You can connect an unbalanced XLR cable to the M•2600, although this would be unusual

—as unusual as an unbalanced XLR output. However, if you have an unbalanced XLR connection to make, refer to the “Connectors” section (Appendix B) at the back of this manual for more information.

SHIELD 2

HOT

COLD 3 1

SHIELD 1

COLD 3 2

HOT

1SHIELD

3COLD

2

HOT

Balanced XLR Connectors: Apollo/Soyuz Rendezvous

The M•2600 amp expects to see a nominal signal level anywhere between the –10 dBV “semipro” and +4 dBu “pro” standards, meaning almost any line-level mixer or other device can be plugged into the amp’s INPUTs. Use the GAIN controls to adjust the gain of the amplifier to match the signal level you’re using.

THRU and THRU SWITCH

Someday you’ll do a show at NudeStock and realize that one M•2600 amplifier is just not going to do the job — you’ll need a six-foot- high rack full of ’em to hide behind. That’s what the THRU jack is for. It has three modes of operation, depending on the setting of the THRU switch :

•THRU, a straight copy of what’s going into the amplifier, nothing added or taken away from your big finish on spoons.

•LOW OUT, the lower frequencies only,

below the frequency set by the

CROSSOVER switch .

•HIGH OUT, the higher frequencies only,

above the frequency set by the

CROSSOVER switch .

Note that the LOW OUT and HIGH OUT are also affected by the setting of the

LOW CUT FILTER .

To use the THRU outputs, connect your source equipment into the first amp’s INPUTs as usual, then patch from that amp’s THRU jacks to the next amp’s INPUTs, and so on, daisy-chaining as many amps as you want for your application.

A general rule of thumb is to

maintain a load impedance

10 times or more than the

source impedance to prevent

excessive loading. If your console has an output im-

pedance of 100 ohms, then you can daisy-chain up to twenty M•2600 amplifiers, which presents a load of 1200 ohms to the console (input impedance of 24 kohms divided by 20 amplifiers = 1200 ohms).

The THRU jacks can also be used to relay the signal on to other devices such as a DAT or cassette recorder, enabling you to record exactly what the audience is hearing. In the THRU position of switch , the THRU jacks are wired straight from the XLR and TRS INPUTs

—so the signal coming out of the THRU jacks is exactly the same as the signal going into the amplifier.

You can also use the 1/4"

TRS INPUT jacks as THRU

jacks, (not affected by

switch or by the LOW

CUT FILTER ). Connect the 1/4" TRS INPUT jacks

on the first amplifier to the TRS 1/4" INPUT jacks on the second amplifier using 3-conductor shielded cables with TRS plugs on both ends. Warning: If you use a regular guitar cord with 2-conductor TS plugs, you’ll unbalance the signal at the XLR input by grounding the low side

(–)of the signal (pin 3).

LOW CUT FILTER

Every woofer has frequency response specifi- cations. It’s usually expressed in Hertz (or cycles per second), like “40Hz–300Hz.” The “40Hz” refers to the low-frequency point (usually, but not always) where the speaker’s output drops by 3 dB, and will “roll off” completely as the frequency goes down. There is no point in sending a woofer any frequencies it can’t reproduce — you can’t hear it, and worse yet, it’s a waste of amplifier power that can be better used reproducing frequencies you can hear.

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