AM2442FX/AM3242FX Mixing Console with DFX and GEQ Consola de mezcla con DFX y GEQ 内置数字 EFX 和 GEQ 的录音 / 现场制作调音台 CONTENTS CONTENIDO 目录 INTRODUCTION 4 FE

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1 AM2442FX AM3242FX MIXING CONSOLE WITH DFX AND GEQ CONSOLA DE MEZCLA CON DFX Y GEQ English / Español / 简体中文 内置数字EFX和GEQ的录音/现场制作调音台 AM3242FX User s Manual Manual del Usuario 使用手册

2 AM2442FX/AM3242FX Mixing Console with DFX and GEQ Consola de mezcla con DFX y GEQ 内置数字 EFX 和 GEQ 的录音 / 现场制作调音台 CONTENTS CONTENIDO 目录 INTRODUCTION 4 FEATURES 4 GETTING STARTED 4 INPUTS AND OUTPUTS 5 SPECIFCATIONS 11 DIGITAL EFFECT TABLE 31 APPLICATION 32 DIMENSIONS 33 BLOCK DIAGRAMS 34 INTRODUCCION 14 CARCATERISTICAS 14 INICIANDO 14 ENTRADAS Y SALIDAS 15 ESPECIFICACIONES 21 TABLA DE EFECTOS DIGITALES31 APLICACIÓN 32 DIMENSIONES 33 DIAGRAMAS DE BLOQUE 34 简介 24 功能 24 开始设定 24 输入和输出 24 规格 29 数字效果表 31 应用 32 尺寸 33 线路图 34 Phonic preserves the right to improve or alter any information within this document without prior notice Phonic se reserva el derecho de mejorar o alterar cualquier información provista dentro de este documento sin previo aviso PHONIC 保留不预先通知即可更新本文件的权利 V1.1 07/08/2011

3 IMPORTANT SAFETY INSTRUCTIONS The apparatus shall not be exposed to dripping or splashing and that no objects with liquids, such as vases, shall be placed on the apparatus. The MAINS plug is used as the disconnect device, the disconnect device shall remain readily operable. Warning: the user shall not place this apparatus in the can be easily accessible. area during the operation so that the mains switch 1. Read these instructions before operating this apparatus. 2. Keep these instructions for future reference. 3. Heed all warnings to ensure safe operation. 4. Follow all instructions provided in this document. 5. Do not use this apparatus near water or in locations where condensation may occur. 6. Clean only with dry cloth. Do not use aerosol or liquid cleaners. Unplug this apparatus before cleaning. 7. Do not block any of the ventilation openings. Install in accordance with the manufacturer s instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong is provided for your safety. If the provided plug does not into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched particularly at plug, convenience receptacles, and the point where they exit from the apparatus. 11. Only use attachments/accessories by the manufacturer. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK) NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the product CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. WARNING: To reduce the risk of not expose this apparatus to rain or moisture. or electric shock, do CAUTION: Use of controls or adjustments or performance of procedures other than those hazardous radiation exposure. may result in 12. Use only with a cart, stand, tripod, bracket, or table by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tipover. 13. Unplug this apparatus during lighting storms or when unused for long periods of time. 14. Refer all servicing to service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

4 INTRODUCTION Congratulations on your purchase of the AM2442FX or AM3242FX mixers - stylish 24- and 32-input mixers with 16 and 24 balanced mic/line channels and four stereo line channels, combined to make versatile yet brawny mixer. A brand new line of mixers, the AM series broadens already impressive product line. The AM mixers include popular features that go further than most, such as the 100- program Digital Effect Processor (with tap delay and tone generator built-in) driven by an extraordinary 32/40-bit DSP engine. Featuring full gain ranges, low distortion and an incredibly wide dynamic range, the AM mixers are bound to make an impression. We know how eager you are to get started wanting to get the mixer out and hook it all up is probably your number one priority right now but before you do, we strongly urge you to take a look through this manual. Inside, you will find important facts and figures on the set up, use and applications of your brand new mixer. If you do happen to be one of the many people who flatly refuse to read user manuals, then we just urge you to at least glance at the Instant Setup section. After glancing at or reading through the manual (we applaud you if you do read the entire manual), please store it in a place that is easy for you to find, because chances are there s something you missed the first time around. FEATURES Audiophile quality preamp design DFX, 32/40-bit digital multi-effect processor with 100 programs. 16 or 24 mic/line channels with inserts 3-band EQ with swept mid-range 75Hz low-cut filter on each mono channel 4 AUX send mixing bus AUX 1 & 2 with pre/post switch 4 subgroups and additional mono output with sweepable low pass filter for subwoofer application Clip indication and gain level set LEDs plus mute switches for each channel Balanced main mix outputs with XLR and 1/4 TRS connectors, headphone/control room output and stereo tape outputs Solo-In-Place and Pre-Fader-Listen functions plus full-featured talkback section Standby switch mutes all channels during breaks while background music is provided via CD/tape inputs GETTING STARTED Quick Setup 1. Ensure all power is turned off on your mixer. To totally ensure this, the AC cable should not be connected to the unit. 2. All faders and level controls should be set at the lowest levels to ensure no sound is inadvertently sent through the outputs when the device is switched on. All levels can be altered to acceptable degrees after the device is turned on using the channel setup instructions. 3. Plug any necessary equipment into the device s various outputs. This could include amplifiers and speakers, monitors, signal processors, and/or recording devices. 4. Plug the supplied power supply into the inlet on the back of the AM mixer and into an AC power outlet of a suitable voltage. 5. Turn the power switch on and follow the channel setup instructions to get the most out of your equipment. Channel Setup 1. To ensure the correct audio level of the input channel is selected, each of the level input controls of the Mixer should be turned counterclockwise as far as they will go (which should be the - mark). 2. Set the level control of the channel you are setting to the 0 db mark. 3. Ensure the channel has a signal sent to it similar to the signal that will be sent when in common use. For example, if the channel is using a microphone, then you should speak or sing at the same level the performer normally would during a performance; if a guitar is plugged into the channel, then the guitar should also be strummed as it normally would be (and so on). This ensures levels are completely accurate and avoids having to reset them later. 4. Push to Solo button of the channel you wish to set. You should now be able to see the channel s signal in the level meter. 5. Engage the Solo / PFL button below the level meter, allowing you to see the input channel s pre-fader signal. 6. Adjust the gain level of the selected channel so that the level meter sits around the 0 db mark. 7. This channel is now ready to be used; you can stop making the audio signal. 8. You can repeat the same process for other channels. 4 AM2442FX / AM3242FX

5 INPUTS AND OUTPUTS Mono Input Channels There are 16 and 24 mono channels on the AM2442FX and AM3242FX, respectively. To follow you will find details on how these channels work; how to make a connection, how to adjust the various controls, and how to ensure you get those most out of your mixer. 1. Microphone Input These jacks accept typical 3-pin XLR inputs for balanced and unbalanced signals. They can be used in conjunction with microphones such as professional condenser, dynamic or ribbon microphones - with standard XLR male connectors, and feature low noise preamplifiers, serving for crystal clear sound replication. NB. When these inputs are used with condenser microphones, the Phantom Power should be activated. However, when Phantom Power button is engaged, single ended (unbalanced) microphones and instruments should not be used on the Mic inputs. 2. Line Input This input accepts typical 1/4 TRS or TS inputs, for balanced or unbalanced signals. There are various numbers of these inputs depending which mixer you are using. They can be used in conjunction with various line level devices, such as keyboards, drum machines, electric guitars, and a variety of other electric instruments. 3. Insert Point Located on all mono channels, the primary use for these TRS phone jacks is for the addition of external devices, such as dynamic processors or equalizers, to the corresponding mono input channel. This will require a Y cord that can send and receive signals of the mixer to and from an external processor. 4. Gain Control This controls the sensitivity of the input signal of the Line and Microphone inputs of mono channels. The gain should be adjusted to a level that allows the maximum use of the audio, while still maintaining the quality of the feed. This can be accomplished by adjusting it to a level slightly below that which will cause the peak indicator to light up. 5. Low Cut Filter Located on all mono channels, this button will activate a high-pass filter that reduces all frequencies below 75 Hz at 18 db per Octave, helping to remove any unwanted ground noise or stage rumble. Stereo channels does not feature this low cut filter. 6. High Frequency Control Use it to give a shelving boost or cut of ±15 db to high frequency (12 khz) sounds. This will adjust the amount of treble included in the audio of the channel, adding strength and crispness to sounds such as guitars, cymbals, and synthesizers Mid Frequency Control You can provide a peaking style of boost and cut to the level of midrange frequency sounds at a range of ±15 db with this control. The AM mixers also provide a sweep control, allowing you to select a center frequency between 100 Hz and 8 khz. Changing middle frequencies of an audio feed can be rather difficult when used in a professional audio mix, as it is usually more desirable to cut middle frequency sounds rather than boost them, soothing overly harsh vocal and instrument sounds in the audio. 8. Low Frequency Control This control is used to give a shelving boost or cut of ±15 db to low frequency (80 Hz) sounds. This will adjust the amount of bass included in the audio of the channel, and bring more warmth and punch to drums and bass guitars. 9. AUX Controls These four AUX controls alters the signal level that is being sent to the auxiliary 1 to 4 mixing buses, the signal of which is suitable for connecting stage monitors, allowing artists to listen to music that is being played. AUX 1 and 2 feature a Pre/Post button, which alternates the feed to the AUX mixing bus between a post and pre-fader feed. AUX 3, on the other hand, acts as an EFX send, the signal of which can be used in conjunction with external signal processors (which can be returned to the mixer via the AUX return input), or simply as an Auxiliary output. Both the AUX 3 (EFX) and AUX 4 controls are post fader and are sent directly to the corresponding outputs. 10. AUX Pre/Post Button This button allows users to switch the signal sent to the AUX 1 and AUX 2 mixes from the corresponding input channel between a pre fader and post fader signal. Pushed in, the signal is post-fader; released, it s a pre-fader signal. 11. Pan Control This alternates the degree or level of the mono audio signal that the left and right channels of the main mix should receive AM2442FX / AM3242FX 5

6 12. Mute Button and Indicator Pushing the Mute button in will cut off the main mix s feed of the corresponding channels signal. If the AUX pre/post button is set to post, the AUX 1 and 2 signals will also be cut off. Muting an input channel is accompanied by the lighting up of the Mute LED. 13. Clip LED This LED indicator will illuminate when the channel hits high peaks, slightly before the signal is dynamically clipped. It is best to adjust the channel s level control so as to ensure the Clip indicator does not light up. This will ensure a greater dynamic range of audio. This indicator also doubles as a Solo indicator, when the Solo button is engaged. 14. Solo Button The Solo button is pushed to allow the signal of the corresponding channel to be sent to the Control Room / Phones mix (pre or post fader, depending on the properties selected by the Solo/PFL button located below the level meter), for use with either headphones or studio monitors. This button also allows for easier isolation of individual channel signals, enabling simpler setting of the input gain or tracking of audio by sound engineers. When the Solo button is not engaged, the LED indicator works as a Clip Indicator, illuminating when the signal reaches high peaks and 3-4 Buttons These two buttons allow users to route the channel s signal to their respective subgroups. There are four subgroups in total. If users wish to send the channel s signal to, say, sub 1 but not sub 2, simply use the channel s pan (turn it hard to the left) to accomplish this. 16. Main Button Pushing this button in allows the channel s signal to be sent to the Main mix. 17. Channel Fader This control will alter the signal level that is sent from the corresponding channel to the corresponding mixing buses. Stereo Input Channels Stereo channels differ slightly to the mono channels in their connections and controls. To follow you will find a run-down on the differences and what these channels are actually good for. 18. Stereo Inputs The AM mixers each feature 4 stereo input channels, the inputs of which differ slightly to the mono channels. The two 1/4 TRS inputs are for the addition of various stereo line level input devices, such as keyboards or drum machines. If you wish to use a monaural device on a stereo 18 return input, simply plug the device s 1/4 phone jack into the left (mono) stereo input and leave the right input bare. The signal will be duplicated to the right due to the miracle of jack normalizing Band Equalizer The stereo channels of the AM mixers feature equalizer almost identical to those on mono channels; however instead of a Mid frequency control and sweep control there are High-Mid and Low-Mid controls instead. They provide a peaking style of boost and cut to middle frequencies, where the frequencies are set at 3 khz and 800 Hz for the High- and Low-Mids respectively. 20. AUX Controls The AUX controls on stereo channels are the same as on mono channels, however, since the AUX mixes are always mono, any stereo signal will be mixed into a mono signal before being sent to the corresponding AUX mix. 21. Balance Control This rotary control alternates the degree or level of audio that the left and right side of the main mix should receive. Adjusting the balance control will attenuate the left or right audio signals of the channel accordingly. 22. Mute and Routing Buttons The Mute, Main, 1-2 and 3-4 buttons on stereo channels do not differ in their operation to mono channels at all. However, it is important to make sure that when the 1-2 and/or 3-4 buttons are pushed that the Balance control is set to the middle, as this will ensure the stereo signal remains a stereo signal. 23. Stereo Channels 21/22 and 23/24(AM2442FX) Stereo Channels 29/30 and 31/32(AM3242FX) The final 2 stereo channels on both AM mixers feature slightly simplified controls. Here you will find two AUX sends (permanently wired to be pre-fader, useful in monitoring), a level control and Solo button. As there are no routing switches, the signal is permanently sent to the Main mix (and appropriate AUX mixes) AM2442FX / AM3242FX

7 Subgroups The Subgroups on the AM mixers allow users to create single mono or stereo mixes of multiple input channels and control them with a single fader. It is also common to use the Group outputs as tape-outputs for connecting to multi-track recorders. 24. Solo Buttons The solo button allows the Group signal to be sent pre or post fader (depending on the SOLO/PFL button settings) to the Control Room / Phones mix, allowing users to be able to monitor the subgroup signal. When activated, the Solo LED will light up to indicate as such. 25. Left / Right Buttons The Group Controls also feature individual left and right buttons, which allow you to send the various Group signals to the Main Left 26 and Right. This can be handy when wanting to combine the signals from different signals and control their input levels simultaneously, then send them to the Main L/R signal (eg. when multiple inputs are used for, say, drums, you can combine these inputs together to be controlled much simpler by a single fader). 26. Faders These four faders are the final level control for the Group 1 to 4 audio feeds, sent to the corresponding Group outputs on the rear of the AM mixers to feed external devices such as effect processors, and, most commonly, multi-track recorders. The Group mix can be fed a signal from the various mono and stereo channels, as well as the EFX signal, depending on your selections. When pushed all the way up, these faders provide 10 db of gain to the signal, and, when set all the way down, effectively mute the signal. 27. Group Outputs These 1/4 phone jacks output the final feed from the Group mixes 1, 2, 3 and 4, the level of which is determined by the Group Faders. They can be used to feed a variety of recording and PA devices, including multi-track recorders, amplifiers and speakers, etc. Mono / Subwoofer Channel The Mono output is used as an auxiliary output (the signal of which is taken from the main mix), and can be connected to an amplifier and speakers. The included low pass filter enables the signal of the mono output to be more appropriate for use with a subwoofer speaker, to add a little extra bass to your sound. 28. Low Pass Filter The low pass filter is activated by moving the small slide switch to the ON position. The accompanying control allows users to adjust the cut-off frequency of the filter. If users wish to use the Mono channel for monitoring or other similar purposes, the low pass filter should not be activated. 29. Mono Fader This fader controls the level of the mono signal that is sent to the mono outputs Mono Output The line-level signal sent from the Mono output can be used to connect to an amplifier or active speaker. It is also possible to use this output for monitoring purposes, with headphones or active monitors. Talkback Section Handy in studios or on stage, the talkback function built into the AM mixers allows engineers or producers anyone, really to communicate with the performers wherever they may be. 31. Talkback Level Control This control adjusts the level of the talkback signal that is sent to the AUX 1 and AUX 2 outs. 32. Talk to AUX Button Holding this button down activates the AM s built-in talkback microphone, the signal of which is sent to the AUX 1 and 2 outputs. Keep the button pushed down until you finish speaking. 33. Talkback Mic Point your mouth here when wishing to communicate with the performer/musician. Control Room & Phones The Control Room and Phones mixes are useful for monitoring of audio signals. It is important to remember, particularly when using headphones, that listening to excessively loud audio signals for prolonged periods of time could adversely affect your hearing. 34. Level Control This rotary control will allow users to adjust the audio level of the Control Room / Phones signal (as received by input channels, and those chosen by the Source Select buttons). If active monitors are used with the Control Room / Phones output, then this control acts as the monitor level control. 35. Source Select This set of buttons allows users to select which signals they wish to send to the Control Room / Phones output. There is a button each for the AUX 1/2, CD/Tape, 1-2, 3-4 and Main mixes. These signals can be monitored simultaneously, if wished. 36. Control Room / Phones Output This 1/4 outputs feeds the signal altered by the Control Room / Phones level control on the face of the mixer to an external speaker or headphones. This output has extensive use, as it can be used to feed the signal from the mixer to an active monitor, for the monitoring of the audio signal from within a booth, among many other possible uses AM2442FX / AM3242FX 7

8 CD/Tape Ins & Outs The CD/Tape section allows for external consumer-level devices, such as CD players or tape recorders, to be incorporated into the mixer. 37. To Main Control This control adjusts the level of the signal received through the CD inputs that is sent to the Main mix. 38. Standby Button The Standby button is used to mute all input channels of the AM mixers. In this instance, the CD/Tape input will still be in use, allow music to be played between sets while ensuring no microphones inadvertently pick up any audio. The main level fader can remain in its normal position, ensuring you don t lose your mix. 39. CD / Tape Ins & Outs These stereo RCA connectors allow users to send signals to and from the mixer, allowing devices such as CD players and tape recorders/ players to be used in conjunction with your setup. Signals received by the CD/Tape inputs are adjusted by the to Main control. Auxiliary Section The Auxiliary outputs are included on this mixer as a way to enable users to have a secondary signal for whatever purpose necessary, whether it be for connecting to signal processors or to active monitors. 40. AUX Send Controls These three controls are for adjusting the audio level that is sent to the corresponding AUX outputs, the signal of which is initially taken from each channel s individual AUX send controls. Pushing the accompanying SOLO button will send the three AUX sends to the Control Room / Phones mix (pre or post fader, depending on the Solo / PFL button) and be accompanied by an illuminated LED. 41. AUX Send Outputs These four 1/4 phone jacks will output the corresponding AUX send signals These can be connected to external processing devices, and subsequently returned to the AUX Return inputs. They may also be used with active monitors, if required. 42. AUX Return Inputs These four 1/4 phone jacks make up 2 stereo AUX return inputs. They can be used to return a signal to the mixer that has been sent to an external processing device and send the signal to the Main mix Graphic Equalizer The 9-band graphic equalizer will allow users to alter the various frequencies of the audio in their Main or AUX 1 mixes, for reducing feedback and adapting audio to suit room acoustics. 43. Equalizer This stereo 9-band equalizer allows users to cut and boost the indicated frequencies by 12 db. When the FBD (feedback detection) button is in the in position, these sliders will light up to indicate that the corresponding frequency may be causing feedback or have the potential to cause feedback. This allows users to reduce the level to avoid feedback from occuring. 44. FBD In Button Push this button to activate the feedback detection circuit. This allows the sliders on the EQ to illuminate problem frequencies. 45. Main / AUX Button This button determines which signal will be processed by the graphic equalizer. The AUX 1/2 and Main signals are selectable. 46. EQ In Switch Pushing this switch will turn the graphic equalizer on and off. 43 Digital Effect Processor The built-in digital effect processor encompasses a 32/40-bit digital processor and features 100 preset programs, as well as various test-tones and tap-delay. For a completel list of effects, please observe the Digital Effects Table. 47. Digital Effect Display This 2-digital numeric display shows the program number that is currently applied to your EFX audio signal. When you rotate the Program control, you can scroll through different program numbers; however the display will revert back to the original program if a new program is not selected within a few seconds. 48. Sig and Clip Indicators Located within the Digital Effect Display are Clip and Sig LEDs. The Sig LED will light up when any signal is received by the effect processor, and the Clip LED will light up shortly before excessive signals are dynamically clipped. If the Clip LED lights up too often, it may be advisable to turn down one or all EFX controls on input channels to ensure the signal level is not too high AM2442FX / AM3242FX

9 49. Program Control This control is used to scroll through the various effects. Turning the control clockwise will allow users to ascend into higher program numbers, and turning it counter-clockwise will allow users to descend into lower program numbers. Pushing this control will apply the new effect. When a tap-delay effect is selected, pressing this control will allow users to select the tap-delay time. By pushing the button several times, the effect processor interprets the time between last two pushes and remembers this as the delay time, until the button is pushed again (this is kept, even after the power is turned off). When the tap delay effect is selected, a small LED will flash within the digital effect display window at the selected intervals. 50. EFX Send Control This rotary control will adjust the level of the output signal at the AUX 4 send jack, as well as determine the amount of audio the built-in effects processor will receive. When this control is set to it s minimum position, neither the AUX 4 send nor the effect processor will receive a signal FX to AUX 1 Control This control allows users to send the signal processed by the effects processor to the AUX 1 send mix, allowing for monitoring of the signal. 52. FX to AUX 2 Control This control allows users to send the signal processed by the effects processor to the AUX 2 send mix, allowing for monitoring of the signal. 53. FX to Main Control The FX to Main control will allow users to adjust the EFX signal that is sent to the Main or Group 1/2 mixes, as determined by the Main/Group button. 54. Main / Group Buttons These button on the left (Main L/R / Group) allows users to send the signal processed by the effect processor to either the Main or Group mixes. If this button is set to Group, using the Group 1/2 / Group 3/4 button will determine which of the group mixes the signal will be sent. If the Main L/R / Group button is set to Main, the Group 1/2 / Group 3/4 button will be rendered useless Master Section The master section of the mixer features all the goodies: the level meter, main level fader, +48V and power indicators, the solo/pfl button, and so on and so forth. This is where a lot of the magic happens, so take care not to miss anything V Indicator This LED indicator will light up when Phantom Power is activated. To turn the AM s Phantom Power on or off, simply flick the switch on the rear of the mixer. 57. Power Indicator The Power Indicator will light up when the power of the mixer is on. 58. Level Meter The dual 12 segment level meter gives an accurate indication of when audio levels of the Main L/R signal reach certain levels. The 0 db indicator illuminates is approximately equal to an output level 59 of +4 dbu (balanced), and the PEAK indicator illuminates about 1.5 db before the signal is dynamically clipped. It is advised that users set the various level controls so that the signal level sits steadily around the 0 db mark, to make full use of audio while still maintaining fantastic clarity. 59. Solo / PFL Switch Located underneath the Level Meter, this button alters the Solo signals received by the Control Room / Phones mix between Post (solo) and Pre (PFL) fader signals. Whether set to Solo or PFL, one of the corresponding LED indicators will light up to indicate the current setting. If adjusting a signal with the Control Room / Phones level control, it is advisable that this button is set to Solo, ensuring the signal is independent of any channel faders. 60. Main Fader 56 The Left and Right main mix is controlled with this fader the final level control for the Main Left and Right audio feeds, sent to the Main L and R outputs. When pushed all the way up, the Main L/R fader provides 10 db of gain to the signal, and when set all the way down, the signal is effectively muted Footswitch Jack The foot switch port is for the inclusion of a foot switch, used for remote activation and deactivation of the built-in Digital Effect processor AM2442FX / AM3242FX 9

10 61. Main Outputs These outputs will output the final stereo line level signal sent from the main mixing bus. The primary purpose of the two XLR jacks is to send the main output to external devices, which may include power amplifiers (and in-turn, a pair of speakers), other mixers, as well as a wide range of other possible signal processors (equalizers, crossovers, etcetera). The two 1/4 phone jacks are able to send the Main output to external devices that may run in parallel with the mixer. This may include additional power amplifiers, mixers, PA systems, as well as a wide range of other possible signal processors. 62. Main Insert Point Like the Insert Points on input channels, the primary use for these TRS phone jacks is for the addition of external devices, such as dynamic processors or equalizers, to the Main L and R mix. This will require a Y cord that can send (pre-fader) and receive signals to and from an external processor. When the main insert is in use, it will affect the signal sent to both the 1/4 and XLR main outputs Rear Panel 63. Phantom Power When this switch is in the on position, it activates +48V of phantom power for all microphone inputs, allowing condenser microphones (well, the ones that don t use batteries) to be used on these channels. Activating Phantom Power will be accompanied by an illuminated LED above the left channel Level Meter. Before turning Phantom Power on, turn all level controls to a minimum to avoid the possibility of a ghastly popping sound from the speakers. NB. Phantom Power should be used in conjunction with balanced microphones. When Phantom Power is engaged, single ended (unbalanced) microphones and instruments should not be used on the Mic inputs. Phantom Power will not cause damage to most dynamic microphones, however if unsure, the microphone s user manual should be consulted. 64. Power Switch You can use it to turn the mixer on and off. Ensure you turn all level controls down before activating. 65. Power Connector Used for the addition of a power cable and supply, allowing power to be supplied to the mixer. Please use the power cable that is included with this mixer only. The Fuse holder, located above the AC Power connector, is, of course, for the AM mixer s fuse. If the fuse happens to blow, open the holder cover, and replace the fuse with a suitable replacement (as indicated on the fuse holder s cover) AM2442FX / AM3242FX

11 SPECIFICATIONS Model AM2442FX AM3242FX Inputs Total Channels Balanced Mono Mic / Line Channel Balanced Stereo Line Channel 4 Aux Return 4 2T Input 2 Outputs Main L/R Stereo 2, (2*XLR, 2*1/4" TRS) Rec Out 2, RCA CTRL RM/PHONES 1, (1/4" TRS) Mono (Sub) Out 1, (1/4" TRS) Group Out 4 ( 4*1/4"TRS) Channel Strips EFX Send 1 Pan/Balance Control 1 Volume Controls 60mm fader AUX Send 4 (Pre/Post switch on Aux 1/2) Inserts 1 Master Section Phones Level Control 1 (Rotary control with route switch) Mono (Sub) Out 60mm fader with sweptable LP Main L/R Level Control 60mm fader Metering Number of Channels 2 Segments 12 Phantom Power Supply 48VDC Frequency Response (Mic input to any output) 20Hz ~ 40KHz 0/-1dB 10Hz ~ 200KHz 0/-3dB Crosstalk 0dBu, 20Hz to 20KHz bandwidth, channel in to main L/R outputs) Channel fader down, other channels at unity <-90dB Noise (20Hz~20KHz; measured at main output, Channels 1-4 unit gain; EQ flat; all channels on main mix; channels 1/3 as far left as possible, channels 2/4 as far right as possible unity, channel fader down -96dB unity, channel unity -84dB S/N ratio, ref to dB AM2442FX / AM3242FX 11

12 Microphone Preamp E.I.N. (150 ohms terminated, max gain) <-123dBu THD (Any output, +14dBu, 20Hz to 20KHz, channel inputs) <0.014% Maximum Level Mic Preamp Input +12dBu All Other Input +22dBu CTRL RM/PHONES +17dBu/150ohms Balanced Output +20dBu Impedance Mic Preamp Input 2.5k ohms Mono Line Input 21k ohms Stereo Line Input >10k ohms AUX RTN >10k ohms RCA 2T Input >10k ohms All Other Output (except REC Out, Phones Out) 120 ohms CD/TAPE out 1.6k ohms Phones Out 100 ohms Equalization 3-band +/-15dB Low EQ 80 Hz Mid EQ Sweptable 100Hz~8k Hz Hi EQ 12k Hz Low Cut Filter 75Hz (-18 db/oct) 32/40-bit Digital Effect Processor 100 effects with tap delay control Power Requirement V~, 50-60Hz, 50W Weight appox. 8.5Kg appox. 11.5Kg Dimensions (WxHxD) 682X100X410mm 896X100X410mm 12 AM2442FX / AM3242FX

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14 INTRODUCCION Queremos felicitarle por su compra de las mezcladoras AM2442FX o AM3242FX elegantes de 24 y 32 entradas con 16 y 24 canales de mic/línea balanceados y 4 canales de línea estéreo, combinadas con muchas características para hacer una mezcladora versátil y útil. Una nueva línea de mezcladoras, la serie AM da una impresionante línea de productos. Las mezcladoras AM incluyen características populares que van más allá de las regulares, como el Procesador de Efectos Digitales con 100 programas (con Tap Delay y generador de tono integrado), procesado por un poderoso DSP a 34/40 bits. Con rangos de ganancia completos, baja distorsión y un increíble rango dinámico, las mezcladoras AM tienen mucho para impresionarle. Nosotros sabemos que está impaciente por sacar la mezcladora y conectar todo que seguramente es su única prioridad en estos momentos - pero antes de hacerlo, le pedimos encarecidamente darle un vistazo a este manual. Dentro encontrará hechos importantes con imágenes de la configuración, uso y aplicaciones de su nueva mezcladora. Si usted resulta ser de esas personas que se niega totalmente a leer los manuales, entonces solo le pediremos que lea la sección de Configuración Rápida. Después de que le dé un vistazo o lea todo el manual (le felicitamos si lee todo el manual), por favor guárdalo en un lugar donde pueda encontrarlo fácilmente, esto por que puede suceder que no recuerde algo de la primera vez que leyó este documento. CARCATERISTICAS Diseño de preamp de calidad de audiofilo DFX, procesador digital multi-efecto a 32/40-bits con 100 programas 16 o 24 canales de micrófono/línea con inserts EQ de 3 bandas con barrido en medias Filtro de corte bajo a 75Hz en cada canal mono 4 buses de mezcla de envío AUX AUX 1 & 2 con selector pre/post 4 subgrupos y salida mono adicional con filtro paso bajo barrible para aplicaciones de subwoofer LEDs de indicación de Recorte (Clip) y de nivel de ganancia más selectores MUTE para cada canal Salidas de mezcla principal balanceada con conectores XLR y 1/4 TRS, salida de audífonos/control room y salidas estéreo de Tape INICIANDO Configuración Rápida 1. Asegúresee de que la mezcladora esté completamente apagada. Para asegurarse de eso, el cable de AC no debe de estar conectado a la unidad. 2. Todos los faders y todos los controles deben de estar en el nivel más bajo para asegurar que ningún audio sea enviado a las salidas cuando se prenda el equipo. Todos los niveles pueden ser modificados a niveles aceptables después de que se encienda el equipo utilizando las instrucciones de configuración de canal. 3. Conecte todo el equipo necesario en las varias salidas de la mezcladora. Esto puede incluir amplificadores, altavoces, monitores, procesadores de señal y/o dispositivos de grabación. 4. Conecte el cable de AC suministrado al conector en el dorso de la mezcladora AM y a una tomacorriente de voltaje compatible. 5. Apaggue la unidad y siga las instrucciones de configuración de canal para obtener lo mejor de su mezcladora. Configuración de canal 1. Para asegurar que se seleccionó el nivel correcto de audio del canal de entrada, cada uno de los controles de nivel de entrada de la mezcladora deberán estar en su mínima posición (que deberá ser la marca - ). 2. Coloque el control del nivel de canal que desea ajustar a la posición de 0dB. 3. Asegúrese de que el canal tenga un nivel similar de señal igual al que se utilizará en modo común. Por ejemplo, si el canal está utilizando un micrófono, entonces deberá hablar o cantar al mismo nivel que el cantante normalmente lo haría durante una presentación; si una guitarra es conectada dentro del canal, entonces la guitarra deberá ser tocada al nivel que generalmente deberá ser (y así). Esto asegura que los niveles están completamente precisos y evita tener que reiniciarlos después. 4. Presiona el selector SOLO del canal que desea ajustar. Deberá poder ya ver la señal del canal en el medidor de nivel. 5. Active el botón Solo/PFL que está debajo del medidor de nivel, permitiéndole así ver la señal pre-fader del canal. 6. Ajuste el nivel de ganancia de canal seleccionado de tal manera que el medidor de nivel indique un nivel alrededor de los 0dB. 7. Este canal ya está listo para ser utilizado, puede dejar de hacer la señal de prueba. 8. Puede repetir el mismo proceso para otros canales. Funciones de Solo-In-Place y Pre-Fader-Listen además de una sección con muchas funciones de talkback Selector de Standby que cancela (mute) todos los canales durante pausas mientras que se provee de música de fondo vía las entradas de CD/TAPE 14 AM2442FX / AM3242FX

15 ENTRADAS Y SALIDAS Canales de Entrada Mono Se tienen 16 y 24 canales mono en la AM2442FX y AM3242FX respectivamente. Para continuar, encontrará detalles en cómo estos canales funcionan, cómo hacer una conexión, cómo ajustar los diferentes controles y cómo asegurarse de obtener lo más de su mezcladora. 1. Entradas de Micrófono Estos jacks aceptan entradas típicas XLR a 3 pins para señales balanceadas y desbalanceadas. Pueden ser utilizadas con micrófonos- profesionales de condensador, dinámicos o ribbon- con conectores estándar XLR machos y, tienen pre-amplificadores de bajo ruido, que sirven para reproducción cristalina del audio. NOTA. Cuando estas entradas se utilizan con micrófonos de condensador, deberá activarse la fuente fantasma. Sin embargo, cuando la fuente fantasma está activada, no deberá de conectarse micrófonos de un extremo (desbalanceados) y los instrumentos no deberán ser conectados a las entradas de micrófono. 2. Entradas de Línea Esta entrada acepta entradas típicas 1/4 TRS o TS, para señales balanceadas o desbalanceadas. Hay varias de estas entradas dependiendo de la mezcladora que está usando. Pueden utilizarse con un amplio rango de equipos de nivel de línea como teclados, cajas de ritmos, guitarras eléctricas y una gran variedad de instrumentos electrónicos. 3. Puntos de Insert Localizado en todos los canales mono, el uso principal de estos jacks TRS es para agregar dispositivos externos, como procesadores dinámicos o ecualizadores, al canal correspondiente de entrada mono. Esto requerirá de un cable Y que pueda enviar y recibir señales de mezcladora desde y a un procesador externo. 4. Control de Ganancia Controla la sensibilidad de la señal de entrada del canal de Línea y de Micrófono de los canales mono. La ganancia deberá ajustarse a un nivel que permita el máximo uso del audio, mientras que se mantenga la calidad de la alimentación. Esto puede lograrse al ajustarlas a un nivel ligeramente por debajo del cual se active el indicador de pico. 5. Filtro de Corte Bajo Localizado en todos los canales mono, este botón activará un filtro de paso alto que reducirá todas las frecuencias debajo de los 75 Hz a 18 db por octava, ayudando a remover cualquier ruido desagradable o vibraciones de piso. Los canales estéreo no presentan este filtro de corte bajo. 6. Control de Frecuencias Agudas Utiliza este control para dar un realce tipo Shelving o recorte de ±15 db a los sonidos de altas frecuencias (12 khz). Esto ajustará la cantidad de agudos incluidos en el audio del canal, agregando fortaleza y sonido cristalino a las guitarras, metales y sintetizadores Control de Frecuencias Medias Este control se utiliza para proveer un refuerzo estilo pico y recorte del nivel de las frecuencias medias (2.5kHz) en un rango de ±15 db. Las mezcladoras AM también proporcionan un control del barrido, permitiendole seleccionar una frecuencia de centro entre 100 Hz y 8 khz. Cambiar las frecuencias medias del la alimentación del audio puede ser difícil si se utiliza en una mezcla de audio profesional, debido a que usualmente es más deseable recortar los sonidos de frecuencias medias en vez de reforzarlas, reforzar los sonidos medios disparara los sonidos estridentes en las voces y en los instrumentos en el audio. 8. Control de Frecuencias Graves Utiliza este control para dar un realce tipo Shelving o un recorte de ±15dB a los sonidos de frecuencias bajas (80Hz). Esto ajustará la cantidad de bajos incluidos en el audio del canal y ofrecerá mas calidez y punch a las baterías y a los bajos. 9. Controles AUX Estos cuatro controles AUX alteran el nivel de la señal que es enviado a los buses de mezcla AUX 1 y 4, cuya señal es adecuada para conectar monitores de escenario, permitiendo así a los artistas escuchar su música mientras es reproducida. Los AUX 1 y 2 tienen un selector Pre/Post, el cual alterna la alimentación a bus de mezcla entre señal pre fader o post fader. El AUX 3 por otro lado, actúa como un envío de EFX, cuya señal puede ser utilizada con procesadores de señal externo (la cual puede ser regresada a la mezcladora vía retorno AUX), o simplemente como una salida Auxiliar. Ambos controles AUX 3 (EFX) y AUX 4 son post fader y son enviados directamente a las salidas correspondientes. 10. Selector AUX Pre/Post Este selector permite a los usuarios cambiar la señal enviada a las mezclas AUX 1 y 2 desde los canales de entrada correspondientes entre una señal pre fader o post fader. Presionándolo la señal será post-fader, liberándolo la señal será pre-fader. 11. Control de Paneo Alterna el grado o nivel de la señal de audio mono que los canales izquierdo y derecho de la mezcla principal deberán de recibir AM2442FX / AM3242FX 15

16 12. Botón Mute e Indicador Presionando el botón Mute, cortará la alimentación de la mezcla principal de señal de canales correspondientes. Si el selector pre/post AUX es colocado en la posición post, las señales AUX 1 y 2 también serán recortadas. Activando el selector Mute a un canal de entrada será acompañado de un indicador LED. 13. LED de Clip Este indicador LED se iluminará cuando el canal alcance altos picos, ligeramente antes de que la señal sea recortada 17 dinámicamente. Es mejor ajustar el nivel del canal de tal manera que se asegure que el indicador de Clip no se ilumine. Esto asegurará un mayor rango dinámico en el audio. Este indicador también funciona como indicador SOLO, cuando el botón SOLO es activado. 14. Botón Solo El botón Solo es presionando para permitir que la señal del canal correspondiente sea enviada a la mezcla de Control Room/ Audífonos (pre o post fader dependiendo de las propiedades seleccionadas por el botón Solo/PFL ubicado debajo del medidor de nivel), para ser utilizado ya sea con audífonos o monitores de estudio. Este selector permite un fácil aislamiento de las señales individuales del canal, permitiendo un ajuste más sencillo de la ganancia de entrada o de rastreo de audio por los ingenieros de sonido. Cuando el selector de solo no está activado, el indicador LED funcionará entonces como indicador de Clip, iluminándose cuando la señal alcanza picos altos. 15. Botones 1-2 y 3-4 Estos dos botones permite a los usuarios a rutear la señal de canal a sus respectivos subgrupos. Se tiene de un total de 4 subgrupos. Si los usuarios quieren enviar la señal del canal a uno de ellos, digamos al sub 1 pero no al sub 2, simplemente utiliza el paneo del canal (colocándolo completamente a la izquierda) para lograr esto. 16. Botón Main Presionando este botón envia la señal del canal correspondiente a la mezcla principal. 17. Fader de Canal Este control alterará el nivel de la señal que es enviada desde el canal correspondiente a los buses de mezcla. Canales de Entrada Estéreo Los canales Estéreo difieren ligeramente de los canales mono en sus controles y conexiones. A continuación encontrará una descripción de las diferencias y para qué son buenos estos canales. 18. Entradas Estéreo Las mezcladoras AM tienen 4 canales de entrada estéreo, cuyas entradas difieren ligeramente de los canales mono. Las dos entradas 1/4 TRS son para agregar diferentes dispositivos estéreos de entrada de nivel de línea, como teclados o cajas de ritmos. Si desea utilizar un dispositivo monoaural en una entrada de retorno estéreo, simplemente conecte el jack 1/4 de dispositivo a la entrada izquierda (mono) estéreo y deja la entrada derecha sin conexión. La señal será copiada al canal derecho gracias a la magia de la normalización Ecualizador de 4 Bandas Los canales estéreo en las mezcladoras AM tienen un ecualizador casi idéntico a los de los canales mono; sin embargo, en lugar de un control de medios y control de barrido, se tienen controles de Medio-Alto y de Medio-Bajo. Estos dan un control estilo pico de refuerzo y recorte a las frecuencias medias, mientras que las frecuencias están a 3kHz y 800Hz para Medio-Alto y Medio Bajo respectivamente. 20. Controles AUX Los controles AUX en los canales estéreo son los mismos que los de los canales mono, sin embargo, debido a que las mezclas AUX siempre son mono, cualquier señal estéreo será mezclada en señal mono antes de ser enviada a la mezcla AUX correspondiente. 21. Control de Balance Este control giratorio alterna el grado o nivel de audio que el lado izquierdo o derecho de la mezcla principal deberá de recibir. Ajustando este control, atenuará la señal de audio izquierda o derecha de canal correspondiente. 22. Botones de Mute y Ruteo Los botones Mute, Main, 1-2 y 3-4 en los canales estéreo no difieren en la operación de los canales mono. Sin embargo, es importante asegurarse de que cuando los botones 1-2 y/o 3-4 están presionados, el control de Balance esté a la mitad, así se asegurará de que la señal estéreo permanecerá una señal estéreo. 23. Canales Estéreo 21/22 y 23/24 (solo en AM2442FX) Canales Estéreo 29/30 y 31/32 (solo en AM3242FX) Los 2 canales estéreo finales en ambas mezcladoras AM tienen controles simplificados. Aquí encontrará dos envíos AUX (permanentemente cableados como pre-fader, útil para monitoreo), un control de nivel y un botón Solo. Debido a que no se tienen ningún selector de ruteo, la señal es enviada permanentemente a la mezcla Principal (y mezclas AUX apropiadas) AM2442FX / AM3242FX

17 Subgrupos Los subgrupos en las mezcladoras AM permitirán a los usuarios crear mezclas mono o estéreo de múltiples canales de entrada y controlarlas con un solo fader. Es también muy común utilizar las salidas de Grupo como salidas-tape para conectar con grabadoras de multi-pista. 24. Botones Solo El botón solo permite a la señal de Grupo ser enviada pre o post fader (dependiendo de lo seleccionado en SOLO/PFL) a la mezcla de Control Room/Phones, permitiendo a los usuarios ser capaces de monitorear la señales de subgrupo. Cuando se active, el indicador LED de Solo será activado. 25. Botones Izquierdo/Derecho Los controles de grupo también tienen botones individuales izquierdo y derecho, 26 los cuales le ayudan a enviar las diferentes señales de Grupo a la mezcla principal izquierda y derecha. Esto puede ser útil cuando se quiere combinar las diferentes señales y controlar sus niveles de entrada simultáneamente, y de ahí enviarlas a la señal de Main L/R (ej. cuando múltiples entradas son utilizadas para, digamos, batería, podrá combinarlas para ser controladas más sencillamente con un solo fader). 26. Faders Estos cuatro faders son el control final de nivel para las alimentaciones de audio de Grupo 1 a 4, enviadas a las salidas de Grupo correspondientes en la parte posterior de las mezcladoras AM para alimentar a dispositivos externos como procesadores de efecto y, más comunmente grabadoras de multi-pista. La mezcla de Grupo puede ser alimentada por una señal desde varios canales mono y estéreo, así como de la señal de EFX, dependiendo de sus selecciones. Cuando están completamente hacia arriba proveerán de 10 db de ganancia a la señal, y cuando están completamente hacia abajo cancelaran efectivamente la señal. 27. Salidas de Grupo Estos jacks 1/4 darán la salida final de la mezcla de Grupo 1, 2, 3 y 4, cuyo nivel es determinado por los Faders de Grupo. Pueden ser utilizados para alimentar una variedad de dispositivos de grabación y de PA, incluyendo grabadoras multi-track, amplificadores, altavoces etc. Canal Mono / Subwoofer La salida Mono es utilizada como una salida auxiliar (cuya señal es tomada de la mezcla principal), y puede ser conectada a un amplificador y altavoces. El filtro pasa bajas incluido permite que la señal de la salida mono sea más apropiada para utilizarse con altavoz subwoofer, para agregar un poco de sonido grave extra a su audio. 28. Filtro Pasa Bajas El filtro pasa bajas es activado al mover el pequeño interruptor deslizable a la posición ON. El control que lo acompaña permitirá a los usuarios ajustar la frecuencia de corte del filtro. Si los usuarios desean utilizar el canal mono para monitoreo o cualquier uso similar, el filtro pasa bajas deberá ser desactivado Fader Mono Este fader controla el nivel de la señal mono que es enviada a las salidas mono. 30. Salida Mono La señal de nivel de línea que es enviada desde la salida mono puede ser utilizada para conectar un amplificador o altavoz activo. También es posible utilizar esta salida para propósitos de monitoreo, con audífonos o con monitores activos. Sección de Talkback Útil en estudios o en el escenario, la función de talkback integrada a las mezcladoras AM permite a los ingenieros o productores a cualquiera de hecho- comunicarse con el otro lado de la producción cuando sea necesario. 31. Control de Nivel de Talkback Este control ajusta el nivel de la señal de talkback que es enviada a las salidas AUX 1 y Botón Talk to AUX Presionando este botón se activa el micrófono talkback integrado de la AM, la señal será enviada a las salidas AUX 1 y 2. Mantén este selector presionado hasta que termine de hablar. 33. Micrófono de Talkback Dirija su voz hacia este lugar cuando desea comunicarse con su actor/músico. Control Room & Phones Las mezclas de Control Room y de Audífonos son útiles para monitoreo de las señales de audio. Es importante recordar, particularmente cuando se utiliza audífonos, que escuchar un audio muy fuerte por períodos largos de tiempo puede afectar seriamente su audición. 34. Control de Nivel Este control giratorio permitirá a los usuarios ajustar el nivel del audio de la señal de Control Room/Phones (recibida por los canales de entrada, y aquellos escogidos por los botones de Selección de Fuente). Si se utilizan monitores activos con la salida de Control Room/Phones, entonces este control actuará como control de nivel de monitor. 35. Selección de Fuente Este conjunto de botones permite a los usuarios seleccionar qué señales desean enviar a la salida de Control Room/Audífonos. Se tiene un selector para las mezclas AUX 1/2, CD/Tape, 1-2, 3-4 y Main. Estas señales pueden ser monitoreadas simultáneamente, si se desea. 36. Salidas de Control Room / Phones Estos jacks 1/4 de salida dan la señal alterada por el control de nivel de Control Room/Phones en la parte delantera de la mezcladora a un altavoz externo o audífonos. Esta salida tiene un uso extenso, puede utilizarse para alimentar la señal de la mezcladora a un monitor activo, para monitorear la señal de audio desde una cabina, entre muchos otros posibles usos AM2442FX / AM3242FX 17