ZAPCO

Table of Contents

Protect your audio investment by using the correct type of wire for Power and Ground. See All Wire is not created equal on Page 6

MISSION STATEMENT

Committed to Excellence

ZAPCO is dedicated to the pursuit of audio fidelity. Our prime objectives are to design and manufacture audio products of unsurpassed quality, to provide unparalleled support and service for these products and to conduct business in a manner that will enhance the quality of life for all involved.

Experience (Knowledge from doing)

There is absolutely no substitute for experience; that is a simple fact of life. Another simple fact is that ZAPCO has, for over forty years, been the leader in defining quality standards for the car audio industry. These years of experience have led to a thorough understanding of the challenges that are unique to the world of car audio. ZAPCO's relentless quest for sonic purity consistently yields imaginative designs that utilize the most innovative technologies. The resulting products set the criteria by which all others in the industry are judged.

The Zapco DSP-IV AT Series

Congratulations on your purchase of this new Zapco product. It has been designed and built to give you many years of reliable, industry leading performance and true audiophile level sound quality.

Zapco introduced the world to full function in-car digital processing in 2004 with the Zapco DSP-6 and the Zapco Digital Processing Network. This was the first full function DSP for the car and included a full line of amplifiers with full function digital processing build right in. In 2016 we brought out our fourth generation of processing in the Zapco DSP-Z8 IV. The Z8 IV was a mid-priced unit designed to bring audiophile processing in an affordable package, and it did just that. The Zapco DSP-Z8IV met rave reviews, out performing DSPs costing twice as much, with a straightforward, easy to navigate interface so tuning would be a breeze, and an analog signal to noise of -106dB (-110dB Digital).

The new DSP-Z8 IV AT series processing takes the IV to a whole new level of performance and convenience. Sonically, the DSP-Z8 IV AT has all the qualities of the original IV with an even lower noise floor, upgrades to the PC interface to help in system setup and offer more system design possibilities, even automatic calibration (Autotune) for Equalization, Signal Delay, and Phase, so your first tune can take minutes instead of hours... or even days. Just a click on the PC interface and the system tunes itself. All you'll need is the optional calibration microphone.

In addition, for all those who need everything in a compact package, the DSP-IV AT series brings all this great processing to the ADSP-Z8 IV-6AT, a six-channel full range Class D amplifier with 80 Watts RMS per channel, at 4 ohms and provides a pair of processed outputs for a bass amplifier. There is even a matching Class D amplifier with 1.000 watts at 2 ohms available, the ADSP-Z8/16 IV-1A.

Reality Check

The automobile is a difficult environment for listening to music. There are reflective surfaces that distort the sound, absorptive surfaces that impede it, and you are never in the ideal listening position. The DSP-IV AT automatic calibration will compensate for the shortfalls of the auto environment to help create the live listening experience. However, the human ear is still the final word for sound.

Before you start your installation

ZAPCO highly recommends that a fuse or circuit breaker be placed within 18" of the battery. Although you will add a fuse or fuse block near the amplifier it is still a possibility that a pinched power wire between the component fuse and the battery could result in a short, or even a fire. The protection device should be placed where it can be accessed easily and all wiring should be routed safely and correctly according to the following guidelines:

• Do not run wiring close to hot or spinning objects.
• Always use wire grommets when routing wire through the firewall or any other metal panels.
• Make sure that the potential for pinched wiring is avoided by routing all wires away from moving objects, including brake, gas and clutch pedals, etc.

When connecting our amplifiers to pre-wired stock speakers, care must be taken that there are no common connections between left and right speaker wires, i.e. two or more speakers using the same ground connection (very common in pre-85 cars), as this will cause the amplifier to go into immediate protection or may cause damage to the amplifier. Output connections are not common chassis ground. Please follow the hookup instructions in this owner's manual. Any questions should be directed to your local ZAPCO dealer.

Upgrading a Factory Stereo

If you are upgrading a factory stereo, the DSP-Z8 IV AT and the ADSP-Z8 IV-6AT amp have a separate speaker level input plug that senses current, so you do not need to run a turn-on wire. However, auto-on is not useful in all cars as the amplifier can come on in some cars even when the stereo is not on, because of the car's electrical system. The two units have a switch that allows you to defeat the auto-on if you do not want to use that function.

All Wire is not created equal

Please do not use CCA wire with Zapco amplifiers

It is easy to think of wire as just wire but the fact is there are major differences between the types of wires being offered today. The price of copper has gone up quite a bit lately, but you will notice that you can still buy heavy primary wire at very reasonable prices. How can this be? Simple... That lower price wire is not all copper, it is CCA wire. CCA stands for Copper Clad, Aluminum. That means it is aluminum wire with a thin coating of copper around the outside of the wire. Does it look like copper wire? Absolutely. But does it conduct electrical current like copper? Absolutely NOT! If the wire does not say OFC Copper wire or Solid Copper wire do not use it.

Two things can and likely will happen:

• Because CCA wire can not conduct DC electrical current like copper wire can, your amp will not get the current it needs to produce its rated power. That means you get less power and more distortion. It also taxes the amplifier that is trying to make its power, shortening the life of the amp.
• CCA wire corrodes quickly and causes terminals that used to be tight to become loose. This causes arcing when electrons to fly around all the open space lookin for more copper. This causes heat that damages connections and can even eventually melt the terminal blocks on your amplifier.

In short: While CCA wire is excellent for high frequency AC current (like tweeter voice coils), it is absolutely bad for high current 12V DC like power and ground for a car audio amplifier. We have seen CCA wire become a major cause of amplifier failures as buyers are offered CCA as a low cost alternative to pure copper wire. So always look at the description of the contents of wire that you purchase. When someone offers to save you some money with CCA wire just say "No, thank you". Protect your investment with real copper wire.

Planning your power connections

The power end plate has the main 12-volt power input, the 12-volt turn-on wire, and the main Ground connection.

• The 12-volt power input must be connected the vehicle battery's positive (+) terminal, and a main system fuse should be placed close to the battery. The yellow B+ power for the DSP should come from a power source that is constant hot.
• The Ground connection must be securely attached to bare metal at the vehicle frame, or other heavy chassis component with a direct connection to the frame. Note: Seat bolts and seat belt bolts are NOT good ground points.
• The +12 turn-on input can be connected to the head unit turn-on output wire. If none is available it can be connected to an accessory (ACC) terminal. You should avoid using any ignition-on (IGN) wire, as they can be noisy.

Power Connection Diagram Description: The diagram shows a DSP unit and a DSP/Amp unit. Both have a '+12V turn-on' input. The DSP has '+12V REM OUT' and 'GND REM IN'. The DSP/Amp has '+12V REM IN' and 'GND'. Connections are shown from '+12V at Battery +' to the respective '+12V' inputs and 'GND to chassis' to the respective 'GND' inputs.

More words about Power and Ground

The second most common cause of under performing amplifiers is insufficient power current or a poor power connection. The most common cause of under performing amplifiers is insufficient ground current or a bad ground connection. 12-volt current: Battery power works only if it travels in a complete circuit from the battery positive terminal to the battery negative terminal. Main power input, of course, is attached to the battery positive terminal. Ground current is returned to the battery through the chassis to the point where the battery is grounded. The current available for your amplifier to use to produce power will be restricted by the smallest gauge of wire in the circuit and by the weakest physical connection in the circuit.

Wire Size

It's often surprising how many people will obsess about signal wire but routinely provide the amplifier with only a fraction of the current it needs to do its job. The most common wire gauge used in car audio is 10-gauge, and the most common location for amplifiers is in the trunk. That will only be good for about 100 watts (See the chart next page).

Let's look at a fairly small system. If you use a 50 watt/ch amp (25 amps) for the highs and a 100 watt/ch amp (40 amps) for the woofers, you need at least a 4-gauge and maybe a 2-Guage wire to provide 65 amps at the trunk. Use the Wire Sizing Chart. Add up the fuse values on the amplifier(s) then choose the proper size wire based on the distance from the car battery to the amplifier location. Always use the same gauge wire for the main ground as you do for the main power. Always make your ground as short as possible and secure it to a clean solid surface, preferably the vehicle frame.

Mounting your unit

Mounting your Zapco unit is easy. Just keep in mind a few guidelines:

• The unit can be mounted in any direction, on wood, metal, or carpet but not upside down as heat rises and will build up if it is mounted upside down.
• The metal chassis of the amp can be grounded or left isolated.
• The amplifier requires adequate ventilation. Creating power creates heat, and cooling requires air. Position the amplifier with sufficient surrounding area for air supply and keep the end plates clear for future access.
• Keep the unit out of the engine compartment or other locations that may cause excessive heat or moisture.
• Do not mount the unit to a subwoofer box or other place that may have excessive vibration.

Setting Gains

Input gain pots on your unit should be set so that when playing the loudest music you will play, the clip lights just barely start to flash, but never stay on. If the clip lights stay on more that just a bare fraction of a second then you will have audible distortion on the input stage, and distorted signal at the input will absolutely mean distorted sound at the output.

DSP-Z8 IV AT Panels

1. Comm Port for HD-BT module: Used for connecting an optional Bluetooth module.

2. Coaxial digital input: For digital audio input via coaxial cable.

3. 8-Channel RCA inputs: Analog audio inputs for up to 8 channels.

4. Speaker level input plug for OEM hookup: Allows connection to factory head units that do not have pre-amp outputs.

5. Variable gain controls with clip indicators: Adjusts input sensitivity for each channel. Clip indicators warn of signal clipping.

6. Optical digital input: For digital audio input via optical cable.

7. 8-Channel RCA outputs: Pre-amp outputs for connecting to other amplifiers.

8. Microphone Input for Auto-Tuning: Connection for the optional calibration microphone.

9. Dash remote port: For connecting the optional dash-mounted remote control.

10. USB LED: Indicates USB connection status.

11. USB connector for PC control: Connects the DSP to a computer for configuration and tuning.

12. Power-On LED: Indicates the unit is powered on.

13. Power/Rem/Gnd connector: Terminal block for main power, remote turn-on, and ground connections.

14. Auto-on switch for OEM integration: Allows the unit to turn on automatically when it detects an audio signal from a factory head unit.

ADSP-Z8 IV-6AT Panels

1. Power-On LED: Indicates the unit is powered on.

2. Auto-on switch for OEM integration: Allows the unit to turn on automatically when it detects an audio signal from a factory head unit.

3. USB connector for PC control: Connects the amplifier to a computer for configuration and tuning.

4. Dash remote port: For connecting the optional dash-mounted remote control.

5. Protection LED: Indicates if the amplifier is in protection mode.

6. Microphone Input for Auto-Tuning: Connection for the optional calibration microphone.

7. Comm Port for HD-BT module: Used for connecting an optional Bluetooth module.

8. Coaxial digital input: For digital audio input via coaxial cable.

9. 8-Channel RCA inputs: Analog audio inputs for up to 8 channels.

10. 2-Channel RCA outputs: Pre-amp outputs for connecting to another amplifier.

11. Speaker level input plug for OEM hookup: Allows connection to factory head units that do not have pre-amp outputs.

12. Variable gain controls with clip indicators: Adjusts input sensitivity for each channel. Clip indicators warn of signal clipping.

13. Optical digital input: For digital audio input via optical cable.

14. Speaker output connectors for Ch 1~2: Speaker terminals for channels 1 and 2.

15. Speaker output connectors for Ch 3~4: Speaker terminals for channels 3 and 4.

16. Speaker output connectors for Ch 5~6: Speaker terminals for channels 5 and 6.

17. Power/Rem/Gnd terminals: Terminal block for main power, remote turn-on, and ground connections.

Note: The left channel positive terminal and the right channel negative terminal are used for bridging the speaker outputs. The amp is stable at 2 ohms stereo or 4 ohms mono. The amp should not be run at 2 ohms mono.

Remote Control

1. Prev button: Will play the previous (re-play) song when streaming BT music.

2. Next button: Will play the next song when streaming BT music.

3. Mode button: Will scroll to choose presets.

4. Source button: Selects the audio source.

5. Volume/Bass Knob: This knob functions as a volume control. When using a full gain digital input, it is essential. It also controls the bass amp output. If Channels 7/8 are used for bass, pressing the volume control in for 5 seconds switches it to a bass level control. After 5 seconds of no movement, it reverts to a volume control. A short press mutes the audio.

The Microphone (for Auto Calibration, optional)

The M-AT1 is a special microphone for setting up the sound automatically, based on the response characteristics of the speakers and auto detail detection of the car. After detecting all the necessary information, the audio information screen will be transmitted to the computer.

1. Connection: Connect the microphone to the dedicated port of the unit.

2. Placement: The microphone must be fixed on the headrest of the driving position. This position is basically the same as the head of the driver.

The Graphical User Interface (GUI)

The Main Screen

The Graphical Interface (GUI) for the DSP-IV AT processors requires no installation. Just download the file from the Zapco website and put it on your desktop (the number following "rc" will change from time to time as updates occur). You should check back on the site regularly to assure you have the most up-to-date version of the software.

TIP: Make a folder DSP-IV AT on your desktop and put the GUI file there. You can also use that folder to save your settings to your PC as a backup in case the presets in the DSP are lost or erased by error.

Below is the layout of the control program (GUI) for the DSP-IV AT processors:

1. Main Menu: Located at the very top of the GUI. The File button offers options to save setups to memory presets and load setups from saved ones. You can load and save setups to your PC (File) or to your DSP (Device) presets. See File Menu on Page 20. The Advanced menu contains the Mixing Set and Autocalibration pages (see Page 17). The Help button is for firmware updates.

2. Inputs: Here you choose the input you will use while tuning. Options include LINE IN (aftermarket or factory head unit using speaker level input harness), Optical (SPDIF), Coax (also SPDIF) digital inputs, and a BT (Bluetooth) input if the optional HD-BT module is added for HD AptX Bluetooth streaming.

3. Quick Setup Area: This section is the go-to setup for most systems. Across the bottom are options for 2CH, 4CH, 6CH, 8CH, and SUM. All digital inputs are 2CH. For aftermarket head units, set to 2CH regardless of the number of outputs to allow all processing in the DSP. For factory head units with active crossovers, you may need to use 4CH, 6CH, or 8CH inputs for a full-range signal. Click SUM to combine left and right channels for a full-range signal. Use only enough factory speaker wires to get a full range signal when summing.

4. Car Diagram/Delay map: Manually set signal delay. Measure the distance from the listening position (typically 5"-7" ahead of the driver's headrest) to each speaker center and enter these distances in centimeters. Click "Delay Calc" to calculate the correct delay for each speaker. If using the M-AT1 tuning mic for auto calibration, this step can be skipped as autotune will set the delays (see Page 18).

5. Ch Outputs: Choose the output channel you will be tuning. Clicking the channel number opens it for tuning and highlights the channel bar.

6. Ch Setup Area: Contains channel designations, crossovers, delay adjustments, mute, and solo buttons.

• Channel Designation: A green or red button above this column allows naming channels (e.g., FL-Tweeter). Change the top button to green to lock the column after naming.
• Crossover section: Features HP and LP filters for each channel. Frequencies can be typed or adjusted with arrows. Crossover style and slope can be chosen, or crossovers can be turned off. Always consult speaker manufacturer recommendations.

Advanced Menu

The Advanced menu allows access to the Mixing Set (for manual input/output setup) and the Auto Calibration page (for using the M-AT1 microphone). The Mixing Set lets you manually determine which inputs are used for each output channel and their respective levels. Choosing 2Ch, 4Ch, 6Ch, etc., on the main screen sets up most systems, but the Mixing Set provides advanced control for complex setups. Inputs are listed on the left, and output channels are across the bottom. For example, a system using 6 summed inputs from an OEM factory stereo head unit is shown, where channels 1, 3, and 5 use 1/3 of the left inputs, and channels 2, 4, and 6 use 1/3 of the right inputs. Channels 7 and 8 (subwoofers) receive equal amounts of all left and right inputs.

Auto Calibration

When used with the optional M-AT1 microphone, the GUI can automatically calibrate equalization, signal delay, and phase, allowing you to simply enjoy the music.

The auto-tuning function equalizes the signal to a standard sound curve used in audio competitions, compensating for automotive acoustic difficulties to provide a realistic "live" sound experience.

1. Channel selection: Choose which channels the auto-tuning system will calibrate.

2. Option: Select to calibrate all parameters or only one.

3. During calibration: View the process on the graph (Speaker curve, Equalization curve) and toggle the visual Target curve on or off.

4. Save/Cancel: After calibration, you can save the settings or cancel. Cancel if you notice anomalies or if there is background noise.

5. Tips: Area displays messages or reminders, such as ensuring crossovers are set before calibration to protect tweeters.

6. Start button: Initiates the Auto Calibration process.

The Auto Calibration process

Ensure a quiet environment as the microphone will pick up all sounds. The process needs to remain undisturbed until completion.

1. Microphone Calibration: The M-AT1 microphone is calibrated for accurate response with DSP-IV AT processors. Results can vary with microphone placement. The system assumes your head is where the mic is and tunes for optimal sound stage by adjusting signal delay. Experiment with mic placement for best results. You can also run the system for the driver only on one preset, then run it with the mic at the passenger's head position on another preset.

2. Calibration Run: You can calibrate all channels at once or one at a time. For the first tune, calibrate all active channels. No system is perfect, and subsequent runs can refine the results.

3. Function Selection: Choose the function(s) to auto-tune. For the first run, let the system set all three (Equalization, Signal Delay, Phase). Subsequent runs can focus on equalization.

4. Start: Press Start. The system will prompt you to ensure crossovers are set for all speakers. This is critical to prevent damage to tweeters and small drivers from high-volume pink noise.

5. Process: Leave the vehicle, close the door, and let the system work. You can view the process on the PC, which will notify you upon completion.

6. Save/Delete: Upon completion, you can choose to keep the information (applying settings to the DSP and saving to a preset) or delete it.

The File Menu

Saving your work is critical. When the PC is connected to your DSP, all current work is at risk if power is lost or the GUI closes prematurely. Save often. Saving and loading files and presets is done via the FILE menu in the upper left corner of the GUI.

The file menu allows you to:

• 1. Open a file: Load a file stored on your computer.
• 2. Save a file: Save the current work on the computer.
• 3. Save As: Choose a location to save the file. Create a subfolder named "DSP Settings" for organization.
• 4. Factory Setting: Completely erase all current settings.
• 5. Write to Device: Save current settings into a DSP memory preset.
• 6. Read from Device: Load a saved memory preset from the DSP.
• 7. Delete from Device: Delete one or more presets from the DSP.

Write to Device process: Opens the memory preset menu. Choose one of 10 preset positions (green for unused, red for used). Click "Select Save Place" and choose a green position. If a red position is chosen, it will overwrite existing data. Click Save, name the preset, and click OK. The system will show save progress and confirm success.

Read from Device: Similar menu appears. Select "Read Place" to choose a memory position and click "Read" to load settings into the DSP. Delete from Device works similarly, allowing selection and deletion of presets.

Manual Setup without Auto Calibration

Start by choosing your input setup (e.g., 2-Ch, 4-Ch) and summing channels if needed for a full-range signal from a factory head unit. Name channels and set crossovers according to speaker maker recommendations. Measure the distance from the listening position to each speaker center accurately and let the GUI calculate the delay for each speaker.

Begin phase check: R/L Balance in the middle

A. Tweeters: Mute all channels except tweeters. Tweeters are sensitive to phase. Play a female vocal track and note the vocal location. Lower the crossover point if necessary, using a low volume and potentially a 48 dB slope to protect tweeters. With calculated delay set, the vocal should be centered. If tweeters are out of phase, the sound will not have a specific location and will seem to come from everywhere. Adjust the Right channel tweeter phase (0 or 180 degrees) to find the position where the vocal is easily located centrally. Once a pair is phased correctly, it should not be changed individually.

B. Midrange and Woofer/Mid-Bass: Mute all but the midrange. Use a male vocal track. Listen for vocal location and adjust phase for the right speaker to center the sound. Repeat for Mid-Bass. A sign of out-of-phase mids/woofers is reduced bass. More bass indicates correct phasing.

C. Subwoofers: Play bass-heavy tracks. Ensure multiple woofers are in phase to avoid bass cancellation. Adjust phase for the right woofer to achieve the clearest bass response. All phased pairs should ideally remain at 0 degrees, but if not, they must be changed together. Create a chart of speaker phases for reference.

Phasing the System: Setting the front stage

D. Tweeters to Mids: Mute all except tweeters and midranges. Listen to a musical track; the main vocal should be centered, and the sound stage spread across the windshield. Change the phase of both midranges to see how it affects the sound stage. If out of phase, the stage may drop. Find the position that places the sound stage higher, across the window.

E. Woofers/Mid-Bass: Un-mute the mid-bass. If the sound stage pulls down, reverse the phase of the mid-bass drivers. Adjust to achieve the correct sound stage.

F. Subwoofers: Focus on the transition from bass to mid-bass. Play tracks with good mid-bass (e.g., kick drums). Listen for sharp, solid mid-bass. Adjust subwoofer phase to achieve a clean transition. The bass should seem to come from the front of the car, not the trunk. Experiment with subwoofer box placement if necessary.

After setting phase for each pair and blending them correctly, save your work to a file and write it to two memory positions (one for working, one for reference).

Manual Tuning

With all channels set up (input, speakers identified, crossovers set, delays adjusted, and phase confirmed), the next step is subjective tuning for the car's specific acoustics. Cars present challenges due to reflective surfaces (windows) and absorptive materials (upholstery) that alter sound waves. Tuning compensates for these effects to achieve the artist's intended sound.

For tuning, a 1/3 Octave RTA (Real Time Analyzer) and "pink noise" (sound with equal signal levels at all octaves) are required. The RTA shows the frequency response, allowing compensation with the equalizer. A 31-column sheet can be used to chart the response before equalization.

The Tuning Tools of the GUI

The EQ graph and Function bar are used for EQ adjustments. The following details the EQ tuning functions:

1. GEQ (Graphic EQ): Early EQs used graphic equalizers with assigned frequencies and Q factors. Q determines filter shape (low Q for wide adjustment, high Q for narrow). Adjustments were primarily level (boost/cut), with some offering adjustable Q.

2. PEQ (Parametric EQ): Allows setting filters at any desired frequency and adjusting the Q factor to boost or cut groups of frequencies or pinpoint specific ones. Use the RTA to guide Q adjustments.

3. Reset: Resets all filters for a channel to 0 dB.

4. Bypass: Temporarily bypasses the EQ for A/B comparisons of the sound with and without equalization.

5. EQ Band Adjustment: Click on green band buttons or type in a band number to select an EQ band for adjustment. Use up/down arrows for scrolling.

6. Frequency (Fr): Adjust the center frequency of a band. Use up/down arrows to fine-tune.

7. Level: Drag-and-drop buttons for rough adjustments. Click into the Level box for fine adjustments of 0.5 dB increments using keyboard arrows.

8. Q (Quality Factor): Adjust the filter's shape using keyboard arrows. Monitor the RTA to see the effect on acoustic response.

9. EQ Link buttons: Link R/L channel pairs for initial equalization. Click Ch1, then Ch2 to link them. Clicking another channel breaks the link. Only link two channels at a time. After initial equalization, individual channels can be adjusted and re-linked. Linking is typically done for paired channel equalization, with subs linked only to each other.

10. Trace buttons: Display EQ and Crossover traces for the active channel. Color-coded buttons on the left allow viewing other traces for interaction analysis.

11. EQ Graph: Shows all available bands for the active channel as green buttons. They start at 0 dB and move to reflect adjustments made, showing the response curve.

What We Want to Achieve

The EQ graph and Function bar are used for EQ adjustments. The goal is to achieve a desired response in the car's acoustic environment.

The process involves playing pink noise through the system and reading the output level of each 1/3 octave band on the RTA. Aim for a system volume where the response curve centers around 90 dB. Chart dB levels to know how much to add or subtract. It's generally better to subtract with EQ rather than add, as adding gain can stress amplifiers, add noise, and cause distortion.

Response Curve Samples:

• Flat Response Curve: Often attempted but difficult to achieve and can sound bad, lacking bass and sounding harsh. Ear sensitivity to frequencies and volume affects perceived sound.
• Best Response Curve: Higher in bass frequencies with small changes between bands, rolling off at higher frequencies.
• A Good Response Curve: Shows minor out-of-line variations (blue circles) that are usually inaudible. A significant null point (green circle) may indicate a phase issue, often near a crossover. It is generally not advisable to equalize null points as it wastes power and can distort adjacent frequencies. Check crossovers if a null point occurs at a crossover frequency.
• A Bad Response Curve: Characterized by peaks in the response, which irritate the listener and cause "listener fatigue," leading to the desire to turn the system down or off.

Tuning Issues: The primary goal is to eliminate frequency peaks. The secondary goal is to cut rather than boost frequencies. Boosting increases amplifier power demand, distortion likelihood, and noise. Tuning is a learning process; listen to various systems at car audio contests to develop your ability and reference.

Technical Specifications

Notes

Software/PC requirements: Microsoft Windows (32/64bit): XP, Vista, Windows 7, Windows 8, Windows 10.

Continuous exposure to excessive sound pressure levels may cause permanent hearing loss. ZAPCO strongly advises that you use common sense when setting volume levels. Everything written in this manual is for the proper use of the products. Some features or specifications could be modified during production to improve the product performance. The technical specifications and functionalities stated here are current as of the time of publication. General instructions and safety warnings are intended in any case to be always effective for this type of product. The latest manual with any updates is always available at www.zapco.com/download.