Peavey 99571392 Users Manual

AAM™2443/3243

User Manual

ARCHITECTURAL ACOUSTICS

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AAM™2443/3243

Reference Quality Recording and Sound Reinforcement Console

INTRODUCTION

Thank you for purchasing the AAM 2443/3243 mixing console. These consoles represent years of experience in mixer engineering and offer incredible versatility through their flexible 13-bus design. Their impressive 4 SUB GROUPS, 6 AUX, L/R and MONO outputs place these mixers in a league of their own. Additionally, each SUB group features a high-quality dynamic compressor that can be used on the corresponding SUB mix, or can be patched to any channel INSERT. Compact package design and rugged construction make the AAM ideal for a variety of installations. Covering both the AAM 2443 and the AAM 3243, this guide describes the features and controls found on your new mixer including:

• 24 (AAM 2443) or 32 (AAM 3243) input channels; each with GAIN, EQ, AUX and PAN controls, as well as SUB, L/R and MONO assign buttons

• Low-noise mic preamps and XLR connectors on each channel

• Balanced 1/4" LINE inputs on CHANNELS 1-22 (AAM 2443) or 1-30 (AAM 3243)

• INSERT jacks on CHANNELS 1-20 (AAM 2443) or 1-28 (AAM 3243)

• Innovative chassis design with recessed back panel connectors (ideal for desktop placement)

• Smooth, 60 mm CHANNEL, SUB, L/R and MONO faders

• Phantom power with separate activation switches and LEDs indicating operation on CHANNELS 1-16 or 17-24 (AAM 2443); 1-24 or 25-32 (AAM 3243)

• 2 SUPER CHANNELS with PAD (-20 dB) and POLARITY buttons

• 2 STEREO CHANNELS with 1/4" and RCA connectors

• 6 AUX sends (4 balanced XLR)

• 4 SUB groups with patchable dynamic compressors

• MUTE and PFL buttons, clip (PK) and signal (SIG) LEDs on all input channels

• Two RETURNs, each with switchable low-cut (150 Hz) filter, level control, bus assignment, mute and AFL

• PFL on all input channels

• AFL on all AUX SEND, RETURN, SUB and MONO channels

• Stereo HEADPHONE output

• BALANCED XLR and UNBALANCED 1/4" outputs for MONO, LEFT and RIGHT

• LEFT, RIGHT and MONO master INSERTS

• SUB group and MASTER CLIP LEDs sample at summing amp and post-FADER

EXPLANATION OF TERMS

BUSES – The signal paths through the mixer from the channels to the various outputs. AAM mixers

contain 13 different buses: L, R, MONO, SUBS 1-4, AUX 1-6.

SUB groups – The buses used to group channels together. This allows one fader to control a sub mix of many channels.

AUX sends – The buses used to route signals to effects and monitors from each channel. PRE means AUX level is not affected by fader setting; POST means AUX level is affected by fader setting.

ENGLISH

PFL – PRE-FADER LISTEN. PFLs send signals to the headphone output and are not affected by

the fader setting.

AFL – AFTER-FADER LISTEN. AFLs send signals to the headphone output and are affected by fader setting.

LOW CUT – (channel low cut) These adjust the frequency in the channel where the low frequencies begin to roll off, and are variable by frequency from OFF (inaudible) to 300 Hz.

1/2, 3/4, L/R, MONO – These buttons route the channels to their respective output buses. BAL/PAN determines 1/2, 3/4 or L/R.

INSERTS – These jacks allow the signal to be taken from and returned to the channel, allowing outboard equipment to be inserted into the signal chain.

MID FREQ – This control selects the frequency adjusted by the MID control in the EQ section.

COMPRESSORS – These reduce levels at a ratio of 4 to 1 when the THRESHOLD is reached.

THRESHOLD – This control sets the level at which compression activates. GAIN – This control sets the output level from the compressor. This is really a

makeup gain, allowing the user to recover gain lost by compression.

LINK – When these buttons are depressed, the input to compressor 1 activates

compressors 1 and 2, and the input to compressor 3 activates compressors 3 and 4. SUBGROUP/EXTERNAL – This button routes the compressor signal to the compressor output jack (LED indicates external jack). This jack is wired reverse of an insert jack, allowing the compressor to be patched with a 1/4" TRS cable.

PHANTOM POWER – Provides +48 Volt power to microphones that need it.

CONNECTOR WIRING

Unless otherwise stated, all input and output jacks are wired as follows: XLR (MIC) – Pin 1 = GROUND

Pin 2 = POSITIVE Pin 3 = NEGATIVE

TS and TRS – Tip = POSITIVE (SEND)

Ring = NEGATIVE (RETURN) Sleeve = GROUND

RCA (PHONO) – Tip = POSITIVE

Cup = GROUND

UNPACKING

Inspect the console carefully during unpacking. If you find any damage, notify your dealer immediately. Be sure to save the carton and all packing materials. Should you ever need to ship the unit back to Peavey Electronics, one of its service centers, or the dealer; use only the original factory packing.

STANDARD CHANNELS

[CHANNELS 1 — 20 (AAM

™

2443) AND 1 — 28 (AAM 3243)]

REAR PANEL CONNECTIONS (1) INSERT

This jack is a 1/4" Tip/Ring/Sleeve (TRS) connection that allows a pre-EQ, pre-fader signal to be taken from and returned to the channel. Insert jacks are often used to route an input signal to an external signal processor. The on-board compressors can be patched to any channel with an INSERT.

(2) LINE

This jack is a 1/4" balanced (TRS) highimpedance input for high level signals. The tip is the positive input, which should also be used for unbalanced inputs. This input is connected through a 20 dB pad to the MIC input (3). The two inputs cannot be used simultaneously.

(3) MIC

This jack is a balanced XLR (3-pin) lowimpedance connection intended for microphones. Other low-impedance signals such as instruments sent to the console via direct boxes will also utilize these inputs.

CHANNEL STRIP CONTROLS

(4) GAIN

This control varies the input gain of the channel to provide a wider dynamic range. The adjustment range is +10 dB to +58 dB for the XLR input and –10 dB to +38 dB for the line input. Proper adjustment of input gain maximizes signal-to-noise ratio. Optimum gain setting can be achieved by depressing the PFL switch (15) and adjusting the GAIN control until the signal occasionally illuminates the 0 dB LED in the AFL/PFL display (45).

(5) LOW CUT

This control adjusts the setting of the low-cut filter. Variable from no cut to cut below 300 Hz, this feature reduces/eliminates extremely low frequencies that cause “low-end rumble,” and is a very effective tone-shaping tool. It can also be used to reduce the “boominess” sometimes encountered with male voices.

(6) HI

This active tone control is a shelving-type that varies high-frequency response by +/-15 dB in the range above 12 kHz.

(7) MID

This active tone control is a bandpass (peak/notch) type that varies mid-frequency response by +/-15 dB in a range from 200 Hz to 6 kHz.

IP=SEND RING=RETURN SLEEVE=GROUND)

INSERT

(TRS)

LINE

(BAL)

MIC

(BAL)

INSERT

(TRS)

LINE

(BAL)

MIC

(BAL)

(8) MID FREQ

This control determines the center frequency of the MID control. Center frequency for the bandpass filter can be set from 200 Hz to 6 kHz.

(9) LOW

This active tone control is a shelving-type that varies low-frequency response by +/-15 dB. Corner frequency is 75 Hz.

(10) AUX 1 – 4

These controls adjust the level of the channel’s pre-fader signal that is sent to the auxiliary mix. Gain is variable from minus infinity (– ∞) to +10 dB. Unity gain is at the center detent position. Pre-fader auxiliaries are typically used to send signal to stage monitors, but can also be used to generate an independent recording mix.

NOTE: AUX SENDS 1-4 are factory set to deliver signal pre-EQ, but can be modified (internally) to deliver signal post-EQ. Contact Peavey Electronics’ Service Dept. for information. AUX SENDS 5-6 are always post-EQ.

(11) AUX 5 – 6

These controls adjust the level of the channel’s post-fader signal that is sent to the auxiliary mix. Gain is variable from minus infinity (– ∞) to +10 dB. Unity gain is at the center detent position.

(12) PAN

This control determines the signal’s position with respect to L/R and SUB 1 – 4 outputs. Rotating the control counterclockwise increases the amount of signal sent to L and odd-numbered SUBs; rotation clockwise increases the amount sent to R and even-numbered SUBs. For example, with the channel ASSIGN switch (13) in the 1/2 position, rotating the control counterclockwise increases the amount of signal sent to SUB 1, while rotating clockwise increases the amount sent to SUB 2. The C position sends equal amounts to each.

(13) 1/2, 3/4, L/R, MONO (ASSIGN)

These post-fader, post-EQ switches determine where the channel signal is being sent. For example, to send a signal to SUBs 1 & 2, depress the 1/2 button. The PAN control (12) determines how much signal is sent to each SUB group.

(14) MUTE SWITCH/MUTE-CLIP LED

This switch mutes all AUX, SUB, L/R and MONO sends from the corresponding channel. This switch is equipped with a red LED that will illuminate when the channel is muted. When the MUTE switch is disengaged, the LED functions as a clip (PK) indicator that will illuminate at 2 dB below clipping. Muting the channel does not prevent the PFL signal from being sent to the PFL mix when the PFL switch (15) is engaged.

(15) PFL SWITCH/SIGNAL-PFL LED

This switch connects the channel’s pre-fader signal to the PFL mix. With this feature engaged, the channel’s signal can be monitored through the headphones and/or on the AFL/PFL display. A yellow

010

10050

150

300

OFF

1515

1K700

EQUALIZATION

2.5K

300

200

1515

6 15 40

PREPOST

15 40

6 15 40

1/2 3/4

L/R MONO

CHANNEL

MUTE/ PK

6 3

0 6

GAIN

LOW CUT

(Hz)

(dB)

MID

(dB)

MID

FREQ.

(Hz)

LOW

(dB)

AUX

PAN

SIG/ PFL

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