User manual MICROMEGA IA-100

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Manual abstract: user guide MICROMEGA IA-100

Detailed instructions for use are in the User's Guide.

[. . . ] It is good practice to put the carton and its contents into an outer plastic bag and deposit it somewhere safe and dry. In the unlikely event that your unit needs to be sent back to either your dealer or distributor, it must be sent in the original packing material. Failure to observe this will invalidate your warranty. ACCESSORIES Upon opening the carton you should find the following: Mains Lead. MAINS VOLTAGE FRONT OF THE AMPLIFIER iPOD: Analog input used for external sources HEADPHONE: Headphone socket ROTARY CONTROL: To control volume and setup. < INPUT SELECT >: Input selection. [. . . ] If you have an audio-video processor like AP-180, a SUB-IN input is available just above the SUB-OUT connector. Connect the SUB-OUT of your audio-video processor to the SUB-IN of your amplifier. When in Stereo mode your amplifier will control the level of your active subwoofer while when in PRO-ON mode the audio-video processor will take control over your active subwoofer. This unique feature allows a complete different subwoofer set-up between stereo mode and home cinema mode. ANALOG INPUTS NAMES The four analog inputs AN1, AN2, AN3, et AN4 can be renamed using the internal name library of the microcontroller of your amplifier. The following names are available: OFF, CD, FM, DVD, TV, SAT, VCR, AUX, AV1, AV2, MP3, SPE, PVR and GAME. To replace the name of a source, place your amplifier on this source and make a long pressure on the second key INPUT SELECT >. The display shows then: The headphone socket is located on the front panel of the unit. The headphone volume setting is independent of the loudspeaker volume. The display will indicate: Note: When headphones are in use, the loudspeaker output is automatically disconnected. - Headphone volume can be adjusted via the central rotary control. -Press the HEADPHONE key to return to loudspeaker operation. The headphone logo disappears and the unit returns to its previous setup including volume level. MONITOR This function allows full record monitoring when combined with a three head recording device. It also allows insertion of another unti in the listening loop ( equalizer. . . ) - Press the MON/PRO key. - The amplifier is now in monitor mode and the source is TAPE - Press once again the MON/PRO key to return to normal operation. PRO ON (MONITOR) The PRO ON mode allows to use the power amplifier section of your amplifier in combination with an external multi-channel Audio processor like AP-180. A specific input (PRO IN) is dedicated to this mode. A long pressure (2 seconds) on the MON/PRO key and the display will indicate: Using the central rotary knob the name between the brackets will scroll through the list of available names until you find the one you are looking for. If you wish to change another input name press again on the INPUT SELECT > key and proceed in the same way. Once your choice is done wait 5 seconds and your amplifier will revert to normal operation. During the change of name, listening continues normally without any interruption. REMOVING AN INPUT [OFF] While you are setting the names on the four analog inputs, the name [OFF] appears in the list of available names. If you choose to name one or more inputs with this name, the selected inputs will be removed from the listening loop. [. . . ] 2 x 100 W Power (IA-180 / 4Ω) ………………………………………………………………………………………………………………………………. . . . …. 2 x 180 W Output Impedance ………………………………………………………………………………………………………………………. …. . ……. 0. 02 Ω / 1 kHz Power Bandwidth (30 W / 4Ω / -3dB)…………………………………………………………………………………………………. ………. . 10 Hz - 100kHz Input Sensitivity /Impedance : AN1, AN2, AN3, AN4, iPod. …………………………………………………………………………………………………. ………. . . …… 280 mV / 47 kΩ PHONO ……………………………. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]

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