-mount stands or 2 intermediate poles Speakon cables, 8m Speakon cables, 2m AM12 active monitor system LF-cable with stereo phone plugs

Setting up

Look for the most suitable location to set up the loudspeaker systems. Whenever possible, place the bass
cabinets on the floor and the Hi-range cabinets directly on top. However, in doing so, make sure that the hi-range cabinets lower edge is in the same height of the audiences heads or above. You can either use intermediate poles between the bass and Hi-range cabinets or, if this does not provide enough elevation for the speaker systems or there are no bass cabinets included, use appropriate speaker pole-mount stands.
Compact overall sound is achieved by placing the left and right loudspeakers as far apart from each other as
necessary but as close together as possible.
Make sure that the main speakers are not behind you. Otherwise you will be facing feedback whenever your
system set-up includes microphones or turntables.
Use SPEAKON-type cables to establish connections between the loudspeaker systems and the MP7. Follow
the instructions as shown in figure1. Make sure not to inadvertently reverse connect the left and right channels. The short SPEAKON-type cables are used to parallel connect Hi-range and Bass cabinets.

(Fig. 1)

Place the needed sound source devices (e.g. CD-Player, turntable) or microphones on a secure even location
and, if necessary, establish mains connections
Connect all the gear to the MP7 (Fig. 2).

(Fig. 2)

Employ cables with stereo phone-type plugs to connect the AM12 to the MONO OUT of the MP7. Set the

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DYNACORD Powermate 829050 DYNACORD PowerMate 600 MKII DYNACORD PowerMate 1000 MKII DYNACORD PowerMate 1600 MKII DYNACORD PowerMate 2200 DYNACORD MP7 6xMic/Line,2xSter.Line,2x300W,Dual 24bit Stereo FX E-1 Pc. SFr. 6xMic/Line,4xSter.Line,2x700W,Dual 24bit Stereo FX E-1 Pc. SFr. 12xMic/Line,4xSte.Line,2x700W,Dual 24bit Stereo FXE-1 Pc. SFr. Power Mixer,2x700W,Dual FX,18 Mic,4 Mic/Stereo E-1 Pc. SFr. Power Mixer, 2x300W, Dual FX, 3 Mic,4 Stereo/Phono E-1 Pc. SFr. 2'375.00 3'795.00 4'395.00 4'995.00 2'750.00
DYNACORD CMS 829204 DYNACORD CMS1000 Compact Mixer DYNACORD CMS1600 Compact Mixer DYNACORD CMS2200 Compact Mixer 6 Mic/Line, 4 Mic/Stereo Line, 4 Aux Busses 12 Mic/Line, 4 Mic/Stereo Line, 4 Aux Busses 18 Mic/Line, 4 Mic/Stereo Line, 4 Aux Busses E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 2'750.00 3'350.00 4'260.00
DYNACORD D-Lite Tops (passive) 830102 DCDYNACORD D8 DYNACORD D12 DYNACORD D12W DYNACORD D12-3 DYNACORD D12T DYNACORD D12TW DYNACORD D12R "Weather resistant" DYNACORD D12RW "Weather resistant" DYNACORD D15-3 8" 2-Way Fullrange Cabinet black, 250W/8 Ohm 12" 2-Way Fullrange Cabinet 300W/8 Ohm 12" 2-Way Fullrange Cabinet 300W/8 Ohm, white 12" 3-Way Fullrange Cabinet,350W 8Ohm 12" 2-Way Fullrange Cabinet, 100V/300,150,75W 12" 2-Way Fullrange Cabinet, 100V/300,150,75W 12" 2-Way Fullrange Cabinet 300W/8 Ohm 12" 2-Way Fullrange Cabinet 300W/8 Ohm, white 15" 3-Way Fullrange Cabinet,500W 8Ohm E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 895.00 1'190.00 1'310.00 1'495.00 1'950.00 2'090.00 1'390.00 1'550.00 1'960.00
DYNACORD D-Lite Tops (active) DC113164 DC113165 DYNACORD D11A DYNACORD D8A DYNACORD D12A DYNACORD D12-3A 12'' 2-Way Active Fullrange Cabinet,800W 8'' 2-Way Active Fullrange Cabinet,800W 12'' 2-Way Active Fullrange Cabinet,350W+150W 12'' 3-Way Active Fullrange Cabinet,350W+150W E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 1'250.00 1'150.00 2'395.00 2'695.00
DYNACORD D-Lite Subs (active) DCDYNACORD PowerSub312 DYNACORD PowerSub315 DYNACORD PowerSub112 DYNACORD PowerSub212 12" Active Subwoofer 800W/8 Ohm + 2x250W/4 OhmE-1 Pc. SFr. 15'' Active Subwoofer 1000W/8 Ohm + 2x500W/4 Ohm E-1 Pc. SFr. 12'' Active Subwoofer 250W/8 Ohm 2x12'' Active Subwoofer 500W/8 Ohm E-1 Pc. SFr. E-1 Pc. SFr. 3'195.00 4'680.00 1'595.00 1'895.00
DYNACORD D-Lite Subs (passive) 830124 DYNACORD Sub115 DYNACORD Sub118 DYNACORD Sub112 15" Subwoofer Cabinet, Passiv X-over 400W/8 Ohm E-1 Pc. SFr. 1x 18" Subwoofer, passiv X-over,500W 8Ohm E-1 Pc. SFr. 12" Subwoofer Cabinet, Passiv X-over 400W/8 Ohm E-1 Pc. SFr. 2'040.00 2'550.00 1'495.00
DYNACORD Powermax - System / Forum Line DC112735 DC112739 DC112754 DYNACORD F150 DYNACORD F8 DYNACORD PowerMax 5 System 15" 2-Way Cabinet, 400W, 26,5kg 18" Subwoofer, Mid/Hi Out, 500W, 38 kg 2xF150, 2xF8, 1xPM2600, Cables, Pole stands E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 2'460.00 2'370.00 14'240.00
DYNACORD Monitors (active) 830180 DYNACORD AM12 2-Way Active Monitor System, 360W E-1 Pc. SFr. 1'870.00
DYNACORD Monitors (passive) DYNACORD M12 DYNACORD CXM15 2-Way Monitor System, passive, 360W Coaxial 2-Way Monitor, 19kg, 900W E-1 Pc. SFr. E-1 Pc. SFr. 1'130.00 3'150.00
DYNACORD Subs (active) 830062 DYNACORD SUB 800A 15" Active Sub, 800W, Act.2-Way X-Over E-1 Pc. SFr. 2'650.00
DYNACORD Variline 830335 DC113129 DYNACORD VL262 DYNACORD VL62 DYNACORD VL122 DYNACORD VL152 DYNACORD VL212 DYNACORD Sub18 2x 6" / 1" Full Range Cabinet, 600W/300W 8 Ohm 1x 6" / 1" Fullrange Cabinet, 150W 16 Ohm 12" / 1,4" Full Range Cabinet, 800W/400W 8 Ohm 2x12" / 1,4" Fullrange Cab,bi-amp, 800W 4 Ohm 1x 18" Subwoofer E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 1'790.00 1'390.00 2'890.00 3'220.00 3'930.00 2'580.00

15" / 1,4" Full Range Cabinet, 1000W/500W 8 Ohm E-1 Pc. SFr.

DC113130

DYNACORD Sub28

2x 18" Subwoofer

E-1 Pc. SFr.

4'530.00

DYNACORD XA - Systems 830260 DYNACORD FX12 DYNACORD FX20 DYNACORD Xa2 System 12" / 1.4" Coaxial Conical Horn, 350W/8 Ohm 18" Planar Waveguide Basshorn 600W/8 Ohm 2xXa4000, 2xFX12, 4xFx20, 2xPSS415, 4xPSS404 E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 4'290.00 3'400.00 27'410.00
DYNACORD Cobra - Systems DYNACORD COBRA-2 System DYNACORD COBRA-4 System DYNACORD COBRA-TOP DYNACORD COBRA-4 FAR DYNACORD COBRA-4 TOP DYNACORD COBRA-SUB DYNACORD COBRA PWH DYNACORD COBRA PWH-28 4xCobra Top, 4xCobra Sub, CSR12, CSW25, Cables E-1 Pc. SFr. Standard Cabinet 1200W Cont.Prog., 600W RMS, 56 E-1 Pc. SFr. kg Farfield Cabinet active 3-Way 800W/400W/400W E-1 Pc. SFr. Standard Cabinet active 3-Way 800W7400W/400W E-1 Pc. SFr. Subwoofer Cabinet, 1200W Cont.Prog.,600W RMS,53 kg Pc. SFr. E-1 Subwoofer Cabinet Basshorn, 1200W@8Ohm E-1 Pc. SFr. 2x18'' Subwoofer Cabinet Basshorn, 5600W@4Ohm E-1 Pc. SFr. 55'010.00 5'790.00 7'070.00 5'870.00 4'350.00 4'630.00 7'330.00 4xCobra Top,2xCobra Far,8xPWH Bass,2xPWRack,cables Pc. SFr. 104'280.00 E-1
DYNACORD Alpha - Systems DYNACORD AlphaX1/90 DYNACORD Alpha B-3 3-Way Speaker System(90 1600W Program @ 4 Ohm-1 Pc. SFr. ) E 2x18" Planar Waveguide Horn System, 4000W @ 4 Ohm Pc. SFr. E-1 9'230.00 6'630.00
DYNACORD DSP - Processors DCDYNACORD DSP260 DYNACORD DSP600 / Ethernet Digital Sound System Processor, 24 bit linear E-1 Pc. SFr. 1'595.00 2'495.00 Digital Sound System Processor, 24 bit linear, FIR, Ethernet E-1 Pc. SFr.

DYNACORD Poweramps

SL - Series DYNACORD SL900 Power Amp DYNACORD SL1200 Power Amp DYNACORD SL1800 Power Amp DYNACORD SL2400 Power Amp 2x450 Watt@4Ohm, Class-AB, 2U 2x600 Watt@4Ohm, Class-H, 2U 2x900 Watt@4Ohm, Class-H, 2U 2x1200 Watt@4Ohm, Class-H, 2U E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 895.00 1'050.00 1'285.00 1'595.00

DSA - Series DYNACORD DSA8204 Power Amp DYNACORD DSA8206 Power Amp DYNACORD DSA8209 Power Amp DYNACORD DSA8212 Power Amp 2x450 Watt@4Ohm, Class-AB, 2U, for Installation 2x600 Watt@4Ohm, Class-H, 2U, for Installation 2x900 Watt@4Ohm, Class-H, 2U, for Installation 2x1200 Watt@4Ohm, Class-H, 2U, for Installation E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 895.00 1'095.00 1'295.00 1'595.00
DSA - Series (Multi Channel) CL - Series LX - Series 832224 DYNACORD LX1600 DYNACORD LX2200 DYNACORD LX3000 Power Amplifier 2U, Class H SMPS, 2x800W/ 4 Ohm E-1 Pc. SFr. Power Amplifier 2U, 2x1100W/ 4 Ohm E-1 Pc. SFr. Power Amplifier 2U, Class H SMPS, 2x1500W/ 4 Ohm E-1 Pc. SFr. 2'395.00 2'995.00 3'795.00 DYNACORD CL800 DYNACORD CL1200 DYNACORD CL1600 DYNACORD CL2000 Power Amplifier 2U, 2x400W/ 4 Ohm, 14 kg Power Amplifier 2U, 2x600W/ 4 Ohm E-1 Pc. SFr. E-1 Pc. SFr. 1'570.00 1'780.00 2'060.00 2'420.00 DYNACORD DSA8405 Multi Amp DYNACORD DSA8410 Multi Amp DYNACORD DSA8805 Multi Amp DYNACORD RCM810 4x500 Watt@4Ohm, Class-D, 2U, VLD, for Installation E-1 Pc. SFr. 4x1000 Watt@4Ohm, Class-D, 2U, VLD, for Installation E-1 Pc. SFr. 8x500 Watt@4Ohm, Class-D, 2U, VLD, for Installation E-1 Pc. SFr. IRIS-Net Remote Control Module f. DSA amplifiers E-1 Pc. SFr. 2'995.00 3'795.00 4'295.00 420.00
Hi-Efficiency Power Amplifier 2U, 2x800W @ 4 Ohm E-1 Pc. SFr. Hi-Efficiency Power Amplifier 2U, 2x1000W @ 4 OhmE-1 Pc. SFr.
Power H - Series 832800 EV170216 DYNACORD H2500 DYNACORD H5000 DYNACORD RCM-26 DYNYCORD UCC1 Power Amplifier 2U, Class H SMPS, 2x1450W/ 4 Ohm E-1 Pc. SFr. Power Amplifier 2U, Class H SMPS, 2x2500W/ 4 Ohm E-1 Pc. SFr. 2 Channel IRIS-Net DSP Module, analog, AES/EBU In E-1 Pc. SFr. USB-to-CAN Converter incl. Panel E-1 Pc. SFr. 5'195.00 6'895.00 1'470.00 1'410.00
PCL - Series DC113059 DC113060 DC113061 DC113062 DC113063 XA - Series 832048 PM - Series 832090 DYNACORD PM2600 Dual Active Processor Amp incl. Powermax X-Over E-1 Pc. SFr. 4'930.00 DYNACORD Xa4000 Dual Active 2-Way Amp, 900W Top,1000W Sub,8.3Kg E-1 Pc. SFr. 3'750.00 DYNACORD PCL1125T DYNACORD PCL1240T DYNACORD PCL1225T DYNACORD PCL1245 DYNACORD PCL1415 Paramus Install. Amplifier 1x250W/100V, 2U Paramus Install. Amplifier 2x400W/100V, 2U Paramus Install. Amplifier 2x250W/100V, 2U Paramus Install. Amplifier 2x450W/4 Ohms, 2U Paramus Install. Amplifier 4x150W/4 Ohms, 2U E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 790.00 1'420.00 1'090.00 930.00 1'090.00

DYNACORD Accessories

Cables DC112676 DC112677 DC112678 DC112679 DC112680 DC112681 DC112682 DC112683 DYNACORD PSS401 DYNACORD PSS404 DYNACORD PSS408 DYNACORD PSS415 DYNACORD PSS801 DYNACORD PSS804 DYNACORD PSS808 DYNACORD PSS815 Speakon-Speakon 4x2.5 mm / 1.5m Speakon-Speakon 4x2.5 mm / 4m Speakon-Speakon 4x2.5 mm / 8m Speakon-Speakon 4x2.5 mm / 15m Speakon-Speakon 8x2.5 mm / 1.5m Speakon-Speakon 8x2.5 mm / 4m Speakon-Speakon 8x2.5 mm / 8m Speakon-Speakon 8x2.5 mm / 15m E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 50.00 75.00 100.00 150.00 100.00 130.00 220.00 275.00

Power Con Cables DC112934 DC112935 DC112936 DYNACORD PC 150 DYNACORD PC 800 DYNACORD PCS 500 PowerCon-PowerCon Link Cable 1.5m PowerCon-PowerCon Link Cable 8m PowerCon-Schuko Mains Cable 5m E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 80.00 130.00 100.00
Rackmounts 829818 19'' Panels DC110718 DC110719 DC120236 DC120237 DC121586 DC121726 DC121727 DC121728 DC121729 DC121732 DYNACORD LB01 DYNACORD LB02 DYNACORD BF 1 DYNACORD BF 2 DYNACORD BF 4 DYNACORD GS 412 DYNACORD GS 421 DYNACORD GS 430 DYNACORD GS 436 DYNACORD GS 830 19" Ventilation Panel 1HU 19" Ventilation Panel 2HU 19" Blank Panel 1HE 19" Blank Panel 2HE 19" Blank Panel 4HE Aluminium 19" Rack 12HE Aluminium 19" Rack 21HE Aluminium 19" Rack 30HE Aluminium 19" Rack 36HE Aluminium 19" Rack 30HE with Frontdoor E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 20.00 25.00 53.00 62.00 79.00 1'221.00 1'006.00 2'156.00 2'394.00 2'940.00 DYNACORD RMK-600 DYNACORD RMK-1000 DYNACORD NRS90259 DYNACORD RMK-CMS DYNACORD RMK-15 Rackmount Kit for PowerMate 600, 600-2 Rackmount Kit for PowerMate 1000, 1000 MK II Rackmount Kit for MP 7 Rack Mount Kit for CMS1000 Rack Mount Kit for SL and DSA amps E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 65.00 65.00 65.00 60.00 100.00
Frame Racks DC121734 DC121735 DC121750 DYNACORD DG 330 DYNACORD DG 339 DYNACORD TL 203 Hinged Frame Rack 30HE Hinged Frame Rack 39HE Empty Compartment 3HE E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 4'434.00 4'691.00 198.00
Flying / Mounting Brackets DYNACORD FB-VL212 DYNACORD FB-VL62 DYNACORD FB-VL262 DYNACORD FB-VL122 DYNACORD FB-VL152 DYNACORD FB-VL212 DYNACORD MB262 UMH DYNACORD MB122 UMH Flying Bracket for VL212, prepaired for FB-TV,PCL Flying Bracket for VL62, prepaired for FB-TV,PCL Flying Bracket for VL262, prepaired for FB-TV,PCL Flying Bracket for VL122, prepaired for FB-TV,PCL Flying Bracket for VL152, prepaired for FB-TV,PCL Flying Bracket for VL212, prepaired for FB-TV,PCL Mounting Bracket for VL262 Mounting Bracket for VL122 E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 450.00 370.00 390.00 410.00 430.00 450.00 140.00 150.00
DC113099 DC113136 Dust Covers DC113157 Wheel Kits 830343 830345

DYNACORD MB152 UMH DYNACORD MB212 DYNACORD MB62 DYNACORD WMK-10 DYNACORD TMA DYNACORD RMA DYNACORD FB-D15 DYNACORD TC-TV DYNACORD PM-TV DYNACORD FB-TV Spigot for Flying Bracket DYNACORD TC-TV Truss Clamp DYNACORD PCL M10 DYNACORD MB500 UMH DYNACORD FB-D8
Mounting Bracket for VL152 U-Mounting Bracket for D12/D12-3 Mounting Bracket for VL62 Wallmount Kit for D8/Vari Line VL62 & VL262 Tilt-angle for MB-UMH-Brackets black Adapter for rotating of the MB-UMH-Brackets black Flying Bracket for D15-3 incl. TV Spud Truss Clamp TV-Spud Pole Mount TV-Spud
E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr.
150.00 150.00 100.00 185.00 140.00 120.00 265.00 260.00 70.00 85.00 265.00 55.00 175.00 220.00
Pole Mount D8/D15-3 / VL62/262/122/152/212 (M10) E-1 Pc. SFr. Mounting Bracket for D15-3 Flying Bracket for D8 incl. TV Spud E-1 Pc. SFr. E-1 Pc. SFr.
DYNACORD SH-VL62 Dust Cover DYNACORD SH-VL262 Dust Cover DYNACORD SH-VL122 Dust Cover DYNACORD SH-VL152 Dust Cover DYNACORD SH-VL212 Dust Cover DYNACORD SHD8 DYNACORD SHD12 DYNACORD SHD15 DYNACORD SH315 DYNACORD SH118 DYNACORD SH-SUB112 Dust Cover Protective Cover black for D8 Protective Cover black for D12, D12-3. Protective Cover black for D15 Protective Cover black for PowerSub+ Protective Cover black for Sub118 Dust Cover for Sub112
75.00 85.00 95.00 105.00 125.00 70.00 70.00 70.00 80.00 90.00 150.00
DYNACORD WK500 DYNACORD WK600
Wheel-Kit for Sub 18, 500mm Wheel-Kit for Sub 28, 600mm
E-1 Pc. SFr. E-1 Pc. SFr.

310.00 320.00

Flying Grids / Rigging Kits DC113028 DC112695 DC113032 DC112873 DC112878 DC113039 DC112694 DC112690 DC112877 Pole Stands DC112461 DC113044 DC400313 DYNACORD PCL-880 DYNACORD PCL1500 DYNACORD 100BK Pole stand SUB 88cm variable Pole SUB to TOP, M20 Flansch Speaker Stand Aluminium E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 40.00 60.00 225.00 DYNACORD FG 600 DYNACORD TC04 DYNACORD CSSG DYNACORD CSSM DYNACORD CSST DYNACORD SE 600 DYNACORD WS04 DYNACORD WS08 DYNACORD CSW25 Flying Grid, Tv approved for Cobra & FX12 Trus Clamp 2" M12 Ring Nut Cobra System Strap Grid, 1st Cabinet to FG 600 Rigging Strap Truss Strap Extension for FG 600, for WS-04 & WS-08 Webbing Strap for 1-2 Cabinets 4m Webbing Strap for 3-4 Cabinets 8m Wedge Set, 2x Keil 2.5 E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. E-1 Pc. SFr. 1'250.00 120.00 90.00 130.00 110.00 270.00 110.00 140.00 510.00

 

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