Behringer Europower Pmp1000 Users Manual PMP6000/PMP4000/PMP1000

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2015-06-29

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User Manual
EUROPOWER
PMP6000
1600-Watt 20-Channel Powered Mixer with Dual Multi-FX Processor
and FBQ Feedback Detection System
PMP4000
1600-Watt 16-Channel Powered Mixer with Multi-FX Processor
and FBQ Feedback Detection System
PMP1000
500-Watt 12-Channel Powered Mixer with Multi-FX Processor
and FBQ Feedback Detection System
2EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
Thank you
Congratulations! With the PMP1000/PMP4000/PMP6000 you have acquired a
state-of-the-art power mixer that sets new standards. Right from the very start
it has been our goal to design a revolutionary unit that can be used for a wide
variety of applications. Indeed, this overwhelming power mixer gives you plenty
of functionality and a broad range of connection and expansion options.
Table of Contents
Thank you .......................................................................2
Important Safety Instructions ...................................... 3
Legal Disclaimer ............................................................. 3
Limited warranty ............................................................ 3
1. Introduction ............................................................... 4
1.1 Before you get started ...................................................... 4
1.2 The manual ........................................................................... 4
2. Control Elements ....................................................... 8
2.1 Mono and stereo channels .............................................. 8
2.2 Equalizer and FBQ .............................................................. 9
2.3 Eects section .................................................................. 10
2.4 Main and monitor section ............................................. 10
2.5 Rear panel ........................................................................... 11
3. Digital Eects Processor ......................................... 11
4. Installation ............................................................... 13
4.1 Mains connection ............................................................. 13
4.2 Audio connections ........................................................... 13
4.3 Loudspeaker connections ............................................. 14
5. Wiring Examples ...................................................... 14
6. Specications ........................................................... 18
3EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
Important Safety
Instructions
LEGAL DISCLAIMER
LIMITED WARRANTY
Terminals marked with this symbol carry
electrical current of su cient magnitude
to constitute risk of electric shock.
Use only high-quality professional speaker cables with
¼" TS or twist-locking plugs pre-installed. Allother
installation or modi cation should be performed only
by quali edpersonnel.
This symbol, wherever it appears,
alertsyou to the presence of uninsulated
dangerous voltage inside the
enclosure-voltage that may be su cient to constitute a
risk ofshock.
This symbol, wherever it appears,
alertsyou to important operating and
maintenance instructions in the
accompanying literature. Please read the manual.
Caution
To reduce the risk of electric shock, donot
remove the top cover (or the rear section).
No user serviceable parts inside. Refer servicing to
quali ed personnel.
Caution
To reduce the risk of  re or electric shock,
do not expose this appliance to rain and
moisture. The apparatus shall not be exposed to dripping
or splashing liquids and no objects  lled with liquids,
suchas vases, shall be placed on the apparatus.
Caution
These service instructions are for use
by quali ed service personnel only.
Toreduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by quali ed
servicepersonnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including ampli ers) that produce heat.
9. Do not defeat the safety purpose of the polarized
or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. Ifthe
provided plug does not  t into your outlet, consult an
electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
11. Use only attachments/accessories speci ed by
themanufacturer.
12. Use only with the
cart, stand, tripod, bracket,
or table speci ed by the
manufacturer, orsold with
the apparatus. When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid
injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Refer all servicing to quali ed 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.
15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.
16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.
TECHNICAL SPECIFICATIONS AND APPEARANCES
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND
ACCURACY IS NOT GUARANTEED. BEHRINGER,
KLARKTEKNIK, MIDAS, BUGERA, AND TURBOSOUND
ARE PART OF THE MUSIC GROUP MUSICGROUP.COM.
ALL TRADEMARKS ARE THE PROPERTY OF THEIR
RESPECTIVE OWNERS. MUSICGROUP ACCEPTS NO
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED
BY ANY PERSON WHO RELIES EITHER WHOLLY OR
IN PART UPON ANY DESCRIPTION, PHOTOGRAPH
OR STATEMENT CONTAINED HEREIN. COLORS AND
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.
MUSIC GROUP PRODUCTS ARE SOLD THROUGH
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.
FULLFILLERSAND RESELLERS ARE NOT AGENTS OF
MUSICGROUP AND HAVE ABSOLUTELY NO AUTHORITY
TO BIND MUSICGROUP BY ANY EXPRESS OR IMPLIED
UNDERTAKING OR REPRESENTATION. THIS MANUAL
IS COPYRIGHTED. NO PART OF THIS MANUAL MAY
BE REPRODUCED OR TRANSMITTED IN ANY FORM
OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,
INCLUDING PHOTOCOPYING AND RECORDING OF ANY
KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS
WRITTEN PERMISSION OF MUSICGROUPIPLTD.
ALL RIGHTS RESERVED.
© 2013 MUSICGroupIPLtd.
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands
For the applicable warranty terms and conditions
and additional information regarding MUSIC Group’s
Limited Warranty, please see complete details online at
www.music-group.com/warranty.
4EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
1. Introduction
Further advantages are the integrated Voice Canceller that removes vocal
passages from playbacks, the FBQ function, which detects feedback frequencies,
and the Speaker Processing function for loudspeaker alignment—all with a
resolution of 24 bits and 40 kHz. Plus, our tried and tested XENYX Mic Preamps
give you crystal-clear audio free of noise and distortion when using microphones.
BEHRINGER is a company with its roots in professional recording studio
technology. For many years we have been successful in developing products
for studio and live use. These include microphones and 19" units of all types
(compressors, enhancers, noise gates, tube processors, headphone ampliers,
digital eects, DI boxes, etc.), monitor and P.A. speakers and professional
live and recording mixers. Our entire technical know-how has gone into your
PMPpowermixer.
1.1 Before you get started
1.1.1 Shipment
Your PMP was carefully packed at the factory and the packaging is designed
to protect the unit from rough handling. Nevertheless, we recommend that
you carefully examine the packaging and its contents for any signs of physical
damage which may have occurred during transit.
◊ If the unit is damaged, please do NOT return it to BEHRINGER,
but notify your dealer and the shipping company immediately.
Otherwise, claims for damage or replacement may not be granted.
◊ We recommend that you use a flight case, so as to give your power
mixer optimum protection during use or transport.
◊ Always use the original packing carton to prevent damage during
storage or transport.
◊ Make sure that children cannot play unsupervised with the device or
its packaging.
◊ Please ensure proper disposal of all packing materials.
1.1.2 Initial operation
Be sure that there is enough air space around the unit for cooling and, to avoid
overheating, please do not place the EUROPOWER near radiators, etc.
◊ Blown fuses must be replaced by fuses of the same type and rating!
Please refer to the “Specifications” for details.
The mains connection is made using the enclosed power cord and a standard IEC
receptacle. It meets all of the international safety certication requirements.
◊ Please make sure that all units have a proper ground connection.
For your own safety, never remove or disable the ground conductor
from the unit or on the AC power cord.
To avoid damage on the device, do not
• earth the loudspeaker outputs
• connect the loudspeaker outputs to each other
• connect the loudspeaker outputs to those of other ampliers
IMPORTANT NOTES CONCERNING INSTALLATION
The sound quality may diminish within the range of powerful broadcasting
stations and high-frequency sources. Increase the distance between the
transmitter and the device and use shielded cables for all connections.
1.1.3 Online registration
Please register your new BEHRINGER equipment right after your purchase
by visiting http://behringer.com and read the terms and conditions of our
warrantycarefully.
Should your BEHRINGER product malfunction, it is our intention to have it
repaired as quickly as possible. To arrange for warranty service, please contact
the BEHRINGER retailer from whom the equipment was purchased. Shouldyour
BEHRINGER dealer not be located in your vicinity, you may directly contact
one of our subsidiaries. Corresponding contact information is included in the
original equipment packaging (Global Contact Information/European Contact
Information). Should your country not be listed, please contact the distributor
nearest you. A list of distributors can be found in the support area of our website
(http://behringer.com).
Registering your purchase and equipment with us helps us process your repair
claims more quickly and eciently.
Thank you for your cooperation!
1.2 The manual
This manual is designed to give you both an overview of all control elements and
to provide details about how to use them. To provide you with a clear structure,
we have grouped the control elements according to their function. They can
easily be found on the enclosed numbered illustrations. If you need more
detailed information on specic topics, please visit our web site at behringer.com.
5EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
EUROPOWER PMP1000 FRONT PANEL
(57) (58) (61) (62) (65)
(35)
(64)(60)
(22)
(55)
(18)
(19)
(20)
(21)
(31)
(36)
(43)
(44)
(40)
(47) (46) (54) (48)
(42)
(14)
(3)
(1) (2)
(4)
(6)
(8)
(9)
(11)
(13)
(16)
(17)
(27)
(26)
(30)
(32)
(33)
(34)
(39)
(37)
(56)
(52)
(29)
6EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
EUROPOWER PMP4000 FRONT PANEL
(18) (23)
(56) (55) (57) (58) (59)
(62)
(63)
(64)
(65)
(22)
(19)
(20)
(21)
(24)
(25)
(35)
(36)
(38)
(37)
(40)
(45)
(46) (47) (48) (49)
(41)
(52)
(42)
(53)
(54)
(33)
(32)
(34)
(31)
(44)(43)(27)
(60) (61)
(26)
(30)
(14)
(1) (2)
(4)
(3)
(5)
(6)
(8)
(9)
(10)
(11)
(13)
(15)
(16)
(17)
7EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
EUROPOWER PMP6000 FRONT PANEL
(56) (57) (58) (59)
(62)
(63)
(64)
(65)
(60)
(26) (27) (28) (29)
(34)
(31)
(32)
(33)
(54)
(53)
(52)
(42)
(50)
(41)
(51)
(22)
(23)
(18)
(19)
(20)
(21)
(24)
(25)
(35)
(36)
(37)
(38)
(39)
(43)
(40)
(44)
(45)
(14)
(1) (2)
(4)
(3)
(5)
(6)
(7)
(8)
(9)
(10)
(11)
(12)
(13)
(15)
(16)
(17)
(49)(48)(47)(46)
(55)
(61)
8EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
EUROPOWER PMP6000 REAR PANEL
(66) (69) (70)
(71)(72)(68)(67)
2. Control Elements
A detailed description of all functions of your power mixer can be found in the
following chapters. Please also refer to the enclosed sheet with the numbered
illustrations to get a good overview of the control layout.
2.1 Mono and stereo channels
(1) Use the GAIN control to adjust the input gain. Be sure to set this control
fully counter-clockwise before you connect or disconnect a signal source to
an input. GAIN controls both the microphone and the LINE input. Theblack
scale shows the microphone gain (+10 to +60 dB on channels with XENYX
MIC PREAMPS and 0 to +40 dB on conventional microphone inputs;
PMP1000 only, channels 5/6 and 7/8).
The “LINE” scale indicates the sensitivity of the LINE input, ranging from
+10to -40 dBu.
PMP1000: The mono/stereo combination channels 5/6 and 7/8 have a
sensitivity of +20 to -20 dBu.
(2) The LEVEL SET LED illuminates when an optimum operating level has
beenadjusted.
(3) The mono channels are equipped with a high-slope LOW CUT lter
eliminating unwanted low-frequency signals like rumble noise.
(4) PMP4000/PMP6000 (stereo channels): Press the A/B button to switch
from ¼" jacks to RCA connectors, and vice versa. Position “A” = ¼" jacks;
position“B” = RCA connectors.
(5) The HIGH control in the EQ section governs the high frequency range of the
respective channel.
(6) Use the MID control to boost or cut the midrange frequencies.
(7) PMP6000: The PMP6000 has an additional semi-parametric lter for the
midrange frequencies in the mono channels (tunable from 100 Hz to 8 kHz).
Adjust the boost/cut with the MID control, and the frequency with the
FREQcontrol.
The stereo channels contain a stereo EQ section. The cut-o frequencies
of the high and low bands are 12 kHz and 80 Hz respectively, while the
center frequencies of the high-mid and low-mid bands are 3 kHz and
400Hzrespectively.
(8) The LOW control allows you to boost/cut the low frequency range.
(9) With the MON(ITOR) control you can adjust the volume of each channel in
the monitor mix.
(10) The PMP4000 and PMP6000 feature a second MON control (MON 2) for the
volume of the second monitor bus.
(11) The FX control determines the signal level sent from each channel to the
built-in eects processor; this signal is also present at the FX SEND jack
(see (64)).
(12) The PMP6000 has two FX controls (FX 1 and FX 2), so that you can use two
eects simultaneously. Accordingly, the PMP6000 also has two eect aux
buses, which have one output jack in common (see (46) and (64)).
◊ Please note that the effects processor signal will be inaudible,
as long as the FX TO MON/MAIN controls (40), (41), (42) are set fully
counter-clockwise.
(13) The PAN(ORAMA) control determines the position of the channel signal in
the stereo main mix.
(14) The BAL(ANCE) control for the stereo channels corresponds to the PAN
control for the mono channels. It determines the relative volume of the left
and right input signals before they are routed to the stereo main output.
(15) PMP4000/PMP6000: When you press the PFL button (Pre Fader Listening)
the left LED (34) shows the pre-fader input gain of the channel. Adjustthe
optimum input gain (0 dB) with the GAIN control (1). When PFL is on,
thecorres ponding LED illuminates.
If the LEVEL SET LED (2) is illuminated constantly, the signal is within the
optimum operating level range. However, if the CLIP LED indicates that the
input gain is too high, you should reduce the level slightly with the GAIN
control. The CLIP LED should never be illuminated all the time, only with
signal peaks.
(16) The MUTE switch mutes the channel in the main mix. The pre-fader signals
(monitor buses) remain operative. When MUTE is pressed, the corresponding
control LED illuminates.
(17) The channel fader controls the channel signal level in the main mix.
2.1.1 Input section
(18) Each mono input channel is equipped with a balanced microphone input
(XLR connector) which provides +48 V phantom power for condenser
microphones at the touch of a button (see rear panel).
PMP1000: The two stereo channels 5/6 and 7/8 have an additional balanced
XLR microphone input with +48 V phantom power.
◊ Be sure to switch off your audio system before you activate the
phantom power supply to protect your monitor speakers from
switch-on thumps.
(19) Each mono input features one LINE IN connector (¼" jack), which can be used
with either balanced or unbalanced signals.
◊ Please remember to use either the microphone or the line input on a
specific channel. Never use both at the same time!
◊ When you connect a mono line signal to a stereo channel, always use
the left input. The mono signal will then be reproduced by both
sides equally.
9EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
◊ PMP1000: This does not apply to the mono/stereo combination
channels 5/6 and 7/8.
(20) INSERT I/O. Insert points or simply inserts are used to process a signal with
dynamic processors or equalizers. They are pre-fader, pre-EQ and pre-MON/
FX SEND. Unlike reverb and other eects, which are usually added to the dry
signal, dynamic processors usually process the entire signal. So, aux send
buses are not the best solution. Dynamic processors need to be inserted
directly into the signal path. Once processed, the signal then returns to the
mixing console at the same point where it left. Signal interruption takes
place only if a plug is inserted into the corresponding jack (¼" stereo plug:
tip = signal output, ring = input). All mono input channels are equipped
with inserts.
(21) The stereo channels have a GAIN control for gain adjustment, with the input
sensitivity ranging from +20 to -20 dB.
PMP1000: The stereo channels 5/6 and 7/8 feature an additional
XLRconnector for microphones whose gain can be set from 0 to +40 dB.
(22) Each stereo channel has two line-level inputs (¼" jacks) for the left and right
channels. If only the jack marked “L” is used, the channel is mono. The signal
will then be reproduced on both sides.
◊ PMP1000: This does not apply to the mono/stereo combination
channels 5/6 and 7/8.
◊ PMP1000: Channels 13/14 and 15/16 are routed to the main mix
without additional tone or volume adjustment. For example, using the
channels 13/14 and 15/16 you can connect a submixer and utilize the
PMP1000’s power amplifier.
(23) PMP4000: The stereo channels 9/10 and 11/12 are equipped with additional
RCA connectors.
PMP6000: The stereo channels 13/14 and 15/16 are equipped with additional
RCA connectors.
◊ PMP4000/PMP6000: Please note that you need to set the A/B selector
(4) to A (¼") or B (RCA) when you connect a signal to the input.
(24) PMP4000/PMP6000: Each of the two stereo channels has two monitor
controls (MON 1/2) and a LEVEL control (25). Like the other channels,
theyalso feature a PFL switch.
(25) Instead of a fader this channel has a rotary LEVEL control.
(26) The phantom power supply provides the voltage necessary for the operation
of condenser microphones. Use the PHANTOM switch to activate the supply
for the XLR connectors of the input channels. The +48 V LED will illuminate
when phantom power is on. In most cases, dynamic microphones can still be
used, as long as they are connected in a balanced conguration. If in doubt,
please contact the manufacturer of your microphone!
◊ With phantom power switched on, you must never connect
microphones to the console (or to a stage/wall box). Also, be sure to
mute the monitor/P.A. speakers, before you turn on the phantom
power supply. After switching on, please allow the system to stabilize
for about one minute, before you adjust the input gain.
◊ Caution! Never use unbalanced XLR connectors (pins 1 and 3
interconnected) on the MIC input jacks, if you are going to use the
phantom power supply.
(27) The AMP MODE switch determines the mode of operation of the
PMPamplier stage:
PMP1000:
MAIN: In the “MAIN” position the mixer works as a stereo amplier.
MON: In this mode the monitor signal is present at OUTPUT A (71) and the
main signal at OUTPUT B (70) (both are mono).
BRIDGE (bridged mono mode): In BRIDGE AMP MODE the output power
of OUTPUT A is added to that of OUTPUT B, i.e. OUTPUT B delivers twice its
normal output power.
PMP4000/PMP6000:
MAIN L/MAIN R. In position MAIN MIX, the mixer works as a
stereoamplier.
MON 1/MONO. In this mode the monitor 1 signal is present at OUTPUT A (71)
and the main signal at OUTPUT B (70) (both are mono).
BRIDGE (bridged mono mode): In BRIDGE AMP MODE the output power
of OUTPUT A is added to that of OUTPUT B, i.e. OUTPUT B delivers twice its
normal output power.
◊ In BRIDGE mode, always connect only one loudspeaker with an
impedance of at least 8 Ω to the OUTPUT B jack! Please note that
OUTPUT A must NEVER be used in BRIDGE mode!
◊ In all other operating modes, the minimum impedance of the speaker
must not fall below 4 Ω.
◊ Please note that the power delivered to the speaker connected to
OUTPUT B in BRIDGE AMP MODE is considerably higher than the power
provided to the speakers wired to the parallel speaker outputs.
Please read the information given on the rear panel of the power mixer.
◊ Information on how to properly connect your speaker with regard to
polarity can be found on the rear of the unit (PIN assignment)
(see also (71) and (42)).
(28) PMP6000: Use the BEHRINGER SPEAKER PROCESSING switch to activate
a lter that allows you to adapt the mixer to the characteristics of your
loudspeakers. If the speakers have a limited frequency response in the bass
range, this function allows you to lter this range at the output signal of the
mixer and thus adapt it optimally to the frequency response of the speakers.
(29) PMP1000/PMP6000: If STANDBY is pressed, all input channels are muted.
During pauses you can prevent the microphones from picking up noise
or interference, which would then be reproduced by the P.A. system or
possibly damage the speaker diaphragms. The benet is that all faders can
be left untouched while you play back music from CD via the CD/TAPE inputs
(see(55)). There is also no need to move the faders and lose your mix.
2.2 Equalizer and FBQ
(30) Your power mixer features a graphic 7-band equalizer, which allows
you to ne-tune the sound depending on the room acoustics. In the
center position the frequency response is not eected. To boost or cut a
certain frequency range, simply move the corresponding fader upward or
downwardrespectively.
◊ Please note that the equalizer behaviour depends on the position of
the AMP MODE switch (see (27)).
10 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
(31) Press the FBQ IN switch to activate the Feedback Detection
system (the FBQ will be active only if you have switched on
the equalizer (33) before). Frequencies causing feedback are
shown by brightly lit fader LEDs. All other LEDs will be darker.
Now, cut the frequency range in question until feedback disappears (the LED
gets darker or goes out). This function is available for both the main and
monitor mix.
PMP1000: The switch FBQ FEEDBACK DETECTION performs the same
function as on the PMP4000 and PMP6000.
(32) Use the MAIN/MON 1 switch to select whether the equalizer processes the
main or the monitor mix. When not pressed, the stereo equalizer processes
only the main mix. When the switch is pressed, the EQ processes only the
monitor mix.
PMP1000: The MAIN MIX/MONITOR switch performs the same function as
on the PMP4000 and PMP6000.
(33) Press the EQ IN switch to activate the equalizer. The fader LEDs illuminate
when the EQ is on.
(34) Use this LED display to control the output level of the main signal. The upper
LIM LED illuminates when the internal amp protection circuit responds to
levels that are too high.
PMP1000: The POWER LED is illuminated when you switch the unit on.
◊ The LIM LEDs and the LED display do NOT light up when an external
signal is fed in via the PWR AMP INSERT jacks (61).
2.3 Eects section
(35) List of all multi-eects processor presets.
(36) The LED level meter on the eects module should always show a suciently
high level. Make sure that the Clip LED illuminates with signal peaks only. Ifit
is constantly illu-minated, the eects processor is overloading, which can
lead to unpleasant distortion. The FX SEND fader (PMP1000) or FX/FX 1/2
fader (PMP4000/PMP6000) controls the level sent to the eects module and
to the FX SEND output jacks.
(37) The eects display always reads the currently selected preset.
(38) PMP4000/PMP6000: Press the FX 1/2 IN switch to activate the
eectsprocessor.
(39) PMP1000/PMP4000: Turn the PROGRAM control to select an eects
algorithm (preset number starts ashing). Press this control to activate the
eect selected (PMP6000: FX 1/2 (PUSH)).
◊ PMP1000: The effects processor is operative all the time. Adjust the
effect intensity for the MAIN or MON signals with controls (40) or
(42) respectively.
PMP6000: The PMP6000 has two separate eects processors, which can be
used independently of one another. Enable one or both processors with the
FX1/2 IN (38) buttons.
(40) PMP4000/PMP6000: The FX 1/2 TO MON 1 control allows you to set the
intensity of the multi-eects processors in the monitor mix. No eect is sent
to the monitor mix when this control is set fully counter-clockwise.
PMP1000: The FX TO MON control performs the same function as on the
PMP4000 and PMP6000.
(41) The FX 1/2 TO MON 2 control allows you to determine the eect intensity
of the multi-eects processor in the monitor 2 mix. No eect is sent to the
monitor 2 mix with this control turned fully counter-clockwise.
(42) The FX 1/2 TO MAIN control allows you to determine the eect intensity of
the multi-eects processor in the main mix. No eect is sent to the main mix
with this control turned fully counter-clockwise.
PMP1000: The FX TO MAIN control performs the same function as on the
PMP4000 and PMP6000.
2.4 Main and monitor section
(43) The surround control determines the eect intensity.
This is a built-in eect, which widens the stereo
panorama, thus making the sound more lively
andtransparent.
(44) Press the XPQ TO MAIN switch to activate this eect.
(45) Pressing the AFL switch (after-fader listening) activates the solo function.
If AFL is on for the corresponding channel in the main section, you will only
hear the signal from this channel. Its volume can be adjusted with the fader.
Switching AFL on has no eect on the main or monitor mix, as long as you
don’t move the fader. In this way, you can monitor one or several selected
signals via the PHONES/CTRL jack (65). When AFL is on, the corresponding
control LED illuminates.
◊ The PMP1000 does not have an AFL function.
(46) PMP1000: FX SEND fader.
PMP4000: FX fader.
PMP6000: FX 1/2 fader.
This is the master send fader for the signal routed to the eects processor
and to the FX SEND output (63) (see also (11) and (12)).
(47) PMP1000: MON SEND fader.
PMP4000/PMP6000: MON 1/2 fader.
These faders are used to set the monitor output volume
(see also (9) and (10)).
(48) PMP1000: The main mix allows you to control the volume from the Main 1
output with both faders.
PMP4000/PMP6000: The MAIN 1 fader controls the volume of the
EUROPOWER. The main signal is also provided at the MAIN 1 output
(see also (58)).
(49) PMP4000/PMP6000: The MONO fader controls the mono mix signal
(see also (63)).
(50) PMP6000: The SUB FILTERlters out frequencies above the selected
setting, so that only low frequencies are sent to an (active) subwoofer via the
MONOOUT (63)). Set this switch to “On” to activate the lter.
(51) PMP6000: The SUB FREQ control determines the cut-o frequency for the
subwoofer output. This value can be adjusted from 30 to 200 Hz.
(52) The PHONS/CTRL R control adjusts the headphone or control room volume
(see also (65)).
(53) PMP4000/PMP6000: The MAIN 2 control determines the volume at the
MAIN 2 output (see also (59)), which is the same signal as at MAIN 1, but with
extra output jacks and separate volume control.
(54) PMP4000/PMP6000: With the CD/TAPE IN control you can adjust the
volume of the line signal present at the CD/TAPE INPUT (55). Use the PFL
switch to monitor the signal.
PMP1000: With the CD/TAPE RET fader you can adjust the line signal
applied to the CD/TAPE INPUT (55). Use the CD/TAPE MUTE switch to mute
thechannel.
11 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
2.4.1 Connectors
(55) Use the CD/TAPE INPUT jacks (RCA) to connect an external stereo signal,
such as a CD player, tape deck or other line-level sources.
(56) The VOICE CANCELLER lters vocal-specic frequencies from
the CD/TAPE INPUT signal. This function can be used for
karaoke, i.e. you can remove the vocals from a song and then
sing along with the music yourself.
(57) The CD/TAPE OUTPUT provides the line level stereo signal
(e.g. for a DATrecorder).
◊ If the CD/TAPE OUT signal is connected to a recording machine whose
output signal is returned to the CD/TAPE IN, feedback can occur
when you activate the record function on the recording machine.
So, disconnect the CD/TAPE IN from the recording machine before you
start recording or set the CD/TAPE input signal to zero!
(58) PMP1000: The MAIN OUT jacks allow you to send the main line level signal
to an external amplier, when, for example, you want to use the mixer
and eects section. The PMP4000 and PMP6000 have two separately
controllable line level MAIN outputs (59) (MAIN 1/2).
(60) Connect your monitor power amps or active monitor speakers to the
MON1/2 SEND to monitor the signal mix created with the MON controls or
to route it to the musicians on stage.
(61) The PMP Series comes with a POWER AMP INSERT connection that is
provided for various applications. This connection enables you to use the
power amplier of the device to amplify the output signal of another
preamp. For example, it is possible to connect a larger mixer or preamp
output (line signal) of an instrument amplier. In this case, you only need an
unbalanced, mono jack cable.
Furthermore, it is possible to use the POWER AMP INSERT as a conventional
insert to add a compressor or graphic equalizer to the signal path,
forinstance. Here, a balanced, stereo jack cable is required and the
assignment of tip and ring needs to be observed according to Figure4.5
(see Chapter 4.2 “Audio Connections”). In this case, the ring is the so-called
Send, which is connected to the input of the additional device, andthe
tip is referred to as Return, which is connected to the output of the
additionaldevice.
Lastly, it is possible to tap the output signal of the device’s mixer section
from the POWER AMP INSERT in order to use a second, external power
amp. A balanced, stereo jack cable is required with the ring (not the tip)
connectedto the input of the external power amp. If you want to use the
internal and external power amps at the same time, just wire the connector’s
ring and tiptogether.
(62) The FOOTSWITCH jack is for a standard footswitch. You can activate an
“eect bypass”, thereby muting the eects processor. Use a dual foot switch
for the PMP6000, so that you can enable/disable FX1 and FX2 independently
of each other. In this case, the tip of the ¼" plug controls FX1, and the
ringFX2.
(63) PMP4000/PMP6000: The MONO OUT is for connecting a subwoofer.
ThePMP6000 has the additional possibility of setting the low-frequency
range for the subwoofer.
Use the SUB FILTER control (50) to adjust the frequency.
(64) The FX SEND connector can be used to route the FX SEND signal from
the input channel, for example, to the input of an external eects
device. Sincethe PMP6000 has two FX controls per input signal (see (12)),
bothFXSEND 1+2 are present at one jack.
◊ Please note: The SEND signal is in parallel with the FX SEND jacks and
with the effects processor, so that both can be controlled together by
one control.
◊ For the FX signals, use a ¼" stereo plug connected as follows:
FX1 = tip; FX2 = ring
(65) The PHONS/CTRL connector allows you to connect a pair of stereo
headphones or an (active) monitor speaker.
2.5 Rear panel
(66) The mains connection is via a standard IEC receptacle. An appropriate power
cord is supplied with the unit.
(67) FUSE HOLDER. Before connecting the unit to the mains, ensure that
the voltage setting matches your local voltage. Blown fuses should only
be replaced by fuses of the same type and rating. Please also read the
information given in the “Specications”.
(68) Use the POWER switch to put your PMP into operation. The POWER switch
should always be in the “O” position before connecting your unit to
themains.
◊ Please note: The POWER switch does not fully disconnect the unit from
the mains. Unplug the power cord completely when the unit is not used
for prolonged periods of time.
(69) SERIAL NUMBER.
(70) This is where you nd the cooling fan of the unit.
The PMP6000 has two cooling fans.
(71) OUTPUT A (LEFT) provides either the left stereo main signal or the monitor
signal in mono, depending on the operating mode selected (see (27)).
NEVERuse this output in bridged mono mode.
(72) OUTPUT B (RIGHT/BRIDGE) provides either the right stereo main signal,
the main mix signal (mono) or the bridged mono signal, depending on the
operating mode selected.
◊ In BRIDGE mode always connect only one loudspeaker with an
impedance of at least 8 Ω to the OUTPUT B jack! NEVER use OUTPUT A in
BRIDGE mode!
◊ In all other operating modes the impedance of the connected
loudspeaker must not fall below 4 Ω.
3. Digital Eects Processor
24-BIT MULTI-EFFECTS PROCESSOR
This built-in eects module produces high-grade standard eects such as
reverb, chorus, anger, delay and various combination eects. The integrated
eects module has the advantage of requiring no wiring. This way, the danger
of creating ground loops or uneven signal levels is eliminated at the outset,
completely simplifying the handling. These eect presets are designed to be
added to dry signals.
◊ Turn down the FX controls in those channel strips whose signals you
don’t wish to process.
12 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
Eect Presets of EUROPOWER PMP6000
No. EFFECT Description No. EFFECT Description
HALL 00-09 DELAY 50-59
00 SMALL HALL 1 approx. 1.0s reverb decay 50 SHORT DELAY 1 Like a short shattering
01 SMALL HALL 2 approx. 1.2s reverb decay 51 SHORT DELAY 2 1-2 short impulse(s)
02 SMALL HALL 3 approx. 1.5s reverb decay 52 SHORT DELAY 3 1-2 short impulse(s)
03 MID HALL 1 approx. 1.8s reverb decay 53 MID DELAY 1 Classical Delay for up-tempo music (115-125 BPM)
04 MID HALL 2 approx. 2.0s reverb decay 54 MID DELAY 2 Classical Delay for mid-tempo music (105-115 BPM)
05 MID HALL 3 approx. 2.5s reverb decay 55 MID DELAY 3 Classical Delay for slow-tempo music (95-105 BPM)
06 BIG HALL 1 approx. 2.8s reverb decay 56 LONG DELAY 1 Classical Delay for reggae-tempo music (85-95 BPM)
07 BIG HALL 2 approx. 3.2s reverb decay 57 LONG DELAY 2 Classical Delay for dub-tempo music (75-85 BPM)
08 BIG HALL 3 approx. 4s reverb decay 58 LONG DELAY 3 Extra long (nearly innite) delay eect
09 CHURCH approx. 7s reverb decay 59 LONG ECHO Extra long canyon echo eect
ROOM 10-19 CHORUS 60-69
10 SMALL ROOM 1 approx. 0.5s reverb decay 60 SOFT CHORUS 1 Unobtrusive eect
11 SMALL ROOM 2 approx. 0.8s reverb decay 61 SOFT CHORUS 2 Unobtrusive eect with dierent color
12 SMALL ROOM 3 approx. 1.0s reverb decay 62 WARM CHORUS 1 Analog sounding
13 MID ROOM 1 approx. 1.2s reverb decay 63 WARM CHORUS 2 Analog sounding with dierent color
14 MID ROOM 2 approx. 1.5s reverb decay 64 PHAT CHORUS 1 Pronounced chorus eect
15 MID ROOM 3 approx. 1.8s reverb decay 65 PHAT CHORUS 2 Pronounced chorus eect with dierent color
16 BIG ROOM 1 approx. 2.0s reverb decay 66 CLASSIC FLANGER Standard anger eect
17 BIG ROOM 2 approx. 2.2s reverb decay 67 WARM FLANGER More analog touch
18 BIG ROOM 3 approx. 2.5s reverb decay 68 DEEP FLANGER Deep modulation impression
19 CHAPEL approx. 3s reverb decay 69 HEAVY FLANGER Extremely pronounced eect
PLATE 20-29 PHASE/PITCH 70-79
20 SHORT PLATE approx. 1.0s reverb decay 70 CLASSIC PHASER Standard phaser eect
21 MID PLATE approx. 1.5s reverb decay 71 WARM PHASER More analog touch
22 LONG PLATE approx. 2.2s reverb decay 72 DEEP PHASER Deep modulation impression
23 VOCAL PLATE approx. 1.2s reverb decay 73 HEAVY PHASER Extreme strong eect
24 DRUMS PLATE approx. 1.0s reverb decay 74 PITCH SHIFT DETUNE 2-3-times detune for a wider solo voice sound
25 GOLD PLATE 1 approx. 1.2s reverb decay 75 PITCH SHIFT +3 Minor third added voice
26 GOLD PLATE 2 approx. 2.0s reverb decay 76 PITCH SHIFT +4 Major third added voice
27 SHORT SPRING approx. 1.0s reverb decay 77 PITCH SHIFT +7 Quint above added voice
28 MID SPRING approx. 2.0s reverb decay 78 PITCH SHIFT -5 Fourth down added voice
29 LONG SPRING approx. 2.5s reverb decay 79 PITCH SHIFT -12 1 octave down added voice
GATED/REVERSE 30-39 MULTI 1 80-89
30 GATED REV SHORT approx. 0.8s gate time 80 CHORUS + REVERB 1 Soft chorus + medium-short reverb
31 GATED REV MID approx. 1.2s gate time 81 CHORUS + REVERB 2 Deep chorus + medium-long reverb
32 GATED REV LONG approx. 2.0s gate time 82 FLANGER + REVERB 1 Soft anger + medium-short reverb
33 GATED REV XXL approx. 3.0s gate time 83 FLANGER + REVERB 2 Deep anger + medium-long reverb
34 GATED REV DRUMS 1 approx. 0.8s gate time 84 PHASER + REVERB 1 Soft phaser + medium-short reverb
35 GATED REV DRUMS 2 approx. 1.2s gate time 85 PHASER + REVERB 2 Deep phaser + medium-long reverb
36 REVERSE SHORT approx. 0.8s reverb raise 86 PITCH + REVERB 1 Soft voice detuning + medium-short reverb
37 REVERSE MID approx. 1.2s reverb raise 87 PITCH + REVERB 2 Fourth above interval + medium-long reverb
38 REVERSE LONG approx. 2.0s reverb raise 88 DELAY + REVERB 1 Short delay + medium-short reverb
39 REVERSE XXL approx. 3.0s reverb raise 89 DELAY + REVERB 2 Medium-long delay + medium-long reverb
EARLY REFLECTIONS 40-49 MULTI 2 90-99
40 EARLY REFLECTION 1 Short 90 DELAY + GATED REV Short delay + medium-long gated reverb
41 EARLY REFLECTION 2 Medium-short 91 DELAY + REVERSE Medium-short delay + medium-long reverse reverb
42 EARLY REFLECTION 3 Medium-long 92 DELAY + CHORUS 1 Short delay + soft chorus
43 EARLY REFLECTION 4 Long 93 DELAY + CHORUS 2 Medium-long delay + deep chorus
44 SHORT AMBIENCE Short 94 DELAY + FLANGER 1 Short delay + soft anger
45 MID AMBIENCE Medium-short 95 DELAY + FLANGER 2 Medium-long delay + deep anger
46 LIVE AMBIENCE Medium-short 96 DELAY + PHASER 1 Short delay + soft phaser
47 BIG AMBIENCE Medium-long 97 DELAY + PHASER 2 Medium-long delay + deep phaser
48 STADIUM Long 98 DELAY + PITCH 1 Short delay + fourth down interval
49 GHOST AMBIENCE Extra-long special FX 99 DELAY + PITCH 2 Medium-long delay + minor third above interval
13 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
4. Installation
4.1 Mains connection
The mains connection is made using the enclosed power cord and a standard IEC
receptacle. It meets all of the international safety certication requirements.
Blown fuses must be replaced by fuses of the same type and rating.
◊ Please make sure that all units have a proper ground connection.
For your own safety, never remove or disable the ground conductor
from the unit or of the AC power cord.
4.2 Audio connections
The inputs and outputs of your BEHRINGER EUROPOWER are unbalanced ¼" mono
jacks—except for the mono channel line inputs, which are balanced ¼" stereo
jacks. Of course, all inputs and outputs work with both balanced and unbalanced
connectors. The tape in and outputs are on RCA connectors.
◊ Please ensure that only qualified personnel install and operate the
PMP. During installation and operation, the user must have sufficient
electrical contact to earth. Electrostatic charges might affect the
operation of the unit.
strain relief clamp
sleeve
tip
sleeve
(ground/shield)
Unbalanced ¼" TS connector
tip
(signal)
Fig. 4.1: ¼" TS connector
strain relief clamp
sleeve
ring
tip
sleeve
ground/shield
For connection of balanced and unbalanced plugs,
ring and sleeve have to be bridged at the stereo plug.
Balanced ¼" TRS connector
ring
cold (-ve)
tip
hot (+ve)
Fig. 4.2: ¼" TRS connector
output
For unbalanced use, pin 1 and pin 3
have to be bridged
1 = ground/shield
2 = hot (+ve)
3 = cold (-ve)
input
12
3
12
3
Balanced use with XLR connectors
Fig. 4.3: XLR connectors
strain relief clamp
sleeve
ring
tip
sleeve
ground/shield
¼" TRS footswitch connector
ring
FX2
tip
FX1
Fig. 4.4: ¼" mono plug for footswitch
strain relief clamp
sleeve
ring
tip
sleeve
ground/shield
Connect the insert send with the input and the insert with
the output of the output eects device.
Power amp insert send return ¼" TRS connector
ring
send (out)
tip
return (in)
Fig. 4.5: Stereo ¼" TRS connector for power amp ISR connection
14 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
4.3 Loudspeaker connections
Your power mixer is equipped with high-quality loudspeaker connectors ,
whichensure safe and trouble-free operation. The connector was especially
developed for high-power loudspeakers. Once it is plugged in, it safely locks into
position and cannot be accidentally disengaged. It prevents the occurrence of
electrical shock and ensures the correct polarity. Each of the loudspeaker jacks
carries only the assigned single signal (see the information given on the rear
panel of the power mixer).
1-
2-
2+
1+
1- 2-
2+
1+
front view rear view
Professional speaker connector
(compatible with Neutrik Speakon connectors)
Fig. 4.6: Professional speaker connector with polarity allocation
Please be sure to only use commercial cables (type NL4FC) for connecting your
loudspeakers to the power mixer. Please check the pin assignment of your
loudspeakers and cables dependent on the PMP speaker output you choose.
EUROPOWER PMP6000/PMP4000/PMP1000
OUTPUT A 1+ 1- 2+ 2-
MAIN L x x
MONITOR x x
MONO x x
OUTPUT B x x
OUTPUT B 1+ 1- 2+ 2-
MAIN R x x
MONO x x
MONO x x
BRIDGE x x
Tab. 4.1: Polarity conguration of speaker connectors
OUTPUT B
BRIDGE
1+
1+
2+
1+
1- 1-
8 Ω
4 Ω
8 Ω
4 Ω
16 Ω
8 Ω
OUTPUT B
Fig. 4.7: Pin assignment
5. Wiring Examples
Fig. 5.1: Stereo operation
Loudspeaker connection (monitor mix)
Loudspeaker connection (monitor mix)
PMP1000
PMP4000
PMP6000
(part view)
2 x BEHRINGER EUROLIVE Stack
(B1800X & B1220, both passive)
2 x BEHRINGER F1220D
(active)
front panel (part view)
Footswitch Link Output
For stereo operation the POWER AMP switch (27) must be set to its upper position
(MAIN or MAIN L/MAIN R). Outputs A and B provide the stereo main signal for
passive speakers. The preamp monitor output is connected to two parallel active
speakers, which are used as on-stage monitors. Use the footswitch to enable/
disable the eects processor.
15 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
Fig. 5.2: Bridged mono operation
Subwoofer
PMP1000
PMP4000
PMP6000
Rear panel
EUROPOWER EP2000
EUROLIVE
VP1520
EUROLIVE B1800X
Subwoofer
2 x BEHRINGER F1220D
(active)
F.O.H. mix Monitor mix
This illustration shows the power mixer with a sub-woofer connected to
OUTPUTB. For a bridged mono operation to OUTPUTB, the AMP MODE selector
switch (27) must be set to its lower position “BRIDGE”. A separate stereo power
amp (BEHRINGER EUROPOWER EP2000) connected to the preamp main outputs
delivers the stereo main signal. Two active monitor speakers for on-stage
operation are connected to the preamp monitor output.
Fig. 5.3: Dual mono operation
Loudspeaker connection for F.O.H and monitor mix (mono)
PMP1000/PMP4000/PMP6000
Rear panel (excerpt)
2 x BEHRINGER EUROLIVE VP1520
(passive)
2 x BEHRINGER
EUROLIVE VP1220F
(passive)
For a dual mono operation, the AMP MODE switch (27) must be set to its center
position (MON1/MONO for PMP4000/PMP6000 or MON for PMP1000)! The two
loudspeaker outputs provide the main and the monitor signals, separately from
each another. Each of these signals is then sent to two speakers wired in parallel.
16 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
Fig. 5.4: Standard set-up (example)
ULTRA-G GI100
Electric bass
Vocal mics
Mono
channels 1-4
Mono
channel 5
Mono
channel 6
CD player
DAT recorder
Stereo
channel
13/14
Electric guitar
V-AMP2
Keyboard
CD/tape
in
CD/tape
out
The illustration shows just one channel conguration possible, comprising mono
and stereo sources and additionally the tape input/output for recording the mix
signal or feeding in a playback signal.
17 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
Fig. 5.5: Expanded set-up
BEHRINGER EUROLIVE VP1220 BEHRINGER EUROLIVE VP1220
BEHRINGER
EUROLIVE B1800X
BEHRINGER
EUROLIVE B1800X
PMP1000/PMP4000/
PMP6000 Rear panel
Output B
Vocals/voice
BEHRINGER
XM1800S
BEHRINGER B-2 PRO
Keyboard
Drum Computer
BEHRINGER
V-AMP 3
Electric guitar
Electric bass
BEHRINGER
BASS V-AMP
CD-Player
CD/TAPE IN
CD/TAPE OUT
DAT-Recorder
Passive monitors
BEHRINGER EUROLIVE
VP1220F IEM
(In-Ear-Monitoring)
BEHRINGER
HPS3000
BEHRINGER
EUROPOWER EP2000
MON 1/2 OUT
Headphone amplier
BEHRINGER POWERPLAY
PRO-XL HA4700
Stereo inputs
PHONS/CTRL OUT
Drums/percussion BEHRINGER
EUROPOWER EP2000
MAIN 1 OUT
B1800-Pro Active
Subwoofer
MONO
OUT
Output A
This application is an expanded set-up based on the standard set-up as shown
in g. 5.4, and provides additional connection options. Again, this is just an
example, which can be expanded in various ways.
18 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
6. Specications
PMP6000
Microphone Inputs
Type XLR, electronically balanced input circuit
Mic E.I.N. (20 Hz - 20 kHz)
@ 0 Ohm source resistance -134 dB / 136 dB A-weighted
@ 50 Ohm source resistance -131.5 dB / 134 dB A-weighted
@ 150 Ohm source resistance -129 dB / 155 dB A-weighted
Frequency response < 10 Hz - 200 kHz (-1 dB)
< 10 Hz - > 200 kHz (-3 dB)
Gain +10 dB, +60 dB
Max. input level +12 dBu @ +10 dB gain
Impedance approx. 2.6 kOhm balanced
approx. 1.3 kOhm unbalanced
Signal-to-noise ratio 109 dB / 112 dB A-weighted
(0 dBu In @ +10 dB gain)
Noise (THD + N) 0.002% / 0.0018% A-weighted
Mono Line Inputs
Type ¼" TS connectors, balanced
Impedance approx. 20 kOhm
Max. input level +21 dBu
Stereo Line Inputs
Type ¼" TRS connectors, unbalanced
Impedance > 3.6 kOhm
Max. input level +22 dBu
Equalizer
Low 80 Hz / ±15 dB
Mid 100 Hz - 8 kHz / ±15 dB
High 12 kHz / ±15 dB
2 Track Input
Type RCA
Impedance approx. 3.6 kOhm
Preamp Outputs
MAIN
Type ¼" TRS connectors, unbalanced
Impedance approx. 150 Ohm, unbalanced
Max. output level +21 dBu
Monitor
Type ¼" TRS connectors, unbalanced
Impedance approx. 150 Ohm, unbalanced
Max. output level +21 dBu
Stereo Outputs
Type ¼" TRS connectors, unbalanced
Impedance approx. 150 Ohm, unbalanced
Max. input level +21 dBu
Type RCA
Impedance approx. 1 kOhm
Max. input level +21 dBu
Loudspeaker Outputs
Type Professional locking connector
Load Impedance:
MAIN L/R 4 - 8 Ohm
MONITOR/MAIN MONO 4 - 8 Ohm
MAIN MONO/MAIN MONO 4 - 8 Ohm
BRIDGE 8 - 16 Ohm
DSP
Converter 24-bit Delta-Sigma,
64/128-times oversampling
Dynamics D/A 90 dB
Sampling rate 46.875 kHz
Delay Time max. 5 secs
Signal run time approx. 1.5 ms (Line In > Line Out)
Display
Type 2 x 2-digit, 7-segment LED
19 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
Output Power
RMS @ 1% THD, Both Channels Driven:
8 Ohm per channel 300 W
4 Ohm per channel 600 W
RMS @ 1% THD, Bridged Mode:
8 Ohm 1200 W
Peak Power, Both Channels Driven:
8 Ohm per channel 400 W
4 Ohm per channel 800 W
Peak Power, Bridged Mode:
8 Ohm 1,600 W
Power Supply
Mains Voltage
USA/Canada 120 V~, 60 Hz
China/Korea 220 V~, 50/60 Hz
Europe/Australia 230 V~, 50 Hz
Japan 100 V~, 50 - 60 Hz
Fuse 100 - 120 V~ T 10 A H 250 V
Fuse 220 - 240 V~ T 6.3 A H 250 V
Power Consumption
Power consumption 1,050 W
Mains connector IEC standard receptacle
Dimensions/Weight
Dimensions (H x W x D) 4.8 x 19.5 x 23.5"
122 x 496 x 596 mm
Weight 28.9 lbs / 13.1 kg
PMP4000
Microphone Inputs
Type XLR, electronically balanced input circuit
Mic E.I.N. (20 Hz - 20 kHz)
@ 0 Ohm source resistance -134 dB / 136 dB A-weighted
@ 50 Ohm source resistance -131.5 dB / 134 dB A-weighted
@ 150 Ohm source resistance -129 dB / 155 dB A-weighted
Frequency response < 10 Hz - 200 kHz (-1 dB)
< 10 Hz - > 200 kHz (-3 dB)
Gain +10 dB, +60 dB
Max. input level +12 dBu @ +10 dB gain
Impedance approx. 2.6 kOhm balanced
approx. 1.3 kOhm unbalanced
Signal-to-noise ratio 109 dB / 112 dB A-weighted
(0 dBu In @ +10 dB gain)
Noise (THD + N) 0.002% / 0.0018% A-weighted
Mono Line Inputs
Type ¼" TS connectors, balanced
Impedance approx. 20 kOhm
Max. input level +21 dBu
Stereo Line Inputs
Type ¼" TRS connectors, unbalanced
Impedance > 3.6 kOhm
Max. input level +22 dBu
Equalizer
Low 80 Hz / ±15 dB
Mid 2.5 kHz / ±15 dB
High 12 kHz / ±15 dB
2 Track Input
Type RCA
Impedance approx. 3.6 kOhm
20 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
Preamp Outputs
MAIN
Type ¼" TRS connectors, unbalanced
Impedance approx. 150 Ohm, unbalanced
Max. output level +21 dBu
Monitor
Type ¼" TRS connectors, unbalanced
Impedance approx. 150 Ohm, unbalanced
Max. output level +21 dBu
Stereo Outputs
Type ¼" TRS connectors, unbalanced
Impedance approx. 150 Ohm, unbalanced
Max. input level +21 dBu
Type RCA
Impedance approx. 1 kOhm
Max. input level +21 dBu
Loudspeaker Outputs
Type Professional locking connector
Load Impedance:
MAIN L/R 4 - 8 Ohm
MONITOR/MAIN MONO 4 - 8 Ohm
MAIN MONO/MAIN MONO 4 - 8 Ohm
BRIDGE 8 - 16 Ohm
DSP
Converter 24-bit Delta-Sigma,
64/128-times oversampling
Dynamics D/A 90 dB
Sampling rate 46.875 kHz
Delay Time max. 5 secs
Signal run time approx. 1.5 ms (Line In > Line Out)
Display
Type 2-digit, 7 segment LED
Output Power
RMS @ 1% THD, Both Channels Driven:
8 Ohm per channel 300 W
4 Ohm per channel 600 W
RMS @ 1% THD, Bridged Mode:
8 Ohm 1200 W
Peak Power, Both Channels Driven:
8 Ohm per channel 400 W
4 Ohm per channel 800 W
Peak Power, Bridged Mode:
8 Ohm 1,600 W
Power Supply
Mains Voltage
USA/Canada 120 V~, 60 Hz
China/Korea 220 V~, 50/60 Hz
Europe/Australia 230 V~, 50 Hz
Japan 100 V~, 50 - 60 Hz
Fuse 100 - 120 V~ T 10 A H 250 V
Fuse 220 - 240 V~ T 6.3 A H 250 V
Power Consumption
Power consumption 1,050 W
Mains connector IEC standard receptacle
Dimensions/Weight
Dimensions (H x W x D) 4.8 x 18.1 x 18.7"
122 x 460 x 476 mm
Weight 22.9 lbs / 10.4 kg
21 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
PMP1000
Microphone Inputs
Type XLR, electronically balanced input circuit
Mic E.I.N. (20 Hz - 20 kHz)
@ 0 Ohm source resistance -134 dB / 136 dB A-weighted
@ 50 Ohm source resistance -131.5 dB / 134 dB A-weighted
@ 150 Ohm source resistance -129 dB / 155 dB A-weighted
Frequency response < 10 Hz - 200 kHz (-1 dB)
< 10 Hz - > 200 kHz (-3 dB)
Gain +10 dB, +60 dB
Max. input level +12 dBu @ +10 dB gain
Impedance approx. 2.6 kOhm balanced
approx. 1.3 kOhm unbalanced
Signal-to-noise ratio 109 dB / 112 dB A-weighted
(0 dBu In @ +10 dB gain)
Noise (THD + N) 0.002% / 0.0018% A-weighted
Mono Line Inputs
Type ¼" TS connectors, balanced
Impedance approx. 20 kOhm
Max. input level +21 dBu
Equalizer
Low 80 Hz / ±15 dB
Mid 2.5 kHz / ±15 dB
High 12 kHz / ±15 dB
2 Track Input
Type RCA
Impedance approx. 3.6 kOhm
Preamp Outputs
MAIN
Type ¼" TRS connectors, unbalanced
Impedance approx. 150 Ohm, unbalanced
Max. output level +21 dBu
Monitor
Type ¼" TRS connectors, unbalanced
Impedance approx. 150 Ohm, unbalanced
Max. output level +21 dBu
Stereo Outputs
Type RCA
Impedance approx. 1 kOhm
Max. input level +21 dBu
Loudspeaker Outputs
Type Professional locking connector
Load impedance:
MAIN L/R 4 - 8 Ohm
MONITOR/MAIN MONO 4 - 8 Ohm
MAIN MONO/MAIN MONO 4 - 8 Ohm
BRIDGE 8 - 16 Ohm
DSP
Converter 24-bit Delta-Sigma,
64/128-times oversampling
Dynamics D/A 90 dB
Sampling rate 46.875 kHz
Delay Time max. 5 secs
Signal run time approx. 1.5 ms (Line In > Line Out)
Display
Type 2-digit, 7 segment LED
Output Power
RMS @ 1% THD, Both Channels Driven:
8 Ohm per channel 90 W
4 Ohm per channel 130 W
RMS @ 1% THD, Bridged Mode:
8 Ohm 200 W
Peak Power, Both Channels Driven:
8 Ohm per channel 135 W
4 Ohm per channel 250 W
Peak Power, Bridged Mode:
8 Ohm 500 W
22 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
Power Supply
Mains Voltage
USA/Canada 120 V~, 60 Hz
China/Korea 220 V~, 50/60 Hz
Europe/Australia 230 V~, 50 Hz
Japan 100 V~, 50 - 60 Hz
Fuse 100 - 120 V~ T 5 A H 250 V
Fuse 220 - 240 V~ T 5 A H 250 V
Power Consumption
Power consumption 500 W
Mains connector IEC standard receptacle
Dimensions/Weight
Dimensions (H x W x D) 4.8 x 15.6 x 16.7"
122 x 390 x 425 mm
Weight 18.3 lbs / 8.3 kg
23 EUROPOWER PMP6000/PMP4000/PMP1000 User Manual
FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION
Responsible Party Name: MUSIC Group Services US Inc.
Address: 18912 North Creek Parkway,
Suite 200 Bothell, WA 98011,
USA
Phone/Fax No.: Phone: +1 425 672 0816
Fax: +1 425 673 7647
EUROPOWER PMP6000/PMP4000/PMP1000
complies with the FCC rules as mentioned in the followingparagraph:
This equipment has been tested and found to comply with the limits for a ClassB
digital device, pursuant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment o and on, the user is encouraged to try to correct the
interference by one or more of the followingmeasures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit dierent from that to which the
receiver is connected.
• Consult the dealer or an experienced radio/TV technician forhelp.
This device complies with Part 15 of the FCC rules. Operation is subject to the
following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may
cause undesired operation.
Important information:
Changes or modications to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.
EUROPOWER
PMP6000/PMP4000/PMP1000
We Hear You

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