Stanton Musical Instrument RM 406 User Manual

RM.406  
Professional DJ Mixer  
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OWNER’S MANUAL  
STANTON MAGNETICS, Inc.  
©2004 Stanton Magnetics, Inc.  
 
Welcome  
Congratulations and thank-you for purchasing the latest addition to the grow-  
ing Stanton family. Sporting a new attitude, and a fresh, modern look, the  
RM.406 is a 4-channel, rackmount mixer loaded with features and innova-  
tions giving club and mobile DJs a complete, powerful, yet simple tool to mix,  
create, and perform their best. 1/4" and 1/8" headphone outputs, XLR, RCA,  
and 1/4" Master and Zone outputs, plus plenty of inputs, including three Mic  
inputs, and a separate 1/8" jack for connecting portable devices such as  
iPodsTM, ensure the utmost in flexibility. The RM.406 even goes a step further  
by adding an FX Loop, Booth, and Subwoofer outputs. Colored, backlit  
knobs, adjustable Crossfader curve, separate LED level indicators, gain and  
3-band EQs on every channel with a fully assignable Crossfader, offer  
increased control and functionality. Thoughtfully designed and engineered to  
give you the most intuitive and instinctual experience possible, the RM.406  
delivers all these features in a logical layout with quality components, all at  
an affordable price.  
Stanton's revolutionary Superior Sound Technology (SST™) also gives the  
RM.406 exceptional sound quality with audio specifications rivaling mixers  
costing up to four times as much. Developed from the ground up by a team  
of seasoned audio professionals who have designed world class profession-  
al recording studio and broadcast mixers, working hand in hand with experi-  
enced and respected DJs, SST™ delivers a dynamic range better than 110  
dB through ultra low-noise circuitry with a lower total harmonic distortion  
(THD) than other mixers in its class. Glass epoxy PC boards, surface mount  
technology, and faders that don't bleed add to the superior construction stan-  
dards. This equates to a cleaner, more transparent sound, allowing your  
music to be heard the way it was meant to. We’re proud to bring you the new  
look, feel and sound of Stanton.  
 
RM.406 Top Panel (FUNCTIONS)  
The controls and functions of the RM.406 are grouped in alphabetical sec-  
tions (clockwise from upper right corner) for your reference and then listed  
numerically for more detail.  
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H
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D
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Section A:  
Section B:  
Section C:  
Section D:  
Section E:  
Section F:  
Output Meters  
FX Controls  
Output Controls  
Cue Controls  
Crossfader Controls  
MP3 / Aux In  
Section G:  
Section H:  
Mic Controls  
Channel Controls  
 
RM.406 Top Panel (FUNCTIONS)  
Section A: Output Meters  
1
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1. Meter Switch: Switches the display of the Level Meter (#2) between  
Master or Zone output signals.  
2. Level Meter: Displays the left and right Master or Zone output level of the  
mixer. Red indicates clipping.  
Section B: FX Controls  
3
4
5
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3. Send Level: Controls the output level (send volume) of the FX Loop when  
a channel’s effects send (#40) is activated.  
4. Return Level: Controls the input level (return volume) of the FX Loop when  
a channel’s effects send (#40) is activated [external effects processor  
required.]  
5. FX Return: Toggles the effects loop ON / OFF. When on, the signal sent  
and returned through the FX Loop will be audible through the Master Output.  
 
RM.406 Top Panel (FUNCTIONS)  
Section C: Output Controls  
6
7
8
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10  
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6. Master Level: Controls the overall output level of the audio signal sent  
through the Master connectors (see Output Connections.)  
7. Stereo/Mono Switch: Switches the Master output between a stereo or  
mono signal. Mono mode can be used to accommodate some large PA sys-  
tems. It can also be engaged in the event of a sudden loss of stereo  
signal in phonograph cartridge connections [Stereo = UP position.]  
8. Zone Level: Controls the output level of the audio signal sent through the  
Zone connectors (see Output Connections.)  
9. Booth Level: Controls the output level of the audio signal sent through the  
Booth Output connectors (see Output Connections.)  
10. Master Pan: Controls left/right signal balance of the Master Output (#6.)  
11. Crossover LED: When lit, this indicates that the Crossover is active (for  
setting the Crossover see Output Connections.)  
 
RM.406 Top Panel (FUNCTIONS)  
Section D: Cue Controls  
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16  
15  
12. Cue FX: Sends the effected signal from the FX Loop to the Headphone Cue for  
monitoring (see Section-B.) This allows DJs to hear what the FX Loop sounds like,  
before sending it to the Master Outputs.  
13. Split Cue: Controls how the CUE will be heard in the headphones. In the "stereo"  
position, the pre-selected Cue (#41) will be heard as a stereo signal in the head-  
phones (full stereo audio signal in both ears.) In "split" position, the pre-selected Cue  
(#41) will be heard on one side of the headphones, while the Master Output (#6) sig-  
nal is heard on the other side (different audio signals in each ear.)  
14. Headphone Output 1: Connection for 1/4 inch headphone (phono-jack.)  
Recommended headphone impedance is 32-200 ohms for maximum volume.  
15. Headphone Output 2: Connection for 1/8 inch headphone (mini-jack.)  
Recommended headphone impedance is 32-200 ohms for maximum volume.  
16. Cue Level: Controls the overall headphone output level of both output jacks. It is  
recommended headphones with an impedance rating of 200 ohms or less be used for  
maximum volume.  
17. Cue Pan: This controls the blend of audio signals that can be heard in the head-  
phones. In the left-most “Cue” position, only channels selected by the Cue Assign  
switches (#41) will be heard. In the right-most “Master” position, ony signals being  
sent to the Master Output (#6) will be heard in the headphones. Any setting in-  
between provides a mix of both Cue and Master signals. This gives DJs the flexibili-  
ty to choose how they wish to monitor audio signals, based on personal preference  
and technique.  
 
RM.406 Top Panel (FUNCTIONS)  
Section E: Crossfader Controls  
18  
19  
20  
21  
E
18. Fader Start (A): Activates this side (A) of the Crossfader (#19) for use with com-  
ponents with the Fader Start feature. Moving the crossfader away from the left-most  
position will cause the device (CD / Turntable) to start playing. This allows DJs to  
activate a device by using the fader as if they were pressing Play. [Fader Start com-  
patible device (CD / Turntable) is required. Fader Start cables need to be connect-  
ed between the device and the appropriate input channel on the rear of the mixer.]  
19. Crossfader: Controls the audio signal that is sent to the Outputs (Section C.)  
When the Crossfader is in the left-most position (A), only the channel(s) set to (A)  
on their Crossfader Assign switch (#43) will be sent to the Outputs. When the  
Crossfader is in the right-most position (B), only the channel(s) set to (B) on their  
Crossfader Assign switch (#43) will be sent to the Outputs. This allows DJs to fade  
(mix) or cut (scratch) between different audio signals. When the Crossfader is  
somewhere in between the two extremes, a “blend” or “mix” between two signals  
occurs. [Note: if NO line channel(s) have been set to either A or B (using #43) then  
the Crossfader is bypassed. Also, if the appropriate Channel Fader (Line Fader)  
(#42) is set to zero, no sound will be output.]  
20. Fader Start (B): Activates this side (B) of the Crossfader (#19) for use with com-  
ponents with the Fader Start feature. Moving the crossfader away from the right-  
most position will cause the device (CD / Turntable) to start playing. This allows DJs  
to activate a device by using the fader as if they were pressing Play. [Fader Start  
compatible device (CD / Turntable) is required. Fader Start cables need to be con-  
nected between the device and the appropriate input channel on the rear of the  
mixer.]  
21. Crossfader Curve: Controls the shape of the Crossfader (#19) curve. When  
the knob is turned all the way to the left “Fade” setting, the action of the Crossfader  
becomes a long, smooth curve (used primarily for mixing or blending.) When the  
knob is turned all the way to the right “Cut” setting, the action of the Crossfader  
becomes an extremely sharp curve (used primarily for scratching and cutting.) TIP:  
This is a gradual control knob, therefore DJs can place the fader where they want  
the audio to increase and use this curve control to set (fine tune) the curve point and  
the way the Crossfader responds to movement.  
 
RM.406 Top Panel (FUNCTIONS)  
Section F: MP3/Aux In  
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F
22. MP3 / Aux. Input: This 1/8" Mini-jack (3.5 mm) input was designed for  
easy access and connectivity to a variety of portable devices (portable MP3  
/ mini-disc / CD players / iPods.) Use this input instead of having to re-wire  
the back panel of the mixer or use adapters.  
Section G: Mic Controls  
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Section G: Mic Controls (continued)  
23. Mic-1 XLR Input: Primary connection for a standard balanced (XLR)  
microphone.  
24. Mic-2 XLR Input: Secondary connection for a standard balanced (XLR)  
microphone.  
25. Mic-1 1/4" Input: Primary connection for a standard unbalanced (1/4")  
microphone.  
26. Mic-2 1/4" Input: Secondary connection for a standard unbalanced (1/4")  
microphone.  
27. Mic-1 Level: Controls the output level (volume) of Microphone 1 only.  
28. Mic-2 Level: Controls the output level (volume) of Microphone 2 only.  
29. Mic EQ (HIGH): Controls High frequency equalization for BOTH micro-  
phones (+10/-10 dB.) [Note: Any changes made to EQ settings will affect the  
overall output level of the microphones].  
30. Mic EQ (MID): Controls Mid frequency equalization for BOTH micro-  
phones (+10/-10 dB.) [Note: Any changes made to EQ settings will affect the  
overall output level of the microphones].  
31. Mic EQ (LOW): Controls Low frequency equalization for BOTH micro-  
phones (+10/-10 dB.) [Note: Any changes made to EQ settings will affect the  
overall output level of the microphones].  
32. Send FX: Turns the FX send ON / OFF for all microphones, and routes  
the Microphone signal to the FX Send bus (#3) (for use with external effects  
processor / FX Loop.)  
33. Mic Selector: Turns the mic(s) On or Off and activates the automatic  
Talk-over circuit. When activated, the automatic talk-over circuit reduces the  
music output allowing the mic to appear louder than the master audio signal.  
 
RM.406 Top Panel (FUNCTIONS)  
Section H: Channel Controls (each channel has its own controls which  
are duplicated for channels 1-4)  
H
34  
35  
36  
37  
38  
39  
40  
41  
42  
43  
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B
34. Input selector switch: Selects phono or line input for the corresponding  
channel. This is a three way switch allowing input from only one device at a  
time (Phono or either of two Line level inputs (for connections in rear panel of  
mixer, see Sections N-R.)  
35. Channel EQ (HIGH): Controls High frequency equalization of correspon-  
ding channel (+9/-64 dB.) [Note: -64dB = complete KILL of frequency. Any  
changes made to EQ settings will affect the overall output level of this chan-  
nel]  
36. Channel Gain: Controls the input level (GAIN) of the corresponding  
channel. This control is Pre-EQ. Gain levels will differ between various types  
of devices (such as turntables or CD players) or different types of media. The  
Channel Gain allows DJs to compensate for these differences in order to  
maintain consistent sound levels between different pieces of music, as well  
as consistency between the different mixer channels. Be aware that turning  
 
RM.406 Top Panel (FUNCTIONS)  
Section H: Channel Controls (continued)  
this setting too high may result in a loss of sound quality (distortion.) [Note:  
For best results set this control in the number 7 (2 O'Clock) position for unity  
gain. If further adjustment is needed, this is a good reference point.]  
37. Channel EQ (MID): Controls Mid frequency equalization of correspon-  
ding channel (+9/-64 dB.) [Note: -64dB = complete KILL of frequency. Any  
changes made to EQ settings will affect the overall output level of this chan-  
nel]  
38. Channel Input Meter: Displays the input level of this channel. The input  
level is determined by the Channel Gain controls (see #36.) Red indicates  
clipping.  
39. Channel EQ (LOW): Controls Low frequency equalization of correspon-  
ding channel (+9/-64 dB.) [Note: -64dB = complete KILL of frequency. Any  
changes made to EQ settings will affect the overall output level of this chan-  
nel]  
40. Send FX: Turns the effect send ON / OFF for this channel. This switch  
routes the audio signal to the effects send bus (#3), for use with external  
effects processor / FX Loop (see Section B.)  
41. Cue (assign): Selects the channel to be monitored via headphone Cue  
(Section D.)  
42. Channel Fader (Line Fader): Controls the output level of the correspon-  
ding channel. This control is Post-EQ and when NOT using Crossfader  
Assign (#43) the signal is sent directly to the master output.  
43. Crossfader Assign (A-B- BYPASS): Controls where the audio signal for  
this channel will be sent; either to the Crossfader (#19) or to Master Output  
(#6.) When set to A, this channel will be assigned to the left side of the  
Crossfader; When set to B, this channel will be assigned to the right side of  
the Crossfader. When set to BYPASS, the Crossfader will be bypassed alto-  
gether and the audio is sent straight from the Line Fader (#42) to the Master  
Output (Section C.) [Note: This allows the DJ to mix with or without using the  
Crossfader].  
 
RM.406 Rear Panel (FUNCTIONS)  
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Section I:  
Section J:  
Section K:  
Section L:  
Section M:  
Section N:  
Section O:  
Section P:  
Section Q:  
Section R:  
Power  
Master Output  
FX (Send & Return)  
Zone Output  
Sub Output  
RCA Outputs  
Channel 4 Inputs  
Channel 3 Inputs  
Channel 2 Inputs  
Channel 1 Inputs  
Section I: Power  
I. Power Switch & Connection: This is the ON / OFF power switch for the  
entire mixer. Only use the supplied adaptor (18v AC 1A) or one authorized  
by a Stanton dealer or our service department (make sure the AC cable is  
properly secured by the screw connection.) In order to protect the RM.406  
and any equipment connected to it, make sure the unit is off before connect-  
ing the power or making any other connections. In addition, make sure all  
volumes are turned all the way down prior to following the proper power on/off  
sequence. When turning on your system, turn the RM.406 on first, followed  
by the rest of your equipment. When turning your system off, turn off the  
RM.406 last.  
 
RM.406 Rear Panel (FUNCTIONS)  
Section J: Master Output  
J. Master Output Connection: These Right & Left XLR connections are  
used for the Master Output signal. Volume levels for this output are controlled  
by the section C front panel controls. NOTE: The TRIM knob sets the maxi-  
mum volume allowed for this output (be sure it is set properly.) It should be  
used in conjunction with the Master Fader (#6) as well as individual Gain  
(#36) and Channel Faders (#42) when establishing optimal overall output for  
the RM.406 and the sound system it is connected to. It is recommended to  
consult an audio professional during this process.  
Section K: Effects/FX  
K. Send & Return Connections: These Right & Left 1/4 inch connections  
are used for creating an FX loop (using an external effect processor.) Send  
is an Output, Return is an Input and both levels are controlled by #’s 3, 4 & 5  
(section C) front panel controls.  
Section L: Zone Output  
L. Zone Connection: These Right & Left output connections are used for a  
secondary Master / Zone. Volume level for this output is controlled by the  
section C front panel controls. Generally, this is used to send sound to anoth-  
er part of the sound system (such as another room), or another completely  
independent sound system.  
 
RM.406 Rear Panel (FUNCTIONS)  
Section P: Channel 3 Inputs  
P. Channel 3 Input Connections:  
This group of connections are ALL  
inputs which are only routed to channel 3 (select input using section H, (#34)  
from top panel.) Only two lines (L3, L7) and one phono (PH3) OR CD can be  
used as inputs here (the select switch located here toggles between PH3 /  
CD.) The 1/8” connection is used only for connecting devices with the Fader  
Start feature with the appropriate cables (to activate Fader Start for this chan-  
nel see Section E) NOTE: Line inputs are used to connect to line level  
sources such as CD players, samplers, tape players, etc. Phono inputs are  
used to connect to turntables. Mic inputs connect directly to microphones. To  
prevent potential circuit damage, never connect a line level source to phono  
inputs.  
Section Q: Channel 2 Inputs  
Q. Channel 2 Input Connections: This group of connections are ALL inputs  
which are only routed to Channel 2 (select input using section H, (#34) from  
top panel.) Only two lines (L2, L6) and one phono (PH2) OR CD can be input  
here (the select switch located here toggles between PH2 / CD). The 1/8”  
connection is used only for connecting devices with the Fader Start feature  
with the appropriate cables (to activate Fader Start for this channel see  
Section E) NOTE: Line inputs are used to connect to line level sources such  
as CD players, samplers, tape players, etc. Phono inputs are used to connect  
to turntables. Mic inputs connect directly to microphones. To prevent poten-  
tial circuit damage, never connect a line level source to phono inputs.  
Section R: Channel 1 Inputs  
R. Channel 1 Input Connections: This group of connections are ALL inputs  
which are only routed to Channel 1 (select input using section H, (#34) from  
top panel.) Only one line (L1) and one phono (PH1) can be input here. The  
“GND” connections are used only for phono inputs which require a Ground  
cable and can be used for any phono input on any channel. NOTE: Line  
inputs are used to connect to line level sources such as CD players, sam-  
plers, tape players, etc. Phono inputs are used to connect to turntables. Mic  
inputs connect directly to microphones. To prevent potential circuit damage,  
never connect a line level source to phono inputs.  
 
Application Example  
This is a typical setup you’ll find in many nightclubs: 2 turntables, 2 CD play-  
ers, plus a microphone for the DJ. Here’s how you would set up your equip-  
ment with the RM.406:  
1. Be sure all equipment is powered “OFF” and all of theRM.406’s Channel  
faders and Level knobs are at minimum volume.  
2. Connect the turntables to the Phono inputs of Channels 1 and 4. Be sure  
the rear-panel toggle switch for Channel 4 is set to “PH2” or you won’t hear  
anything. To avoid hum, don’t forget to connect the ground wires to the  
grounding terminals.  
3. Connect the CD players to the inputs of Channels 2 and 3. (if your CD play-  
er supports fader start connect applicable cables)  
4. If your CD players support Fader Start, connect the mini-cables and set the  
Fader Start switches to “ON”.  
5. Depending on the type of cable you have, connect your microphone to the  
Mic1, 2, or 3 (1/4” / XLR) input.  
6. Connect the Master Output jacks to the club’s power amp, EQ or  
crossover. Then connect your monitor amp to the Booth output. If you have a  
separate amp for a particular area of the club, connect this amp to the Zone  
outputs.  
7. If you wish to use an effects processer (sold separately) connect the appro-  
priate cables from the send output connecters of the mixer to the IN on your  
processer. Then connect appropriate cabless from the OUT of your process-  
er to the RETURN on the rear connections of the mixer.  
8. Set the Input Selectors on the front panel to the appropriate inputs for each  
channel.  
9. Power everything up and carefully adjust the input levels using the Input  
Gain knobs and Mic Level knob.  
10 Slowly raise the Channel faders, Master fader, Booth level, Zone level and  
Mic level as appropriate and start mixing!  
 
Superior Sound Technology  
The audio quality of the RM.406 is nothing short of revolutionary for DJ mix-  
ers in its price class. The RM.406 was designed by Stanton’s new product  
development team, seasoned audio professionals who have designed world  
class professional recording studio and broadcast mixers and product man-  
agers who are working DJs and work closely with some of the world’s most  
respected DJs. They have taken their knowledge and experience to create  
the RM.406, a DJ mixer with superior audio quality and unprecedented value.  
Come hear the difference!  
 
Technical Specifications  
Line Inputs.................................................................................7 x 2 (RCA) , -10 dBV / >10 kOhm  
1 (1/8” stereo mini-jack), 10 dBV / >10kOhm  
Phono / CD Inputs...................................2 x 2 (RCA), -46 dBV / -10 dBV / 47 kOhm / >10 kOhm  
Phono..............................................................................1 x 2 (RCA), -46 dBV (Phono) / 47 kOhm  
Phono / Mic Input..................................1 x 2 (RCA), -46 dBV (Phono) 1 x (_ inch)–46 dBV (Mic)  
Mic Input..................................................................................1 (XLR or 1/4”) -46 dBV / 2.4 kOhm  
Master Outputs............................................................2 (XLR) balanced/ 1 x 2 (RCA) unbalanced,  
-2 dBu balanced / -10 dBV unbalanced  
Zone Outputs................................................................2 (1/4”) balanced /1 x 2 (RCA) unbalanced  
-2 dBu balanced/ -10 dBV unbalanced  
Booth Outputs.............................................................................1 x 2 (RCA) unbalanced /-10 dBV  
Sub Outputs.............................................................................................1 (XLR) balanced/ -2 dBu  
Record Output............................................................................1 x 2 (RCA) unbalanced / -10 dBV  
Headphone Output...........................................1(1/4 inch), 1 (1/8 inch) greater than 32 Ohm load  
Frequency Response.............................................................................20 Hz to 20 kHz +/- 1.5 dB  
EQ Mic...........................................................................................3 band +10 dB (Baxandall Type)  
Channel.......................................................................3 band +9 dB/kill (18 dB/octave DJ EQ)  
Noise Floor  
Line in to Unbalanced Output...........................................................................................< -92 dBV  
Line In to Balanced Output................................................................................................< -88 dBu  
Crosstalk*  
Line to Phono Line to Line....................................................................................< -88 dB at 1 kHz  
Phono to Line........................................................................................................< -88 dB at 1 kHz  
Fader Kill (Channel and Crossfader)....................................................................< -90 dB at 1 kHz  
Max Output Level:  
(Unity Gain- Line Input)...................................................................................+18 dBV Unbalanced  
+24 dBu Balanced Outputs  
S/N Ratio Line  
(Ref to Max. Level)DynamicRange....................................................................................> 110 dB  
T.H.D+N...............................................................................................................< 0.015% at 1 kHz  
Sub Woofer Output.......................................................................12 dB/octave Linkwitz-Riley Type  
80 Hz to 320 Hz  
Dimensions (LxWxD).........18.9 in. x 8.7 in. x 5.3 in. (48 cm. x 22 cm. x 13.3 cm.) 5U rack  
spaces  
* Input without signal terminated with dummy plug.  
REPLACEMENT PARTS  
Faders:  
Crossfader: CF404  
Power Supply:  
110v PS16US (North & Central America and parts of South America)  
220v PS16EU (Europe, Parts of Asia and South America and Rest of World)  
240v PS16UK (U.K.)  
To replace the cross or channel faders, follow step 1 of the cleaning instructions. Replacement  
parts are available from Stanton or your local Stanton dealer.  
 
Troubleshooting  
Problem / Symptom  
No Sound  
Possible Cause/ Solution  
Is the power on? Check the power switch. Make  
sure the channels are assigned properly to the  
crossfaders. Make sure INPUT GAIN is turned up  
and output level control is turned up. Depending  
on the input, check the rear panel selector  
switches. Check the top panel channel selector  
switches.  
No Sound- Master  
Output (Booth and  
Zone are OK)  
Make sure that MASTER TRIM on the rear  
panel is turned up.  
Do the headphones work with the CUE pan in the  
PROGRAM position but not PFL? If so, make  
sure that the channel PFL switches are engaged.  
Check the CUE LEVEL control.  
No Sound  
Headphones  
Signal level is low  
even with the  
faders and input  
level controls  
turned up.  
Check to make sure the talk switch is NOT  
engaged on the microphone input.  
Check to make sure that the microphone levels  
are turned all of the way down if a microphone is  
not being used.  
Mixer sounds noisy  
Is the Mic gain turned up? Does the microphone  
require phantom power? This mixer does not  
provide microphone phantom power.  
Microphone doesn’t  
work  
In general, turn down the INPUT GAIN CONTROL.  
The input signal may be too loud for the input gain  
control setting that you were using. If the distortion  
goes away, then you need to turn down the INPUT  
GAIN CONTROL.  
Sound is distorted-  
Line or CD input  
 
Troubleshooting  
Problem / Symptom  
Possible Cause/ Solution  
Only plug turntables into this input, do not plug in CD  
players or other Line Level sources. Turn down the  
INPUT GAIN CONTROL. Check the EQ settings.  
Sound is distorted  
Phono Input  
Make sure you are using good shielded audio cables.  
Some less expensive audio cables can be susceptible to  
hum and interference. Keep your audio cables away  
from AC power cables and AC transformers. Make sure  
the mixer is not mounted too close to high power ampli-  
fiers or lighting equipment power supplies or ballasts.  
Make sure your turntables are properly grounded to the  
back of the mixer if they include a grounding wire.  
I hear hum.  
If you are using a microphone, make sure that you are  
not too close to the speakers or headphones. If you hear  
feedback on the phono input, then the turntable may be  
mounted to close to the speakers and/or subwoofer.  
Also, make sure the turntable base is placed on a sur-  
face that does not vibrate or resonate easily when the  
speakers are turned up loudly.  
I hear  
feedback  
 
Warranty  
Stanton Magnetics, Inc. – Warranty Provision – Returns for Repairs or Replacement  
Warranty  
Through Stanton’s authorized dealers around the World, Stanton, or one of Stanton’s authorized dis-  
tributors outside the U.S., will, without charge, repair or replace, at the sole discretion of the entity  
responsible for making the repair or providing the replacement, any Stanton merchandise proved  
defective in material or workmanship for a period of one (1) year (three (3) years for C.D. players) fol-  
lowing the date of original purchase. Exceptions to this warranty are as noted below:  
The warranty for mechanical parts which are subject to wear and tear are limited to the earlier to occur  
of thirty (30) days following the date of original purchase or the following number of cycles: Faders -  
15,000; Rotary potentiometers - 10,000; and Switches - 10,000.  
Stanton will warrant all replacement parts and repairs for ninety (90) days from the date of original ship-  
ment. Repairs made necessary by reason of misuse, alteration, normal wear, or accident are not cov-  
ered under this warranty.  
Returns  
Authorized Stanton dealers are only authorized to sell and distribute merchandise within a specific  
country. All goods requiring warranty repair or replacement must be returned (freight prepaid if not  
hand-delivered) to the authorized Stanton dealer from whom the merchandise was purchased and in  
the same country where the merchandise was purchased. For purposes of purchases made via the  
Internet, the merchandise must be returned to the authorized Stanton dealer in the country where the  
authorized Stanton dealer which sold the merchandise to purchaser is located and not the authorized  
Stanton dealer in the country where the purchaser is located or the country in which the merchandise  
was received. Any returns to a non-authorized dealer or to an authorized Stanton dealer not in the same  
country as the merchandise was intended to be sold or as set forth above will void this warranty.  
To initiate a warranty repair, you must contact the authorized Stanton dealer from whom you purchased  
the merchandise, and follow such authorized Stanton dealer’s return policy.  
Stanton assumes no risk and shall be subject to no liability for damages or loss resulting from the spe-  
cific use or application made of the merchandise. Stanton's liability for any claim, whether based on  
breach of contract, negligence, infringement of any rights of any party, or product liability, and relating  
to the merchandise shall not exceed the price received by Stanton from your purchase of such mer-  
chandise. In no event will Stanton be liable for any special, incidental or consequential damages  
(including loss of use, loss of profit and claims of third parties) however caused, whether by the negli-  
gence of Stanton or otherwise. To the extent permitted by law and except as otherwise provided above,  
Stanton disclaims any express or implied warranties of merchantability or fitness for a particular pur-  
pose.  
The above warranty provides you with specific legal rights. You may also have additional rights, which  
are subject to variation from state to state and country to country.  
If there is a dispute regarding the warranty of merchandise that does not fall under the warranty condi-  
tions stated above, please include a written explanation with the merchandise when returned pursuant  
to the terms and conditions set forth herein.  
Stanton Magnetics, Inc, 3000 SW 42 St. Hollywood, Florida 33312.  
 

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