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1. INPUTS
The electronically balanced XLR MIC input is designed to accept signals
from any balanced or unbalanced low impedance (Low Z) microphone. This
input can also be used for low line level signals. Make sure to turn down
the preceding unit to avoid distortion. The XLR jack is congured for: Pin1 =
ground, Pin2 = positive (+), Pin3 = negative (-). Note, the Mic input is more
sensitive than the Line input.
The 1⁄4” TRS LINE input is designed to accept balanced or unbalanced
linelevel signals such as those from keyboards, drum machines, or samplers.
If a balanced signal is to be connected to the line input, then a 1/4” TRS
(stereo) phone plug should be wired for: Tip = positive (+), Ring = negative
(-), Sleeve = ground.
Note: Both Mic input and Line input can be used simultaneously if desired, however audio
levels cannot be adjusted separately.
2. LINE OUT
This 1⁄4” unbalanced output can be used to daisy-chain multiple PM-200A or
send the input signal directly to a mixer, PA system, or recording device. The
Line Output is not affected by the Volume controls or EQ.
3. VOLUME
This adjusts the signal level sent to the internal speakers, external speaker,
and headphone outputs.
MAKE SURE TO AVOID EXCESSIVE CLIPPING OF THE POWER AMPLIFIER!!!
The Volume should be adjusted to be comfortably audible without excessive
clipping. The red clipping LED indicator, located on the front bafe, will light
when the amplier is within 3dB of clipping. It is acceptable if the red LED
lights occasionally. If the red LED lights more than occasionally, you should
turn down the volume to avoid audible distortion and possible damage to
the speakers or amplier. The PM-200A uses a high power amplier in a small enclosure for
maximum power and portability combined. Care should be taken to avoid overheating and
possibly damaging the power amp or speakers with excessive clipping.
Note: Speakers and ampliers damaged due to hard clipping are not covered under warranty.
4. EQ
The three-band equalizer section utilizes a HIGH, MID, and BASS EQ control, each of which
has 12dB of cut and boost, with a center detent for off indication. The frequency response is
at when all three EQ knobs are in the center detent position. The HIGH and BASS shelving
controls have their frequencies xed at 10 KHz and 120Hz respectively. The MID control has
a peaking response at 2.5KHz. The EQ is a valuable feature of the PM-200A as it allows the
user to control the tonal characteristics of their monitor mix. For example, boosting the BASS
can fatten the sound, add warmth to vocals, or extra punch to bass, drums and synths; the MID
control can be used to dene the midrange or bring out the vocals; and adjusting the HIGH
control can provide a crisp sounding high end for high hat and vocal clarity.
Another very important, yet often overlooked technique is
to use the EQ to subtract from the mix. Cutting the HIGH
control can reduce unwanted sibilance, hiss, cymbals, or
high frequency feedback, while attenuating the MID or
BASS can also eliminate feedback or clear up a muddy
sounding mix. Cutting the HIGH and BASS, then pushing
up the Volume control is equivalent to a mid range boost!
4
Panel ConTRols and ConneCTions
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