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软件使用中应当注意的事项;1. 对于v1,v2轨以上的轨道，做轨间特技可利用fx轨，“添加特技素材”后直接把固定特技拖上去即可，但是没有入出方式可选。

2. 故事板的长度和素材长度没有显示，打入出点后能够在故事板回放窗看到。

3. Tp-link网卡在超微主板上和DTV卡有冲突，会导致DIGISUITE驱动状态异常。

拔下网卡并重装驱动即可4. 在使用IDE硬盘作为系统盘的情况下，必须将系统的虚拟内存交换页面文件设置在高速数据硬盘构成的带区集分区上5. X-8000/6000中，在进行mpg文件合成的时候，应该先打开vu表，生成文件的时候应注意vu 表是否正常，如果vu表没起来，表示合成的文件没有声音，要重新生成。

如果有数字卡的话，注意要将音频设置为模拟的输出。

解决方案：1. 唱词文件从中间播造成声画不对位解决：唱词文件不要做太长，每次从头开始播2. 采集素材时能看到图象，停止后找不到素材解决：修改路径设置3. X-9000打包后生成的素材有横向条纹原因：整个带区集呈危险状态，硬盘或电源故障解决: 更换硬盘更换电源4. X-8000设置将MAX卡扩展到整屏时死机，同时打包花屏（MAX卡必须用排线与显卡相连）。

解决:MAX卡或跨桥坏,逐一试着更换5. X-9000带模拟BOB盒“硬件参数”存不住，尤其音频输入输出解决：暂无办法，只能多次设置直到存住为止。

修改时要拖动滑杆不要改数字6. X-9000输入无色彩解决：修改“硬件参数”中输入视频的色饱和度7. X-9000中XCG的项目文件调到故事板中最后一帧永远时黑场解决：暂无办法,如果要跟其它层做过渡特技，打包后再进行8. X-9000中在XCG里做唱词，打开文件时会死机解决：不用“打开”，用“拷贝-粘贴9. 保存特技时存不住解决：1）系统默认的“TEMP”名不能用2）用“另存为”按钮，不能用“保存”按钮10. 用相同用户名登陆但看不到以前的工作（包括素材，项目，故事板）解决：检查是否登陆在同一栏目下，若不是改之11. SQL SERVER 数据库无法启动解决：1）看是否修改了WIN2000的用户登陆密码，若是，修改为原来的2）重新安装SQL SERVER数据库,并在安装时选择用本地用户登陆3) 重装200012. 在运行X-EDIT软件过程中报SQL SERVER 的错误解决：若素材不重要，重新执行SQL脚本文件，否则先将数据库备份，重新执行SQL脚本后再恢复数据库13. X-9000做静帧，如果是摇镜头可能会抖动解决：可设置成0.01倍速度14.做淡入淡出特技过渡不平滑，会闪一下解决：改变入出方式15.故事板播放时，报sql server 通讯失败解决方法：重新建立dynetmange和dycommondate两个数据库，但原来的信息会丢失。

By:Serial #:Portico 543500 Series Compressor-LimiterPortico 543: 500 Series Compressor-LimiterThank you for your purchase of the 543: 500 Series Compressor-Limiter. Everyone at Rupert Neve De-signs hope you enjoy using this tool as much as we have enjoyed designing and building it. Please take note of the following list of safety concerns and power requirements before the use of this or any Portico Series product.SafetyIt’s usual to provide a list of “do’s and don’ts” under this heading but mostly these amount to common sense issues. However here are some reminders:Don’t operate your Portico™ module in or around water! Electronic equipment and liquids are not good friends. If any liquid is spilled such as soda, coffee, alcoholic or other drink, the sugars and acids will have a very detrimental effect. Sugar crystals act like little rectifiers and can produce noise (crackles, etc.). SWITCH OFF IMMEDIATELY because once current starts to flow, the mixture hardens, can get very hot (burnt toffee!) and cause permanent and costly damage. Please contact support as soon as possible *************************************.Don’t be tempted to operate a Portico module with the cover removed. The cover provides magnetic screening from hum and R.F. stray fields.Power RequirementsEach Portico 543 is fitted for use with standard 500 Series Rack Mounts and requires 110-125 mAmps @+/- 16VPortico 543: Block DiagramPortico 543: Front PanelTHE NEED FOR DYNAMIC CONTROL OF SOUND LEVELSThe dynamic range of sounds we hear around us in normal life greatly exceeds the capability of our best recording and processing equipment - but even if this were not so, the scale of dynamic range must be accommodated to the venue in which it is to be reproduced. For example, actual volume levels of the dance hall would be deafening in a students bedroom. In the same way, late night listening in a quiet living room demands careful adjustment of dynamic range. In the constantly changing background noise of a car, drama dialog does not work without constant attention to the level control. In the field of communications, it is often necessary to ensure that the best possible signal-to-noise ratio is obtained, in the interest of intelligibility, within the limited performance of, say, a reporter’s recording device.Digital recorders are unforgiving when overloaded. Overload can be avoided with careful use ofhigh ratio compression - on the verge of limiting - with careful choice of time constants. A recording that still sounds “loud” can be produced without non-musical harmonic distortion.A compressor-limiter is one of the most powerful, yet subjective items in the sound engineer’s armory. Compression should never be obvious to the listener and this needs intuitive and effective controls on the part of the designer together with considerable skill on the part of the sound engineer.A NOTE ON DISTORTIONThe human hearing system is a remarkably complex mechanism and we seem to be learning more details about its workings all the time. For example, Oohashi demonstrated that arbitrarily filtering out ultrasonic information that is generally considered above our hearing range had a measurable effect on listener’s electroencephalo-grams. Kunchur describes several demonstrations that have shown that our hearing is capable of approximately twice the timing resolution than a limit of 20 kHz might imply (F=1/T or T=1/F). His peer reviewed papers demonstrated that we can hear timing resolution at approximately with 5 microsecond resolution (20 kHz implies a 9 microsecond temporal resolution, while a CD at 44.1k sample rate has a best-case temporal resolution of 23 microseconds).It is also well understood that we can perceive steady tones even when buried under 20 to 30 dB of noise. And we know that most gain stages exhibit rising distortion at higher frequencies, including more IM distortion. One common IM test is to mix 19 kHz and 20 kHz sine waves, send them through a device and then measure how much 1 kHz is generated (20-19=1). All this hints at the importance of maintaining a sufficient bandwidth with minimal phase shift, while at the same time minimizing high frequency artifacts and distortions. All of the above and our experience listening and designing suggest that there are many subtle aspects to hearing that are beyond the realm of simple traditional measurement characterizations.The way in which an analog amplifier handles very small signals is as important as the way it behaves at high levels. For low distortion, an analog amplifier must have a linear transfer characteristic, in other words, the output signal must be an exact replica of the input signal, differing only in magnitude. The magnitude can be controlled by a gain control or fader (consisting of a high quality variable resistor that, by definition, has a linear transfer characteristic.) A dynamics controller - i.e. a compressor, limiter or expander - is a gain control that can adjust gain of the amplifier very rapidly in response to the fluctuating audio signal, ideally without introducing significant distortion, i.e. it must have a linear transfer characteristic. But, by definition, rapidly changing gain means that a signal “starting out” to be linear and, therefore without distortion, gets changed on the way to produce a different amplitude.Inevitably our data bank of “natural” sound is built up on the basis of our personal experience andthis must surely emphasize the importance of listening to “natural” sound, and high quality musical instruments within acoustic environments that is subjectively pleasing so as to develop keen awareness that will contribute to a reliable data bank. Humans who have not experienced enough “natural” sound may well have a flawed data bank! Quality recording equipment should be capable of retaining “natural” sound and this is indeed the traditional measuring stick. And “creative” musical equipment should provide the tools to manipulate the sound to enhance the emotional appeal of the music without destroying it. Memory and knowledge of real acoustic and musical events may be the biggest tool and advantage any recording engineer may possess.One needs to be very careful when one hears traces of distortion prior to recording because some flavors of distortion that might seem acceptable (or even stylish) initially, may later prove to cause irreparable damage to parts of the sound (for example, “warm lows” but “harsh sibilance”) or in louder or quieter sections of the recording. Experience shows that mic preamps and basic console routing paths should offer supreme fidelity otherwise the engineer has little control or choice of recorded “color” and little recourse to undo after the fact. Devices or circuits that can easily be bypassed are usually better choices when “color” is a consideration and this particularly is an area where one might consider comparing several such devices. Beware that usually deviations from linearity carry at least as much long-term penalty as initial appeal, and that one should always be listening critically when recording and generally “playing it safe” when introducing effects that cannot be removed.1. Tsutomu Oohashi, Emi Nishina, Norie Kawai, Y oshitaka Fuwamoto, and Hishi Imai. NationalInstitute of Multimedia Education, Tokyo. “High Frequency Sound Above the Audible Range,Affects Brain Electric Activity and Sound Perception” Paper read at 91st. Convention of the A.E.S.October 1991. Section 7. (1), Conclusion.2. Miland Kunchur,Depart of Physics and Astronomy, University of South Carolina. “Temporal resolution of hearing probed by bandwidth restriction”, M. N. Kunchur, Acta Acustica united with Acustica 94, 594–603 (2008) (http://www.physics. /kunchur/Acoustics-papers.htm)3. Miland Kunchur,Depart of Physics and Astronomy, University of South Carolina.Probing the temporal resolution and bandwidth of human hearing , M. N. Kunchur, Proc. of Meetings on Acoustics (POMA) 2, 050006 (2008)543 DESCRIPTIONThe Portico 543 Mono Compressor delivers the unobtrusive, musical-sounding dynamic control and brick-wall limiting made famous in the Portico 5043 to the 500 series format. The 543 features a fully controllable compressor-limiter with feed-forward / feedback modes, Peak / RMS detection and a builtin side chain high pass filter. With an unrivaled heritage and a tremendous feature set, the 543 yields a combination of rich warmth, flexibility and precision that allows it to be used effectively on virtually any source material.THE WAY THE 543 WORKSA part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A. which has to respond very quickly and have low distortion. If the response is too fast, low frequency signals will themselves, be “gain controlled”! If the response is too slow, the signal will overshootand the first few cycles will not get compressed. The speed and accuracy of the response, known asthe “attack”, and the time frame that gain remains under the initial control, known as “release” or “recovery”, play a large part in the way a compressor sounds.The Portico™ 543 makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no“signature” of its own. This leaves the designer free to use amplifier and transformer combinations that are well proven and produce the desired sonic quality.All Portico™ modules use input and output transformers and almost entirely discrete component amplifiers to produce the musical “signature” for which they are known. These are factors that enable the Portico™ 543 to work unobtrusively within the context of a very high quality audio chain.If the V.C.A. Control voltage is taken from the 543 input, (i.e. before the V.C.A.) the V.C.A. “knows” right away that a gain change is required and there is almost immediate response. This is known, logically, as a “Feed-Forward” compressor. If the V.C.A. control voltage is taken from the 543 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by settingsof the V.C.A. and circuits through which it has passed. This is known as a “Feed-Back” compressor. The two compression characteristics are quite different, there is more “overshoot” and both the attack and recovery ramps are changed, providing the user with powerful choices. A choice between “Feed-Forward” and “Feed-Back” circuitry is provided. Almost all Mr. Rupert Neve’s earlier designs were “Feed-Back”. They were more musical and sweeter than with “Feed-Forward” designs.The way in which these modes change the dynamic performance can be seen in the above graph -but the more interesting effects are noted by listening - “Feed-Back” produces a sweeter, warmer sound but is not as accurate if you need to protect a transmitter, for example.543 FEATURESTHRESHOLDSets level where the compressor may begin to react from -30 dB to +20 dB. Minimal or no compression is with this control fully clockwise and it gets more sensitive and tends to cause more gain reduction as the knob is rotated counter-clockwise (which may be counter-intuitive to some).RATIOSets the “slope” of the compression from 1.1:1 (minimal) to 40:1 (Limit) . For example if this knob is set for 3:1 then if the signal goes 15 dB over the threshold then it attenuates 10 dB and allows the output to rise 5 dB. In general, low ratios can not damage the music as much as high ratios but high ratios may be more useful to minimize clipping and OL lights in the recorder.Excuse the front panel jump and digression, but it is appropriate to mention the GAIN REDUCTION and OUTPUT meters now because so many of us learned to set up compressors by watching the all-important GR meter. When setting the Threshold and Ratio it does help to use the meters however, as always, we should rely on our ears and ye olde “COMP IN” (Bypass Button) most of all. One might try to interpret the OUTPUT meter as one exercises ye olde “COMP IN” button too, as this might be more appropriate to your goals than a target of X dB or number of LEDs of compression. Is the goal to make great sounds or to blink LEDs half way down the meter because you read it somewhere?COMP INThe compressor section is engaged with this button in. This may be the most useful control on the compressor because it is there for “confidence checks”. In particular, exercise it in both the quietest and the loudest sections of the song. Watch out for the compressor exaggerating noise and room sound in the quiet sections and chopping off transients and consonants in the loud sections, either of which suggest maybe too much compressor “action”. Conversely, losing quiet phrases or inadvertent clipping might suggest that a little more compression is warranted keeping in mind that you can always do a bit more in the mix but un-doing over-compression is not fun and often not even possible.FF/FBThese are two very different compressor modes, FEED BACK and FEED FORWARD. Vintage compressors almost always were FEED BACK designs which means they looked at the output after the VCA (Voltage Controlled Amplifier) or gain changing element and used that signal to control the attenuation. FEED FORWARD compressors became popular in the 80’s and read the signal before the VCA and through more elaborate electronics to control the attenuation because this has some advantages in regards to the ratio and control timing. Perhaps a more useful generalization is that the FB mode (button in) tends to sound smoother and often more natural and tends to be quicker to set up. The FF mode can be more useful for shaping the envelope of the sound and introducing more bounce and pumping in time with the song, when that is the goal. FF compressors were often used on 80’s dance tracks. Some engineers prefer FB with lower ratios and FF with higher ratios.GAINOften referred to as Make Up Gain. Considering the compressor’s VCA is generally being forced to attenuate louder signals some method of returning the average level to a volume comparable with the compressor bypassed is desirable. The GAIN control is mostly used for this purpose especially for those of us that depend on comparing compression to bypass. GAIN is often pushed for even more level than “bypass” because it is understood that the compressor should be providing some effective headroom (besides “louder is better” being the oldest trick in the book).ATTACKThis sets how quickly the compressor reacts and starts attenuating. If set fast (20mS) the compressor should react to very quick transients like the initial stick hit of a snare drum and can attenuate the “hit” so the “note” of the drum seems relatively emphasized. If set slower, the compressor will tend to ignore the fastest transients and react more to the drum resonance and attenuate the “note” of the drum so that the hit seems more emphasized. Similarly, on a mixed track, if a compressor is set too fast, it will tend to remove drums, which may help to explain why mastering engineers tend to use medium to slow attack times and lower ratios.RELEASEThis sets how fast the compressor returns back to zero after attenuating. Typically engineers have used quite slow releases when the need is to minimize any obvious compressor action or gains changing. For modern pop music quite often the goal is to have the compressor change gains approximately in time with the music and the RELEASE control setting becomes important for this. On the other hand, many of us were trained to avoid having compressors “pump” and sound like they are breathing. Another (maybe too) common use of compressors is to maximize the apparent volume and for this one generally wants very fast release settings so that after reducing peaks the compressor returns to maximum levels as quickly as possible. And by “as possible” there is a practical matter regarding the tendency of compressor/limiters to introduce a nasty form of distortion called “modulation distortion” when they are set for a combination of fast attacks, fast releases and high ratios.RMS/PEAKThis changes the compressor from essentially responding to the RMS level of the audio to also responding to the PEAK level. RMS (root mean squared) circuits are considered to better mimic the way the ears perceive apparent loudness, while Peak circuits tend to directly respond to the waveform voltage which may be more of a concern for prevention of clipping and maximizing levels. In this case, pushing FAST uses a combination of both methods to get the best of both worlds and avoidance of the drawbacks of each method on its own.Do we recommend any particular compressor settings for particular instruments? No, but we will recommend that you not depend on hear-say settings and that you always listen carefully to the levels and mix values as you tweak. Y ou can generally regard a compressor as a semi-automatic volume control and be aware of the kinds of artifacts that you would get moving a fader quickly. Y ou can also listen for changes in tone that are probably due to altering the relative strength of transient hits and plosives that often contain more high mid and highs.Side Chain HPFThis routes a high pass filter set to 250 Hz into the circuit that the compressor uses to determine level, commonly referred to as “the side-chain”. Note that the rest of the circuit and output will not have those lows filtered out. This function tends to be very useful because typical sounds often have more energyin the low octaves and can cause excessive compression. Our ears may tend to associate loudness with mids or high mids for some sounds and one may be wanting the compressor to regulate and smooth perceived loudness. Removing some amount of low frequencies that the compressor “sees” can help especially if one is compressing deeply (-8 dB or more)LinkWhen link buss is provided by the 500 series rack, install modules and use switch to link. Note that other devices using the link buss cannot be installed at the same rack at the same time.When link buss is not provided (i.e. API rack), a jumper wire must be used to connect adjacent or multiple modules. We have provided a 2 pin connector on back for a jumper cable to link modules. Both pins carry the link signal so that single wire jumpers can be used to link multiple modules in daisy chain fashion. Cables may be aquired through your local dealer at the time of purchase. SPECIFICATIONSGain Range:Continuously variable from -6 dB to +20 dB.Threshold Range:Continuously variable from -30 dB to +20 dB.Ratio Range:Continuously variable from 1.1:1 to Limit (40:1).Attack Range:Continuously variable from 20mS to 75mSRelease Range:Continuously variable from 100mS to 2.5 Seconds..Total Harmonic Distortion and Noise:@1kHz, 0dBu output level, no load.Main Output, compressor bypassedBetter than 0.002%@ 20dBu better than 0.0015%Main output, compressor engagedBetter than 0.075%Noise:Measured at Main Output, un-weighted, 22Hz-22kHz, Terminated 50 Ohms.With Gain at Unity, Compressor disengagedbetter than -98dBuWith Gain at Unity, Compressor engaged:better than -93dBuFrequency Response:Main Output, Unity Gain@ 150 kHz -3 dB.Crosstalk:Measured channel to channelBetter than –90 dB @ 15kHz.Meters:Monitors INPUT LEVEL and GAIN REDUCTIONLine Input Impedance10,000 OhmsMaximum Output Level:21dBu from 20Hz to 40kHzPower requirements:Supplied by 500 series rack with 110-125 mA @ +/- 16V11PRODUCT WARRANTYRupert Neve Designs warrants this product to be free from defects in materials and workmanship for a period of one (1) year from date of purchase, and agrees to remedy any defect identified within such one year period by, at our option, repairing or replacing the product.LIMITATIONS AND EXCLUSIONSThis warranty, and any other express or implied warranty, does not apply to any product which has been improperly installed, subjected to usage for which the product was not designed, misused or abused, damaged during shipping, damaged by any dry cell battery, or which has been altered or modified in any way. This warranty is extended to theoriginal end user purchaser only. A purchase receipt or other satisfactory proof of date of original purchase is required before any warranty service will be performed. THIS EXPRESS, LIMITED WARRANTY IS IN LIEU OF ALL OTHER WARRANTIES,EXPRESS OR IMPLIED, TO THE EXTEND ALLOWED UNDER APPLICABLESTATE LAW. IN NO EVENT SHALL RUPERT NEVE DESIGNS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES RESULTING FROM THE USE OF THIS PRODUCT. Some states do not allow the exclusion orlimitation of consequential damages or limitations on how long an implied warranty lasts, so this exclusion may not apply to you.WARRANTY SERVICEIf you suspect a defect in this product, please call us at 512-847-3013 or email us at *************************************************(itispossiblethatasuspected defect could be due to improper usage) and to obtain a return authorization number. It shall be your responsibility to pay for shipping the product to us, and, if the product is determined to be defective, our responsibility to pay for shipping the product back to you.Rupert Neve DesignsPO Box 1969Wimberley TX 78676tel: +1 512-847-3013fax: +1 512-847-8869Portico 543 Manual Rev A。

中国安防知名品牌康 联 视 频 压 缩 卡用户手册目录一、系统简介 (2)二、硬件安装 (5)三、驱动程序安装 (5)四、系统程序安装 (16)附录常见问题解答 (17)- 1 -第一章系统简介1.1简介本用户手册描述了康联视频压缩卡有关的硬件安装、软件安装、系统设置、软件使用等方面的内容，请务必按照用户手册的指导进行这些工作，以确保监控系统正常、稳定地运行。

1.1建议系统标准配置CPU 赛扬 2.8G以上(24路)，赛扬2.4G以上(16路),赛扬 1.8G以上(8路)主板华硕、技嘉等商用主板或更高845主板芯片组 IntelDDR或更高内存 256M硬盘 80G（根据通道数量和录像时间确定）至少分两个区电源350－400W AT显示器 17英寸SVGAPCI插槽 3.3V PCI2.1显卡64M独立显存，支持DirectDraw和Overlay技术，操作系统 WindowsXP，Windows 2000，Windows 2003,Windows Me, Windows 98 Se8.0以上显示驱动 DirectX其他外设声卡、光驱等根据需要配置- 2 -注：1、显示器分辨率设定为1024×768。

2、在系统安装完后，在控制面版中的电源选项里将关闭硬盘、关闭监视器和系统待机等选项设置为“从不”。

3、检查所有设备是否存在冲突，对于存在冲突的设备，可以通过调整中断号、内存地址或者重新安装驱动程序等方法来解决。

1.2系统参数视频特性*视频输入：CVBS输入*支持制式：PAL、NTSC*压缩分辨率：352×288(PAL)，320×240(NTSC)*单通道帧率：25F/S（PAL），30F/S(NTSC)音频特性*语音输入：语音线路输入*监听采样率：32KHz*录音采样率：8 KHz功能特性录像输出格式可选音视频符合流或单独视频流单路录像帧率在1-25帧(1-30帧)- 3 -压缩方式:H.264画面显示方式:满屏、4、9、16、25通道、循环切换实时显示.智能搜索标准:时间,日期,摄像机,报警,事件录像模式设置：全速实时录像、定时录像、事件录像支持静态图像捕捉实时录像：所有信道并行全帧速录像智能搜索/直观回放:利用时间日期表/报警事件/视频移动探测进行搜索回放回放操作：播放、暂停、快进、快倒、开始、结尾、逐帧多功能操作：支持边录边监视，边录边回放动态检测：多区域多灵敏度移动侦测,实现“动则录，不动则不录”，有效节省磁盘空间；摄像控制功能：本地及远程控制全方位云台/镜头/预置功能开机自动恢复功能：内置WATCH DOG安全访问：完备的系统访问安全措施,具有功能很强的存储区保护功能；网络功能:可以使用PC客户端软件或IE流览器通过以太网或广域网远程设置系统的参数、实时监控、录像、回放.录像大小:100M/路/小时支持压缩流/预览流叠加时钟，多国文字的功能录像格式全面兼容微软播放器超低功耗设计，板卡结构紧凑，系统稳定- 4 -第二章硬件安装1、打开机箱，露出主机板和PCI 插槽。

USER MANUALUTC920UNI-RAM CORPORATION • ONTARIO • CANADAMANUAL - TRASH COMPACTORS - UTC920 Revised 2008-06CONTENTSINTRODUCTION (3)CAUTIONS AND WARNINGS (3)SPECIFICATIONS (3)PREPARATION AND SETUP (4)INSTALLING TWINE (4)OPERATION ..........................................................................................................................................5-6 MAINTENANCE (6)FLOW DIAGRAM (7)REPLACEMENT PARTS LIST (8)WARRANTY (9)MANUAL - TRASH COMPACTORS - UTC920 Revised 2008-06 INTRODUCTIONUni-ram holds many patents on designs used in its innovative products. Every machine is tested for com-pliance with Quality Assurance standards. Follow the instructions on preparation, use and operation to operate this machine safely and effectively. Ensure that this manual is readily available to the operator at all times. If you have any questions about the operation of this machine, contact:North America:Uni-ram Technical Service1-800-417- 9133Other Continents:Contact Your SupplierCAUTIONS AND WARNINGS• This is a very heavy piece of equipment and must be handled with care to avoid accident or injury. All possible precautions must be exercised so that the unit does not fall, tip or adversely move to ensure maximum safety during transportation, unpacking, installation, operation and service.• Some items, such as pails, have a reinforced construction and cannot be fully crushed by the UTC920.For maximum crushing power a supply pressure of 120 PSI is recommended.• Do not use this equipment to compact any item that may explode when compacted or produce toxic substances.• Use the machine for its intended use only.• Use the brake to lock the wheel of all four-swivel casters.• Do not overload the machine. Exceeding the recommended compressed bale height may cause dam-age to the cylinder.• The Serial Number label is permanently fi xed to the back of this equipment. Vital information such as Serial Number, Model Number, Electric Ratings, etc. are clearly marked on the label.• Make sure that all markings and labels are not damaged or soiled and are clearly legible.• Disconnect the air supply before performing any repairs or servicing the unit.• Always keep the main control lever in “NEUTRAL” when either door is open.SPECIFICATIONSMODEL UTC920POWER SOURCE COMPRESSED AIR @ 120 PSIITEMS CRUSHED PAPER, TRASH, CANS AND PAILSTRASH COMPACTION4.75 ft3 (0.13 m3)COMPARTMENTCOMPACTED TRASH BALE SIZE40 TO 50 lb (18 TO 23 kg)AIR CYLINDER 6.3” (160mm ) ID, DOUBLE ACTING, 16” (406mm) STROKE MOBILITY FOUR HEAVY DUTY SWIVEL CASTERS, TWO WITH BRAKES COMPACTING FORCE4,650 lb (2,100 kg) AT 150 PSI (10.4 kg/cm2 CONTROL SYSTEM CONTROL BOX, MANUAL CONTROL, DUAL 3-WAY VALVES CONSTRUCTION HEAVY GAGE STEEL, DURABLE POWDER PAINT ASSEMBLY FULLY ASSEMBLED, READY TO USESHIPPING DIMENSIONS (WDH)32 X 28 X 58” (81 X 71 X 147 cm)WEIGHT (LB / KG)450 / 205MANUAL - TRASH COMPACTORS - UTC920 Revised 2008-06RELEASE LEVER (HOP-PER DOOR)TWINE GUIDESHOPPER DOORMAIN DOORCRUSHING PLATEMANUAL - TRASH COMPACTORS - UTC920 Revised 2008-06OPERATION*** CAUTION ***ALWAYS KEEP THE MAIN CONTROL LEVER IN “NEUTRAL” WHEN EITHER DOOR IS OPEN COMPACTING PAPER AND TRASH1. Move Main Control Lever to the “RIGHT” position - Crushing Plate moves to the “UP” position.2. Put Main Control Lever in “NEUTRAL ”. Open the Hopper Door by pushing down on the Release Lever and then pulling the Hopper open using the Handle.3. Throw in paper and other trash to be compacted.4. Push the the Hopper Door fi rmly closed and move the Main Control Lever to the “LEFT” position . The Crushing Plate moves downward to compact the trash. When the Plate is in the “DOWN” position, the sound of the exhaust air will stop.The compacting cycle has been completed. It will take about 10-30 sec depending on the air pressure, the amount of trash loaded, etc.5. Repeat the steps above until the hopper is full. The compacted bale is now ready for tying and remov-al.UNLOADING COMPACTED TRASH1. Move Main Control Lever to the “RIGHT” - Crushing Plate moves to the “UP” position.2. Put Main Control Lever in “NEUTRAL ”. First open the Hopper Door. then open the Main Door by lifting up on the Main Door Release Lever and pull on the Main Door Handle to open the Door.3. Pull out the upper end of the twine toward the front.3. Cut the twine to the required length to tie the compressed bale bundle fi rmly.4. Pull out both ends of twine and tie as tightly as possible. Tie both twines to ensure that the bale is tightly bound.7. Remove the compacted bale from the unit.8. Close the Main Door.The unit is ready for another load of trash.MAIN CONTROL LEVER LEFT CRUSHING PLATE MOVING DOWN• DURING & AFTER TRASH COMPACTION• BEFORE CAN / PAIL CRUSHINGMAIN CONTROL LEVER RIGHTCRUSHING PLATEMOVING UP• DURING & AFTER CAN / PAIL CRUSHING• BEFORE TRASH COMPACTIONMANUAL - TRASH COMPACTORS - UTC920 Revised 2008-06COMPACTING CANS AND PAILS1. Make sure both Doors are closed. Move the Main Control Lever to the “LEFT” position. The Crushing Plate moves to the “DOWN” position2. Put Main Control Lever in “NEUTRAL ”. Open the Hopper Door by pushing down on the Release Lever and then pulling the Hopper open using the Handle.3. Place the can or pail on top of the Crushing Plate.4. Push the the Hopper Door fi rmly closed and move the Main Control Lever to the “RIGHT ” position. The Crushing Plate moves upward, crushing the can or pail. When the Plate is fully in the “UP” position and the can or pail has been crushed, the sound of the exhaust air will stop. The crushing cycle has been completed. Crushing may take up to 30 sec depending on the air pressure and construction of the can or pail.5. Move the Main Control Lever to the “LEFT” position. The Plate will move down. After the sound of the exhaust air stops, wait about 10 sec, then put Main Control Lever in “NEUTRAL ” and open the Hopper Door.The compacted can or pail is now ready for removal.MAINTENANCE1. To avoid damage to the Control Valve, drain the water separator (Moisture Filter) daily.2. All moving parts and the friction surfaces such as door hinges, door lock mechanism, loading hopper hinge, etc. must be lubricated as required to prevent excessive wear and tear as well as unpleasant noise.3. For longer life and smooth operation of the air cylinder, check the compressed air supply to make sureit is clean and dry.MAIN CONTROL LEVER LEFT CRUSHING PLATE MOVING DOWN• DURING & AFTER TRASH COMPACTION• BEFORE CAN / PAIL CRUSHINGMAIN CONTROL LEVER RIGHTCRUSHING PLATEMOVING UP• DURING & AFTER CAN / PAIL CRUSHING• BEFORE TRASH COMPACTIONMANUAL - TRASH COMPACTORS - UTC920 Revised 2008-06MANUAL - TRASH COMPACTORS - UTC920 Revised 2008-06REPLACEMENT PARTSDESCRIPTION PART NO.CONTROL BOX80-5100SAFETY VALVE (MAIN DOOR)114-800UTCMOISTURE FILTER (WATER SEPARATOR)10-220TWINE TWN-2500MANUAL - TRASH COMPACTORS - UTC920 Revised 2008-06Full Product WarrantyThis product has been engineered and manufactured to high performance standards. Each unit has been subjected to detailed factory testing before shipment.This product comes with a one-year full warranty from the date of purchase. Uni-ram Corporation re-serves the right to repair or replace the unit, free of charge, to the original purchaser if a part is found to be defective in material or workmanship as determined by factory service personnel. The items listed below under “Conditions of Warranty” as consumables are not covered.Uni-ram reserves the right to direct the customer to ship the unit collect to the Uni-ram factory or to an ap-proved Service Center for repair using the Uni-ram Return Goods Procedure or to repair the unit on-site. To prevent damage in transport, the purchaser must ship the unit in the original packaging or use alter-nate adequate packaging. All units must be shipped clean and free of liquids.Conditions of Warranty:As Uni-ram Corporation has no control over the working conditions or circumstances under which the purchaser stores, handles or uses the product, Uni-ram makes no warranty or claim, either expressed or implied with respect to this product’s fi tness for any purpose or the result to be obtained from its use. This condition applies to the sale of all products and no representative or distributor of Uni-ram Corporation has the authority to waive or change these conditions.This warranty applies only to the original purchaser and does not apply if the unit has been misused, overloaded, neglected, altered or used for any purpose other than those specifi ed in the operating and installation instructions. Deterioration due to normal wear is not covered by this warranty. Damage due to accident, transportation, fi re, fl oods or acts of God is also not covered. Units whose serial numbers have been altered or removed are not covered. The warranty is invalid if unauthorized abrasives are used in this unit. Unauthorized attempts at self-repair or alterations by the owner also invalidate this warranty. Interior or exterior fi nishes are not covered by this warranty.Consumable Items are not covered by this warranty.This warranty replaces all other warranties expressed or implied by statute or otherwise.To make a claim, call Uni-ram Service at 1-800-417-9133 and quote the serial number of the unit.。

Summit Audio Model MPC-100AMic Preamp/ CompressorOperating ManualIMPORTANT!: CAREFULLY READ THE ENTIRE INSTRUCTION MANUAL BEFORE HOOKUP OR OPERATION OF THE MPC-100A.WARNING!: HIGH VOLTAGE. THIS UNIT CONTAINS NO USER SERVICEABLE PARTS. SERVICING SHOULD ONLY BE DONE BY QUALIFIED SERVICE PERSONNEL OR FACTORY. DO NOT OPERATE THE MPC-100A WITH THE COVERS REMOVED.Summit Audio, Inc.1183 Baltic Suite AGardnerville. NV 89410Copyright 1997, 1999 Summit Audio Inc. ALL RIGHTS RESERVED. Printed in the U.S.A. Doc.# 523A00Product IntroductionThe Summit Audio MPC-100A Mic Preamp/ Compressor-Limiter is a single channel tube preamp and tube compressor/limiter all in a two-space rackmount unit. It accepts line, microphone, and Hi-Z input signals. The preamplifier provides a warm yet crisp vacuum tube tone. The compressor/limiter section has very fast attack times, making it ideal for optimizing signal prior to entering the digital domain. In addition to having superb sound and a user friendly interface, the MPC-100A has the robust build quality consistent with the Summit Audio family of products.Features include:Mic, Line and Hi-Z inputs“Clean” to “Saturated” tube soundsTube drive indicatorsUnique Hi-Z instrument DI with impedance matching controlTwo stages of tube amplification3 position “smart” attack and release switchesHigh quality true VU meterContinuously variable level control+4 dB balanced and –10 dB unbalanced outputs (useable simultaneously) Stereo linkable to another MPC-100A or TLA-100AJensen Mic transformer990, discrete output stagesHand crafted in the USAHaving found this manual, carefully unpack the MPC-100A and it’s power cord. Save the carton and packing material should it be needed for future shipping. Before powering the unit, read this manual. Please observe the cautions for HIGH VOLTAGE. Proceed by doing the following:1.Set the line voltage switch to the proper position2.Determine the proper fuse size by referring to the specifications3.Check for pilot illumination when powered upTHE CONTROLS1. Line/Mic/48 3 position switch selects the input being used, line or mic, and alsoengages the phantom power +48 volts for condensor microphones2. Pad/-20 2 position switch engages 20 dB of input signal attenuation3. Phase/180 2 position switch engages a 180 degree phase shift of the signal4. DI Input1/4" mono jack accepts Hi-Z instruments such as electric guitarsand basses; a direct input into the preamp tube, bypassing the inputtransformer5. Loading variable resistor for impedance matching of the Hi-Z input (rangeis 10k to 1M ohms); adjust for desired upper harmonic content inguitar sound6. Gain 12 position rotary switch controls signal gain in the input preamp onlynote: for Hi-Z input only top 7 positions have any effect (as shown inblue)7. OL left yellow LED indicates preamp vacuum tube saturation; whenLED is blinking, the tube is just entering soft clippingCompressor Section Controls:8.Gain variable resistor controls compressor vacuum tube gain9. OL right yellow LED indicates compressor vacuum tube saturation; whenLED is blinking, the tube is just entering soft clipping10. A.C. Threshold variable resistor sets the signal amplitude threshold, abovewhich compression engages*NOTE A setting of 10 yields the least compression, whereas a setting of 0 yields the most compression11. Slope variable resistor controls the magnitude of compression (sometimesreferred to as ratio); a setting of 10 yields maximum compression,whereas a setting of 0 yields the least compression12. Attack 3 position switch selects fast, medium, and slow compression responsetime to input signal peaks; this is how fast the compression can kick in 13. Release 3 position switch selects fast, medium, and slow compression releasetime; this is how long it takes the compressor to stop attenuating signalOutput Section Controls:14. Output variable resistor controls overall output signal level; this is a post-preamp and post-compressor gain control preceding the 990 discrete solidstate outputnote: this feature enables the user to saturate both the preamptube and the compressor tube while still maintaining a proper signal levelsending to other devices - i.e. recording media15. Level/G.R. 2 position switch selects the VU meter's mode of operation;in level mode, the meter indicates peak amplitude of output signal; in G.R.mode, the meter indicates the gain reduction is being applied to the signalnote: this meters right to left from 0 VU16. Link/In/Bypass 3 position switch selects stereo linked compression, compressionengaged, or bypass compressor (preamp by itself)note: when linking two MPC-100A's for stereo operation, the unitwhich is set for the most compression will act as the controller for bothunits; also, a 1/4" mono connection is required between unitsBack Panel Connections:Mic Input female XLR jack for microphone signal inLine Input female XLR jack for line level signal in (Pin 3 is + of balanced pair) Side Chain1/4" stereo jack for balanced signal in for ducking and d'essingStereo Link 1/4" mono jack to connect two MPC-100A's for stereo compression-10 dB Output 1/4" mono jack for low level -10 dB unbalanced signal out+4 dB Output male XLR jack for pro level +4 dB balanced signal out (Pin 3 is hot)Use Scenarios and set upRecording and compressing a stereo mix: Insert a ¼” patch cord into the stereo link jack on the back of two MPC-100A’s (or a TLA-100A). Set both MPC-100A’s to Link mode and to line input. Whichever one is set for more compression will act as the master (slope and threshold are the only controls affected). Insert the MPC-100A into the main inserts on the console, with the send from the console to the line level input, and the return from the–10 dB output of the MPC-100A.Getting tube guitar distortion: Plug the output of the guitar into the Hi-Z input on the front of the MPC-100A. Set the impedance loading high (try 0.5M ohms). Turn the output low. Turn the preamp gain up to +60 or more and play the guitar. The Tube Drive light should be blinking or steady yellow. Turn the compressor gain up to 6 or more, and the associated Tube Drive light should also be yellow. Set the compressor to your favorite settings (try Threshold –5dB and Slope 5 with a fast attack and release time), then slowly turn up the output until you reach the desired recording/ monitoring level.Getting a clean microphone signal: Plug the microphone into the mic input on the back of the MPC-100A and set the input switch to mic (or 48 for condensor mics needing 48 volt phantom power). Make sure both the preamp and compressor gains are turned all the way down. Turn the output gain up very high, then slowly turn up the preamp gain and compressor gain to the desired recording/ monitoring level. Set the compressor to your desired settings (try threshold 0 dB, slope 5.5 with fast attack and medium release times).Getting a warm bass tone: Plug the bass directly into the Hi-Z input. Turn the Output knob very low. Set the Loading to about .1M ohm and turn the preamp gain up until the Tube Drive light just starts to flash while the bass is being played (the flashing light indicates soft clipping). Increase the compressor gain until that Tube Drive just starts to flash occasionally, and set the compressor to the desired settings (try –10 dB threshold, a slope of 5, with fast attack and medium release). Turn the output knob until you achieve the desired recording/ monitoring level. This can also be done if the bass is plugged into a DI box. Just take the XLR out of the DI into the Mic input on the MPC-100A, and set the input switch to Mic.De-essing: (Requires external EQ) Plug a TRS insert cable into the side chain jack on the back of the MPC-100A. Plug the send (tip) of the insert cable to the input of the EQ, and the return (ring) of the cable to the EQ output. Boost the frequencies on the EQ that you want to compress (de-ess). Ducking: Send the output of the “lead” program material into the side chain input after inserting the MPC-100A on the “background” program material. Example: Send the output of the lead guitar mic into the side chain, with the MPC-100A inserted on the rhythm guitar track. As the lead guitar player plays, the rhythm guitar will decrease in amplitude. This is perfect for broadcast use when the DJ needs to speak over music, live use when the lead singer needs to be heard over the lead guitar, or film sound when an actor’s voice has to overcome a noisy background tone.Further Notes……Linking: use a 1/4" mono patch cord with tip~signal and sleeve~ground; the MPC-100A which is set for more compression will act as the master controller for both units; slope and threshold are the only controls effected [note: an MPC-100A can also be linked to a TLA-100A]Side Chain Insertion: use a 1/4" stereo patch cord with tip~send, ring~return, and sleeve~ground; to execute "ducking" (compression of principle audio signal, triggered by an external audio signal) tie tip and sleeve to ground, and bring the triggering signal in on the ring; to execute "de-essing" (engaging a frequency dependence in the compression of the principle signal) send to the outboard equalizer on the tip, return from the EQ to the compressor on the ring and tie the sleeve to ground - then boost the frequency you want to compress and roll off the frequencies you want uncompressed; this can be particularly useful in removing sibilance from vocal tracks.Side Chain connections are unbalancedUnbalanced Connection: to go into the line input XLR jack of the MPC-100A unbalanced, it is necessary to connect the signal to pin 3 and tie pin 2 and pin 1 to ground; unbalanced out has its own dedicated 1/4" mono jackTonality: because there are two stages of vacuum tube gain in the MPC-100A as well as a discrete, solid state gain stage, the range of tonality in the unit is significantly wide; we recommend that you experiment with moderately overdriving either or both of the tubes and compensating for desired output level using the discrete gain control; be aware that when one of the yellow LED's comes on, it is indicating that the signal is reaching soft clipping "saturation" in the vacuum tube; for the most transparent signal tone set the solid state gain to maximum and adjust the tube gains only as high as your necessary output level requires.A Word About TubesThe tubes that are used in the MPC-100A are selected to give the best possible performance in the position that they are in the circuit. Switching them to different positions might cause performance deterioration of the audio path. Replacing them with “gold” or high end tube types may not be desirable. In cases that we have measured, these tubes have shown higher distortion and noise compared to the tubes we have selected. In some cases, the so called “gold” or high end tubes have made the unit unusable. The reason for this is some of the “gold type” tubes are selected for high distortion in guitar amplifiers. Using gold tubes is no guarantee of better performance. All of these so called “Brand X”types are selected with 6.3 volts AC on the filaments, whereas Summit Audio uses 5 volts DC on the heaters for longer tube life and lower noise. The reduced gain may raise the noise floor, increase distortion, and reduce headroom.For proper performance from a tube, the replacements must be selected using 5 volts DC on the filaments. The tubes we use are selected in the circuits that they are used in to ensure proper operation, long life, and low distortion and noise.In at least 50% of the cases we have tested, gear that has been used for several years actually has lower noise and distortion levels than when new. This makes the question of when to replace tubes difficult to answer. If a tube turns micro-phonic, the distortion will be obvious and the tube must be replaced. However, tube life will most likely be greater than 10,000 hours of operation. Tubes are generally very reliable; don’t replace them just because they are old. In the MPC-100A there are gain adjustments that will need to be checked when the tubes are replaced, or else the metering could become inaccurate and the noise floor could change. Replacement should be done on the bench with a distortion analyzer attached to ensure that the distortion levels are proper and it is comprised of second order harmonics.Before replacing the tubes in your MPC-100A, please talk to your dealer, call Summit Audio, or find a technician who has experience working with tubes and high end audio equipment.Electrical Connections:(This MPC-100A is wired as a pin 2 hot device. Units made before March 1st, 2003 come factory wired with pin 3 hot.)Input:Unbalanced: 3 pin XLR Connector Balanced: 3 pin XLR ConnectorPin 1 – Ground Pin 1 – GroundPin 2 –(+) Signal Pin 2 – (+) SignalPin 3 – Connect to Pin 1Pin 3 – (-) Signal Output:Unbalanced: 3 pin XLR Connector Balanced: 3 pin XLR ConnectorPin 1 – Ground Pin 1 – GroundPin 2 –(+) Signal Pin 2 – (+) SignalPin 3 – Connect to Pin 1Pin 3 – (-) Signal Note: When running an unbalanced output it is best to connect pin 3 to pin 1 in the connector that plugs into the MPC-100A.Allow the MPC-100A to warm up for at least 15 minutes before using it in your processing chain. The tubes and other circuitry need time to reach an electronic equilibrium before they will operate at optimal specifications. For the longest life, it is recommended that you turn off the unit when it is not in use.Please mount the unit in your rack, making sure that there is sufficient ventilation, especially on the right and left side of the chassis. The MPC-100A will generate a significant amount of heat; therefore, it is necessary to have good air flow to prevent damage to your MPC-100A or any other pieces of gear housed in the rack with it.The tubes in your Summit Audio MPC-100A have been intensely screened for desired distortion and gain characteristics. We recommend that you do not replace the tubes with “guitar amp” tubes. Please consult your dealer about availability of appropriate replacement tubes. These can also be ordered directly from Summit Audio. Please fill out the enclosed warranty card. If you have any questions about the operation of your MPC-100A, please do not hesitate to call our customer service department at 775-782-8838orcontactusontheinternetat:*********************.Note on specifications: Summit Audio is uncompromisingly committed to excellence. All of our specifications are made with the latest technology and are UNWEIGHTED measurements. What does this mean? When measurements are “weighted” (e.g. “A”weighted, dB (B), dB C weighted, etc.), the measurement devices are basically EQed or filtered before the measurement is taken. This filtering was developed so that sound pressure level (SPL) measurements can more nearly match human’s non-linear hearing characteristics. However, when used in noise, frequency response, and distortion measurements, weighting will alter the results. Completely flat frequency measurements are key to giving accurate specifications. Summit Audio devices are the highest quality professional audio gear and the specifications below are made with the flattest possible unweighted measurements, giving the most accurate results.Specifications:•Output: +4 dBu corresponds to 0 VU. The output is balanced or unbalanced using 990 operational amplifiers. Output impedance is 75 Ω. The recommended output load is 600 Ω or more. Maximum output is +25 dBu.•Input: The input transformer is balanced. The mic input impedance is 1500 Ω. The line level input impedance is 40 kΩ and the Hi-Z input impedance is one mega-ohm.The mic and line inputs are balanced and the Hi-Z input is unbalanced.•Frequency Response: 5 Hz to 65 kHz•Noise: Less than –80 dBu at unity gain from 20 Hz to 20 kHz•Distortion: Less than 0.05% at +4 dBu from 20 Hz to 20 kHz•Attack Time: 0.75 mS, 6.5 mS, 35 mS•Release Time: 30 mS, 90 mS, 2.5 S•Slope: Adjustable from 1:1 to10:1•Panel Size: Standard 19” by 3.5” (2 units of rack space)•Depth: 10.5”•Power: 35 watts, 115 or 230 volts, 50 or 60 Hz•Fuse Size: 0.5 Amp for 115 VAC, 0.25 Amp for 230 VAC•Shipping Weight: 18 lbs. (8.17KGs)To operate this unit on 115 volts, unplug the unit, switch the line voltage selector on the back of the unit to read 115 volts and confirm that the external fuse (mounted in chassis) is a [3 AG ½ Amp slow blow]. To operate this unit on 230 volts, switch the line voltage selector on the back of the unit to read 230 volts and confirm that the external fuse (mounted in chassis) is a [3 AG ¼ Amp slow blow].。

Please read this instruction manual carefully prior to operating this product.Pay particular attention to the CAUTION and WARNING statements in this manual. Failure to comply with these instructions could result in personal injury or property damage. Retain these instructions for future reference.DESCRIPTION:This portable oil-less air compressor is designed to operate on 12 volts DC and must be plugged into a cigarette lighter power port to operate. The unit comes equipped with a pressure gauge and a 3 pc. set of inflation tips. It can be used for inflating tires, sports balls, or topping off pressure for single person tube rafts, air mats, and other uses.84P AMP DRAW WARNING:Most automotive cigarette lighter/power ports handle up to 15 amps. Some vehicles’ power ports may have even lower amp ratings. Before purchasing and using this unit, inspect the amp draw limitations of your vehicle’s power port. The 84P Portable Air Compressor requires a power port rated for 15 amps. Never replace fuses of higher amp rating beyond the original rating of the circuit. Consult your vehicle’s manual for further details.IMPORTANT SAFETY INSTRUCTIONS:CAUTION: The compressor has been designed to provide long-term, trouble-free operation.To reduce risk of electrical shock or electrocution and to prevent damage to your compressor, follow these simple guidelines:1. Do not disassemble. Do not attempt to repair or modify this unit.2. Never allow children to operate this compressor. Close supervision is necessary whenthis compressor is being used near children.3. This compressor will become very hot during and immediately after use.4. Do not touch any part of this compressor with bare hands, other than the ON/OFF switchand carry handle, during or immediately after use.5. Provide sufficient cooling time before storing the unit.6. Never operate the compressor near fire, flammable gas or liquid.7. There are no user-serviceable parts in this unit, no lubrication is required.8. Do not pump anything other than atmospheric air.9. Never use this product while sleepy or drowsy.10. B e sure the unit’s power switch is in the OFF position when not in use.11. U se only in well ventilated areas.12. T he unit should be used only in dry environment. Protect the unit from rain, snow orother sources of moisture.13. N ever carry the air compressor by the hose or power cord.14. Never point air nozzle towards another person or any part of the body.15. Inflate items only to their manufacturer’s recommended pressure.16. Do not leave air compressor running unattended. It could burst tires or other items.FEATURES:1. Built-In 100 PSI Pressure Gauge2. LED Work Light/Power Indicator3. Accessory Power Plug4. Deluxe Carry Bag with Bright Orange Lining for Enhanced Visibility5. 3-Pc. Inflation Tips Kit6. Oil-Less Design7. Gearless Direct-Drive Motor8. Permanently Lubricated Bearings9. Compact Size for Easy Carrying and Storage10. P ress-On Tire Chuck11. P ower cord: 10 ft. / Air Hose: 3 ft.OPERATING INSTRUCTIONS:IMPORTANT: Engine MUST be running while using this compressor.Before attaching air compressor’s power cord to power source, check to make sure that theON/OFF switch of your compressor is in the OFF position.CAUTION: Your Portable Air Compressor is Moisture and Dust Resistant, but NOT WATER OR DUST PROOF. Never place compressor in soft sand while running the compressor. Vibration from the compressor will cause the compressor to settle into soft sand, resulting in compressor drawing in foreign particles. Never expose compressor to water while running the compressor.TIRE INFLATION:1. This compressor is designed to operate on 12 volts DC.2. To obtain power, plug into a vehicle accessory power port.3. Turn your vehicle engine on.4. Attach the press-on air chuck to the tire’s valve stem.5. Turn the compressor power switch to ON and begin to inflate tire.6. When the pressure gauge indicates the desired pressure, switch the unit OFF andremove the air hose from the tire’s valve stem.7. To check and verify the actual tire pressure, the compressor must be in the OFF position. Please Note: During inflation, due to air velocity, pressure gauge cannot provide accurate pressure readings, to check and verify the actual tire pressure the compressor must be in OFF position. CAUTION: To avoid over inflation, never exceed recommended pressure. Doing so may cause articles to burst and can cause serious bodily injury. Always make sure the Portable Compressor’s power cord is uncoiled and fully extended when using your air compressor to avoid overheating the power cord.FOR ALL OTHER INFLATABLE OBJECTS, INCLUDINGBICYCLE TIRES, TOYS, AND SPORTS BALLS:IMPORTANT: Engine MUST be running while using this compressor.1. A selection of inflation tips is provided to fit some inflatable objects.Simply clamp the appropriate nozzle into the press-on tire chuck of the air hose.2. Attach the appropriate nozzle to article to be inflated and turn the power switchto the ON position.3. When article is inflated to desired firmness, turn the compressor off. Do not over inflate.。