Peavey AAM 1662 User Manual

AAM™1662

Audio Mixer

User Manual

Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

CAUTION: Risk of electrical shock — DO NOT OPEN! CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer

servicing to qualified service personnel.

WARNING: To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture. Before using this appliance, read the operating guide for further warnings.

Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” sin aislamiento dentro de la caja del producto y que puede tener una magnitud suficiente como para constituir riesgo de descarga eléctrica.

Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la operación y mantenimiento en la información que viene con el producto.

PRECAUCION: Riesgo de descarga eléctrica ¡NO ABRIR! PRECAUCION: Para disminuír el riesgo de descarga eléctrica, no abra la cubierta. No hay piezas útiles dentro.

Deje todo mantenimiento en manos del personal técnico cualificado.

ADVERTENCIA: Para evitar descargas eléctricas o peligro de incendio, no deje expuesto a la lluvia o humedad este aparato Antes de usar este aparato, Iea más advertencias en la guía de operación.

Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur la présence d’une tension dangereuse pouvant être d’amplitude suffisante pour constituer un risque de choc électrique.

Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur qu’il ou qu’elle trouvera d’importantes instructions concernant l’utilisation et l’entretien de l’appareil dans le paragraphe signalé.

ATTENTION: Risques de choc électrique — NE PAS OUVRIR!

ATTENTION: Afin de réduire le risque de choc électrique, ne pas enlever le couvercle. Il ne se trouve à l’intérieur

aucune pièce pouvant être reparée par l’utilisateur. Confiez I’entretien et la réparation de l’appareil à un réparateur Peavey agréé.

AVERTISSEMENT: Afin de prévenir les risques de décharge électrique ou de feu, n’exposez pas cet appareil à la pluie ou à l’humidité. Avant d’utiliser cet appareil, lisez attentivement les avertissements supplémentaires de ce manuel.

Dieses Symbol soll den Anwender vor unisolierten gefährlichen Spannungen innerhalb des Gehäuses warnen, die von Ausreichender Stärke sind, um einen elektrischen Schlag verursachen zu können.

Dieses Symbol soll den Benutzer auf wichtige Instruktionen in der Bedienungsanleitung aufmerksam machen, die Handhabung und Wartung des Produkts betreffen.

VORSICHT: Risiko — Elektrischer Schlag! Nicht öffnen! VORSICHT: Um das Risiko eines elektrischen Schlages zu vermeiden, nicht die Abdeckung enfernen. Es befinden

sich keine Teile darin, die vom Anwender repariert werden könnten. Reparaturen nur von qualifiziertem Fachpersonal durchführen lassen.

ACHTUNG: Um einen elektrischen Schlag oder Feuergefahr zu vermeiden, sollte dieses Gerät nicht dem Regen oder Feuchtigkeit ausgesetzt werden. Vor Inbetriebnahme unbedingt die Bedienungsanleitung lesen.

GENERAL CAUTIONS AND WARNINGS!

To prevent electrical shock or potential fire hazards, do not expose the AAM

™

1662 to moisture or rain.

Before using this product, read the user manuals for further warnings and cautions.

The following cautions should be carefully observed when installing, wiring or using this product:

DO NOT use any other power supply or cable other than the one provided with this unit.

DO NOT remove the top cover of the unit. There are no user serviceable parts inside. Refer service to qualified personnel.

DO NOT use solvents or other cleaners to clean the unit. Basic external care requires only a damp cloth. Disconnect the power supply cord before cleaning.

Read all safety and installation instructions and retain all documentation for further reference.

The AAM 1662 should be installed so that its mounting position does not interfere with proper ventilation.

This product should not be installed or placed near a source of heat.

Power supply cords and associated connectors should be unplugged from the power source when the unit is not used for long periods of time, or will be stored.

If this product is to be mounted in an equipment rack, install rear support if required by the rack manufacturer.

Care should be taken to ensure that the installation is clear of possible sources of contamination. Make sure that the product’s ventilation openings are not exposed to possible sources of liquid, gases, or other contaminants.

This product should be inspected by a qualified service technician if the power supply cord or connector has been damaged, if the unit has been dropped, or if a foreign substance has gained access to the interior electronic and electrical components.

The information contained in this manual is subject to change without notice. Peavey Electronics is not liable for improper installation or configuration. The information contained herein is intended only as an aid to qualified personnel in the design, installation and maintenance of engineered audio systems. The installing contractor or end user is ultimately responsible for the successful implementation of these systems.

All creative content, including but not limited to, specifications, layout design, artwork, photography, drawings, illustrations and logos are Copyright © 2001 Peavey Electronics Corporation, all rights reserved, except where noted. The "fast forward", stylized Peavey logo, the “AA Blue Wave” logo and the Architectural Acoustics brand name are registered trademarks of Peavey Electronics. Un-authorized duplication or distribution is prohibited by law. This manual was designed, written, formatted, pre-press and printed in Meridian, Mississippi, USA. 2001.

Manual by WR.

Pag e 4

Thank You!

6

What’s In The Box?

6

Description

7

8

Conventions

9

Installation

10

Assumptions

11

Gain Structure & Setting the Input Gain

12-13

Channels 3 through 8 Front Panel Features

17

Group Outputs 1 through 4 Features

23

Specifications

30-31

Master Block Diagram

32-33

Warranty Statement

35

Channels 1 & 2 Rear Panel Features

14

Channels 9 through 14 Rear Panel Features

18

Group Outputs 5 & 6 Rear Panel Features

24

Pre Fader Aux Output Features

25

Master Section Front Panel Features

28

Technical Support

29

Channels 9 through 14 Front Panel Features

19

Channels 15 & 16 Rear Panel Features

20

Channels 15 & 16 Front Panel Features

21

Output Section

Main Outputs Rear Panel Features

22

Channels 1 & 2 Front Panel Features

15

Channels 3 through 8 Rear Panel Features

16

AAM™1662 User Manual

Thank You!

Thank you for purchasing the AAM 1662 audio mixer. The AAM 1662 represents the latest in state-of-the-art audio technology for fixed commercial audio installations.

This manual was written to provide as much information as possible for your new Peavey Architectural Acoustics product. It is our sincere desire that you enjoy your purchase.

We feel that the best way to fully enjoy any purchase is to have an in-depth understanding of the product’s features, functionality and performance characteristics. We hope that this manual, along with the manuals of our other products, will provide this. If you require additional information that this manual does not provide, please let us know. We are continuously looking for better ways to provide information about our products, and your input is always appreciated.

If you have a comment about this manual, or would like to make a suggestion, please write to: Peavey Electronics Corp., Architectural Acoustics Division, 711 A St., Meridian, MS 39301. Thank you again for using Peavey!

What’s In The Box?

The AAM 1662 is packaged in a single container. This container includes the following items:

1- AAM 1662 analog mixer 1- IEC removable power supply line cord

(120 VAC Domestic, 230 VAC Export) 1- User manual/literature package 1- Warranty card

If any of these items are missing, please contact your Authorized Peavey Architectural Acoustics contractor/dealer.

Welcome

Pag e 7Peavey Electronics Corporation

Description

The AAM™1662 is a high quality, commercial grade analog audio mixer. Designed for desktop or rack mounted installation, the AAM 1662 represents the latest, state-of-the-art technology in analog circuit design.

The heart of the AAM 1662 is centered around its extensive mix bus architecture which includes fourteen separate audio buses. Driving these buses are four different types of input assemblies that offer extremely high performance, versatility and value for most fixed audio applications.

The AAM 1662 includes a versatile input complement. Choices include two full-featured microphone or line level inputs, six normal mic/line inputs, six mic/dual sum line inputs and two mic/line stereo inputs. All microphone inputs include 48 V phantom power and studio grade microphone preamplifiers.

The input assign functionality is very rich, and includes multiple options for sending microphone, single line, dual line or stereo line signals to the output buses. Multiple options for routing and distributing input signals make the AAM 1662 one of the most flexible audio mixers on the market today.

The AAM 1662 is equally impressive on the output side. The fourteen discreet mixing buses coupled with eleven output connectors makes this unit even more versatile. The main L/R and Aux 1/2 outputs are fully balanced, as is the summed mono output, derived from the L/R buses.

A full monitoring section provides selectable inputs for headphones or control room outputs. Inputs for these outputs are selectable from any of the balanced output buses as well as a separate 2-track input that simultaneously feeds the L/R bus. A full-featured PFL cue mix rounds out this section.

Overall, the AAM 1662 is a powerful, easy-to-use, high performance product. Sonic performance is well beyond what is to be expected in this price range, and the wealth of features, busing and routing make the AAM 1662 perfect for most audio applications where multiple inputs and outputs are required.

With a clean package that is equally suited for desktop or rack mounted applications, the AAM 1662 looks as good as it sounds. A rear panel connector bay, removable IEC power connector and several rear panel controls make this unit easy to implement in fixed installation applications.

Features

Applications

Sixteen full-featured microphone or line inputs Four different input configurations Very low noise (VLZ) microphone preamplifiers 48 V phantom power, selectable in two zones Inserts on channels 1-8 Super channels with pad, polarity and separate phantom power switch Mute, clip, signal presence & PFL LED on all input channels Eight additional dual line level inputs w/level control Precision 60 mm audio faders PFL on all inputs & subgroups Three-band EQ with sweepable mid-range band on channels 1-8 Balanced stereo outputs Balanced mono output Four subgroups with independent outputs One stereo subgroup Two pre-fader balanced auxiliary outputs Four post-fader auxiliary outputs Stereo master tape I/O Selectable headphone or control room monitoring Desktop or rack mount package Rear panel connector bay Domestic (U.S.) & export versions available

The AAM 1662 is a very powerful tool. Ease of use, external control options and a powerful interface make the AAM 1662 perfect for many applications. Among the many applications the AAM 1662 was designed for include:

• Presentation Rooms

• Board Rooms

• Courtrooms

• Auditoriums/Cafetoriums

• Lecture Hall Sound Reinforcement

• Meeting Rooms

• Convention Centers

• Houses of Worship

•

Live Performance Venues

• Retail Spaces

• Restaurant/Bar Sound

The new features, performance advantages and functionality included in the AAM 1662 make this product one of the best audio values available. From simple systems with basic audio requirements, to full blown integrated systems, the AAM 1662 is an excellent choice.

AAM™1662 User Manual

Description

Pag e 9Peavey Electronics Corporation

Conventions

This manual is written to provide as much practical information as possible about the AAM

™

1662 audio mixer. Primarily written for the systems inte-

grator, there is also much here that can benefit the end user.

In order to present a clear, comprehensive and logical summary of the product’s features, this manual is written around the AAM 1662’s architecture. Essentially, an audio mixer is a collection of inputs and outputs, with several audio buses in between. If you look carefully at the master signal flow diagram on pages 32-33, you can see this clearly.

This manual presents the features of the AAM 1662 as they relate to the signal flow. Each section of features is accompanied by the signal flow diagram for that section. Each part of the signal flow is described and graphics of corresponding panel features are included for each section as well.

It is very important to understand the relationship of signal flow components and how they relate to their front and rear panel counterparts. But unlike other mixer or console manuals, this book is not a collection of simple knob, button and connector labels. The objective here is to present the complete mixer. Without understanding signal flow, this is impossible.

This manual is broken into sections for each block of signal flow. These sections include:

• Super channel inputs (Channels 1 & 2).

• Input channels with direct outputs included (Channels 3-8).

• Input channels with dual line inputs included (Channels 9-14).

•

Input channels with stereo inputs included (Channels 15-16).

•

Main outputs (Left, Right, Mono)

•

Main group outputs (Group 1-4).

• “Bonus” group outputs (Group 5-6).

• Balanced aux outputs (Aux 1-2).

• Unbalanced aux outputs (Aux 3-6).

• Master (Headphones, PFL, Tape I/O and CR).

In this way, a complete primer of the mixer’s signal flow and accompanying functionality is presented. At the same time, the manuals organization and presentation style facilitates itself as an excellent reference book for quick answers to common field questions.

All balanced XLR connections follow the AES standard. This means that pin 2 carries the positive side of the signal, pin 1 carries the negative side of the signal and pin 1 is terminated to the shield, or chassis ground.

AAM™1662 User Manual

Installation

For desktop applications, the AAM 1662 can be installed just about anywhere there is good air flow and normal indoor conditions. Please refer to the cautions for exterior environments on page 3 of this manual.

For rack mounting, the AAM 1662 is designed to be installed in commercial grade, EIA electronic equipment racks only. Installing this unit in non-EIA racks or in other configurations is not recommended. Failure to install this product in the proper enclosure may void your warranty.

The AAM 1662 is convection cooled, and care should be taken not to block the air intake or exhaust path located on the sides of the unit. When installed in EIA racks, the AAM 1662 can be installed adjacent to other equipment without additional venting; however, it is recommended that common sense be applied to large installations where multiple units are mounted in a single rack. It is generally accepted that a ratio of one rack vents for every two audio components is a good rule of thumb that usually provides adequate performance. In installations where adverse conditions exist, and room temperatures are likely to rise, additional vents should be installed.

The AAM 1662 can be installed into any EIA rack with an internal depth clearance of 18" or more. This will allow plenty of space for the unit, and its associated wiring harness. When dressing off wiring harnesses, take care and leave plenty of room for bends and terminations. Allow the cable to progress naturally between components. Creating tightly wrapped wire bundles can cause broken solder joints and defective terminations.

To successfully install your new AAM 1662, and perform the testing examples contained in this manual, you will need the following components:

•

One AAM 1662 mixer

•

A high quality balanced microphone and cable

•

A stereo line level audio source with connecting cables (CD player)

• A two-channel power amplifier

• Two high quality loudspeakers

In most audio systems, the minimum configuration consists of an input signal, gain amplifiers, distribution/routing circuits, signal processing, power amplification and output transducers. Depending on your system, this may consist of several products. When using the AAM 1662, at least one signal source and output system are required to configure the minimum system. Of course, most systems will include more inputs and outputs, but this is the basic configuration required to work with this manual.

The use of high quality, audio cables is required to successfully implement the AAM 1662 with professional audio systems.

Installation

Pag e 11Peavey Electronics Corporation

Assumptions

The AAM™1662 is designed for basic or advanced audio systems. It is assumed that you have a working knowledge of basic audio signal flow, gain structure, installation, troubleshooting and operation of common analog audio components.

Additional experience with integrated systems is recommended when installing the AAM 1662. A successful installation will require a solid, well-designed cabling system with professionally performed terminations.

If you do not have this knowledge and experience, please refer the configuration and installation of this product to qualified personnel. For additional information, please refer to our website at http://aa.peavey.com.

AAM™1662 User Manual

Gain structure is among the most important considerations when installing audio systems. With the AAM 1662, we define proper gain structure as it relates to the inputs, the summing buses and the outputs. Understanding proper gain structure will ensure that your new AAM 1662 mixer will operate at its maximum performance level, with minimal noise and maximum dynamic range.

Setting up the proper gain structure on the AMM 1662 is a simple process. Since all of the summing bus sends and faders have a 0 dB reference, the only unknown level is the source. Setting the channel’s input gain properly will provide correct gain throughout the mixer. The following procedure will get you up and running with minimal hassle.

Since there are only two meters on the AAM 1662, you must set the gain structure using the master L/R output buses. Using the meters in conjunction with the Master Left & Right faders will give you an accurate gauge of the correct levels.

Using a single input source (microphone or line level input) connected to a single

channel of the AAM 1662, follow these steps

to correctly adjust the AAM 1662’s gain structure:

Step 1. “Zero” the console.

Set the input fader and the master Left/Right faders to 0 dB. There is no “detent” at this position, so you will have to look carefully at the labels adjacent to the faders to make sure that the faders are set properly. Assign the input to the L/R output bus.

Step 2. Apply audio to the input.

Apply nominal audio level at the input. The “nominal” part is key here. The signal level coming from the source should be at “average” or “mid” level. In other words, if it’s a microphone, it shouldn’t be a whisper, nor should it be a screaming yell! Something approaching “normal use” is required. If this is a musical vocal then perhaps “nominal” would apply to the vocal while singing the verse of the song, not the chorus. If the source is a line level output, such as a CD player, then nominal would be whatever output signal that will be used most often.

Setting Input Gain (Gain Structure)

Input fader set to 0 dB

Input assigned to L/R bus

Master L/R faders set to 0 dB

MIC

LINE

L/R

1/2

3/4

SIG/ PFL

10

6

3 0

6

12

30

20

L R

LR

Apply microphone level audio here

Or line level audio here

Gain Structure

Pag e 13Peavey Electronics Corp

Step 3. Adjusting input gain.

With audio applied, slowly bring up the gain control clockwise from its minimum position. At the same time, look at the master Left/Right meters. The correct setting of the gain control is determined by the 0 dB position on the meters. When the nominal level of the audio input source is reading consistently at or near the 0 dB mark on the master Left/Right meters, the gain control is set correctly.

When the gain control is set, leave it alone. As long as the audio source does not change significantly, this setting should work fine for most applications. To adjust “volume” for the input, use the fader. Naturally, subtle adjustments of the gain control may be necessary during performance or use, but if you set it correctly, using this procedure, these changes should be rare.

Step 4. Rinse & Repeat.

If your input level is reading correctly, and you are relatively sure that the input source level will not change significantly, then move on to the next channel. Repeat this process for every input in the system, making sure that the input sources are as close to reality as possible. We have all been through a show where we arrived early just to set gain structure, only to have the input source changed 10 minutes before show time! It is very important that you know what the input source is, and what the nominal level will be.

Step 5. Adjust, adjust & adjust again!

Obviously, additional adjustments are always required. The input levels vary, the program material may change or the entire scope of the application may change, sometimes without you even knowing it.

Most of your adjustments should be based on fader movements, and not the gain controls. A proper gain control setting provides the best performance for the input amplifier, the summing bus and the output stage. When you bring all of the faders up, the summing effect will create a higher meter reading than you saw when you adjusted each individual channel. A simple adjustment of the faders will usually correct this.

Remember this, your Left & Right master meters will tell you what you need to know for most applications. If the total, combined level of your inputs is jumping around 0 dB, then you are in good shape. (That is, if you followed the previous procedures.) If your faders are full-tilt-boogie, and the meters peak at -9 dB, then you’ve got a serious gain structure problem. The same is true if you are constantly in the red, driving the outputs into distortion.

Finally, try and understand that a mixer is a single device in the audio system. You cannot use the master output faders to get additional level from your power amplifier! If you have the gain structure for the AAM

™

1662 set up properly, and your meters are reading happily at 0 dB, then you have good audio. If it’s not loud enough, then you will need to investigate the next device in the system, after the AAM 1662.

Gain Structure (continued)

Adjust Gain control....

MIC/LINE GAIN

1

30

20

40

10dB

56dB

(LINE GAIN -20dB)

CLIP

+9

+6

+3

0

-3

-6

-9

-15

-20

-27

-33

....so that audio level reads at or about

the 0 dB mark on these meters.

AAM™1662 User Manual

Input Channels 1 & 2 Rear Panel Features

Input channels 1 & 2, also called “Super Channels”, feature additional rear panel buttons for polarity and pad. In addition, the mid frequency has a wider range of adjustment, and they include their own switchable phantom power supply.

1.

2.

3.

4.

5.

6.

SUPER CHANNEL

1

PAD

MIC

LINE

INSERT

DIRECT OUT

O

PAD SWITCH Two position push switch toggles a 20 dB resistive pad circuit before the first gain stage. The pad is active when the switch is in the DOWN position.

POLARITY SWITCH (PHASE) Two position switch toggles the polarity of balanced input signals 180 degrees. The phase is reversed when the switch is in the DOWN position.

BALANCED MICROPHONE INPUT Female XLR connector for terminating balanced, low impedance microphone circuits. Pin 2 is positive and +48 V DC is applied to pins 2 and 3 via a resistive network when the front panel Phantom Power switch is ON. (See page 28.)

BALANCED LINE INPUT Female 1/4” TRS connector for terminating balanced low or high impedance line level circuits. Tip is positive, ring is negative. This circuit is wired in parallel with the female XLR connector. Connecting to this input will not disable the XLR input connector, so both inputs should NOT be used simultaneously.

INSERT JACK Female 1/4” TRS connector for terminating two, single-ended (unbalanced) line level circuits. The tip is a line output and carries the signal after the first gain stage (post gain). The ring is a line input and feeds the secondary gain circuit just before the equalization stage. Inserting a TRS male connector into this jack will break the circuit of the input channel. A complete loop must be made to pass audio through the jack. Inserting a plug so that only the tip makes connection will provide a line output only, but will break the connection. If a complete connection is required when using this jack as a line output, it must be made by completing the loop at the plug.

DIRECT OUT Female 1/4” TS connector for terminating a single unbalanced line level audio output. The signal present at this connector is after the fader and channel mute (post fader and post mute).

1

2

3

4

5

6

14

13

15

7

8

9

10

11

12

16

17

Input Features

Pag e 15Peavey Electronics Corporation

Input Channels 1 & 2 Front Panel Features

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

4/6

LOW

MID

HIGH

MID

L/R

1/2

3/4

3/5

2

1

MIC/LINE GAIN

SIG/ PFL

PAN

AUX

(PRE)

(POST)

AUX

EQUALIZATION

1

12

0

15 15

12

9

66

33

12

0

15 15

12

9

66

33

12

0

15 15

12

9

66

33

(dB)

(Hz)

40 1.2K

500

50

250120

30

20

40

AUX 3/4 AUX 5/6

10

6

3 0

6

12

30

20

SUPER CHANNEL

10dB

56dB

(LINE GAIN -20dB)

dB

10

0

6

3

50

12

6

dB

10

0

6

3

50

12

6

dB

10

0

6

3

50

12

6

dB

10

0

6

3

50

12

6

ODD EVEN

MUTE/

PK

1

MIC/LINE GAIN CONTROL Rotary control adjusts the first gain stage of the input channel. The range is +10 to +56 dB for microphone level inputs and -10 to +36 dB for line level inputs. The output of this gain stage also drives the SIG/PFL LED.

EQUALIZATION Three-band equalizer. The high frequency shelving EQ is fixed at 12.5 kHz, the low frequency at 80 Hz and the mid band filter is adjustable from 40 Hz to 1.2 kHz. All sections are adjustable from -15 to +15 dB. The center position for each control is detented, and removes the filter from the signal path.

AUX (PRE) SEND CONTROLS Aux 1 and Aux 2 are pre-fader foldbacks. Each control drives the corresponding Aux bus, after the Aux 1/2 gain stage, and has a range of infinity (OFF) to +10 dB. A center detent is provided at 0 dB and represents unity gain at the Aux 1/2 amplifier stage.

AUX (POST) SEND CONTROLS Aux 3, 4, 5 & 6 are post-fader foldbacks. The two controls drive either the Aux 3/4 bus, or the Aux 5/6 bus, depending on the position of the AUX 3/4, AUX 5/6 push switch. The default mode of AUX 3/4 is active when the switch is in the UP position. These post fader sends are driven from the main channel, post fader gain stage, just before the channel assignment stage. Each control has a range of infinity (OFF) to +10 dB. A center detent is provided at 0 dB and represents unity gain at the post fader stage.

PAN CONTROL A single rotary control assigns the post fader audio, after the final channel gain stage to any combination of the Odd (Left, Group 1, Group 3) or Even (Right, Group 2, Group 4) side of the main output buses. Which buses are driven is determined by the position of the L/R, 1/2 and 3/4 Bus Assign switches.

MUTE SWITCH This push button switch toggles the channel audio mute status. When the switch is in the DOWN position all audio is muted, including the L/R, Group 1-4 and Aux 1-6 bus sends. The MUTE/PK LED will illuminate RED when the channel is muted.

MUTE/PK LED This dual-function LED will illuminate solid RED when the channel is muted. When the channel is not muted, this LED will flash to indicate audio clipping. Clipping indication is provided after the first gain stage and after the EQ (pre-fader). The LED becomes active at 2 dB below the clipping point at the output bus.

SIG/PFL SWITCH This push button switch toggles the channel audio onto and off of the PFL headphone bus. When the switch is in the DOWN position, the audio is included in the PFL mix and the PFL (right master) meter (see page 28). The corresponding SIG/PFL LED will illuminate yellow when active.

SIG/PFL LED This dual-function LED indicates the status of the PFL assign and the audio signal level. When the LED is illuminated with solid yellow, the channel is assigned to the PFL bus, as determined by the SIG/PFL switch. When the channel is not assigned to the PFL bus, this LED will constantly indicate the audio signal presence level (-15 dBu) after the EQ, and just before the fader.

BUS ASSIGN SWITCHES (L/R, 1/2, 3/4) Three switches for assigning the post fader audio to any combination of the Left/Right, Group 1/2 or Group 3/4 output buses. The assignments are made in pairs when the switch is in the DOWN position. To make an assignment to a single bus, the pan control is required. When none of the assign switches are in the DOWN position, the channel audio signal will not appear at the main output buses.

FADER 60 mm precision fader controls the channel’s main audio after the final gain stage and before the channel assign switches. Unity gain is represented by the 0 dB mark. (There is no detent.) The range of the fader is infinity (OFF) to +10 dB.

AAM™1662 User Manual

Input Channels 3 through 8 Rear Panel Features

Input channels 3 through 8 include the same features as channels 1 & 2, with the following exceptions. The rear panel phase and pad switches are not included, the mid-range EQ filter is a “hi-mid” instead of a “low-mid” and there is a low-cut switch.

1.

2.

3.

4.

3

MIC

LINE

INSERT

DIRECT OUT

3

BALANCED MICROPHONE INPUT Female XLR connector for terminating balanced, low impedance microphone circuits. Pin 2 is positive and +48 V DC is applied to pins 2 and 3 via a resistive network when the front panel Phantom Power switch is ON. (See page 28.)

BALANCED LINE INPUT Female 1/4” TRS connector for terminating balanced low or high impedance line level circuits. Tip is positive, ring is negative. This circuit is wired in parallel with the female XLR connector. Connecting to this input will not disable the XLR input connector, so both inputs should NOT be used simultaneously.

INSERT JACK Female 1/4” TRS connector for terminating two, single-ended (unbalanced) line level circuits. The tip is a line output and carries the signal after the first gain stage (post gain). The ring is a line input and feeds the secondary gain circuit just before the equalization stage and LCF. Inserting a TRS male connector into this jack will break the circuit of the input channel. A complete loop must be made to pass audio through the jack. Inserting a plug so that only the tip makes connection will provide a line output only, but will break the connection. If a complete connection is required when using this jack as a line output, it must be made by completing the loop at the plug.

DIRECT OUT Female 1/4” TS connector for terminating a single unbalanced line level audio output. The signal present at this connector is after the fader and channel mute (post fader and post mute).

5

1

2

6

4

12

11

13

3

6

7

8

9

10

14

15

Input Features

Pag e 17Peavey Electronics Corporation

Input Channels 3 through 8 Front Panel Features

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

LOW CUT

100 3K

1.2K

150

500350

(75 Hz)

LOW

MID

HIGH

MID

PAN

3

12

0

15 15

12

9

66

33

12

0

15 15

12

9

66

33

12

0

15 15

12

9

66

33

(dB)

(Hz)

ODD EVEN

L/R

1/2

3/4

SIG/ PFL

10

6

3 0

6

12

30

20

4/6

3/5

2

1

AUX 3/4 AUX 5/6

MIC/LINE GAIN

30

20

40

10dB

56dB

(LINE GAIN -20dB)

dB

10

0

6

3

50

12

6

dB

10

0

6

3

50

12

6

dB

10

0

6

3

50

12

6

dB

10

0

6

3

50

12

6

MUTE/

PK

3

MIC/LINE GAIN CONTROL Rotary control adjusts the first gain stage of the input channel. The range is +10 to +56 dB for microphone level inputs and -10 to +36 dB for line level inputs. The output of this gain stage also drives the SIG/PFL LED.

EQUALIZATION Three-band equalizer. The high frequency shelving EQ is fixed at 12.5 kHz, the low frequency at 80 Hz and the mid band filter is adjustable from 100 Hz to 3 kHz. All sections are adjustable from -15 to +15 dB. The center position for each control is detented, and removes the corresponding filter from the signal path. An additional push button switch toggles an active 75 Hz low cut filter into the circuit just after the insert stage and before the equalization circuit. The filter is active when the switch is in the DOWN position.