AM2421X
AM 821X
AM 1221X
AM 1621X
AM 2421X
User's Manual
Manual del Usuario
MIXING CONSOLE
CONSOLA DE MEZCLA
English Español
ENGLISH .....................................I
ESPAÑOL .....................................II
V2.0 05/18/2012
AM 821X
AM 1221X
AM 1621X
AM 2421X
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AM821X / AM1221X / AM1621X / AM2421X
INTRODUCTION
1
FEATURES
1
BASIC SETUP
1
GETTING STARTED
1
CHANNEL SETUP
1
MAKING CONNECTIONS
2
CONNECTING PANEL
2
REAR PANEL
3
MAIN MIXING PANEL
3
CONTROLS AND SETTINGS
3
REAR PANEL
3
CHANNEL CONTROLS
4
DIGITAL EFFECT ENGINE
5
TAPE IN SECTION
6
MASTER CONTROL SECTION
6
SPECIFICATIONS
8
APPENDIX
DIGITAL EFFECT TABLE
1
APPLICATIONS
2
DIMENSIONS
4
BLOCK DIAGRAMS
5
CONTENTS
USER'S MANUAL
Phonic preserves the right to improve or alter any information within this
document without prior notice
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AM821X / AM1221X / AM1621X / AM2421X
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.
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 wh en 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.
IMPORTANT SAFETY INSTRUCTIONS
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
’
magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is in-
tended to alert the user to the presence of important operat-
ing and maintenance (servicing) instructions in the literature
accompanying the appliance.
WARNING: To reduce the risk of or electric shock, do
not expose this apparatus to rain or moisture.
CAUTION: Use of controls or adjustments or performance
of procedures other than those
may result in
hazardous radiation exposure.
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
area during the operation so that the mains switch
can be easily accessible.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
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AM821X / AM1221X / AM1621X / AM2421X
INTRODUCTION
Thank you for choosing one of Phonic’s many quality
compact mixers. The AM mixing consoles - designed by
the same talented engineers that have created a variety
of mixers fantastic in style and performance in the past
- display similar prociency that previous Phonic products have shown; with more than a few renements, of
course.
With a total of 4 models in the ‘AM 21X’ series, the
AM821X, AM1221X, AM1621X and AM2421X, all with
varying inputs yet displaying the same efcacy, you have
no doubt purchased a mixer that will not only proove ideal
for your application, but will outlast many others.
We know how eager you are to get started - wanting to
get the mixer out and hook it all up is probably your num-
ber one priority right now - but before you do, we strongly
urge you to take a look through this manual. Inside, you
will nd important facts and gures on the set up, use and
applications of your brand new mixer. If you do happen to
be one of the many people who atly refuse to read user
manuals, then we just urge you to at least glance at the
Instant Setup section. After reading through the manual,
please store it in a place that is easy for you to nd, be-
cause chances are there is something you missed the
rst time around.
FEATURES
● Audiophile-Quality & ultra low noise
● Mono channels with inserts and phantom power
● 2 stereo channels with 4-band EQ
● 10, 14, 18, 26 mic preamps on the AM821X, AM1221X,
AM1621X and AM2421X
● 3-band EQ with swept mid-range plus low cut on each
mono channel
● 18dB/oct, 75Hz low cut lter on each mono channels
● 4 aux sends, aux 1 & 2 with XLR and 1/4” output jacks
● 2 stereo aux returns, each with effect to monitor
● Pad on mono channels to handle difcult signals
● Main Stereo and Mono output with XLR and 1/4” jacks
● Mono output with variable low pass lter for subwoofer
speaker
● Tape input can be routed to aux 1 and aux 2
● Handy mini-stereo I/O for MD, MP3 player/recorder
● Built-in switching power supply with universal connec-
tor, 100-240VAC, 50/60Hz
● Optional rack-mounting kit for AM821X only, model
name ER8IM
● 32/40-bit digital multi-effect processor with 16 programs
with parameter control and tap delay
BASIC SETUP
GETTING STARTED
1. Ensure all power is turned off on the AM Mixer. To to-
tally ensure this, the AC cable should not be connected
to the unit.
2. All faders and level controls should be set at the low-
est level and all channels switched off to ensure no
sound is inadvertently sent through the outputs when
the device is switched on. All levels should be altered
to acceptable degrees after the device is turned on.
3. Plug all necessary instruments and equipment into the
device’s various inputs as required. This may include
line signal devices, as well as microphones and/or guitars, keyboards, etc.
4. Turn the gain of the selected channel to a degree that
allows the audio level shown in the level meter to sit
around 0 dB, ensuring it never reaches 7 dB..
5. Plug the supplied AC cable into the AC inlet on the
back of the device ensuring the local voltage level is
identical to that required on your device.
6. Plug the supplied AC cable into a power outlet of a suit-
able voltage.
7. Turn the power switch on.
CHANNEL SETUP
1. To ensure the correct audio levels of each input chan-
nel is selected, every channel should rst be switched
off and all faders set to 0.
2. Choose the channel that you wish to set the level of
and ensure that 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 gui-
tar is plugged into that channel, then the guitar should
also be used as it normally would be.
3. Press the PFL button of the channel, allowing you to
see the audio properties in the level meter.
4. Turn the gain of the selected channel to a degree that
allows the audio level shown in the level meter to sit
around 0 dB, ensuring it never reaches 7 dB.
5. This channel is now ready to be used; you can stop
making the audio signal and disengage the PFL button.
6. You should now select the next channel to set and go
back to follow steps 1 through 6.
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AM821X / AM1221X / AM1621X / AM2421X
MAKING CONNECTIONS
CONNECTING PANEL
1. XLR Jacks
These jacks accept XLR inputs for balanced signals.
They can be used in conjunction with microphones such
as professional condenser, dynamic or ribbon micro-
phones - with standard XLR male connectors. With low
noise preampliers, these inputs serve for crystal clear
sound replication.
NB.When using an unbalanced microphone, please ensure
phantom power is switched off. However, when using condenser
microphones the phantom power should be activated.
2. Line In Jacks
These balanced inputs accept 1/4” TRS and 1/4” TS line
inputs for the addition of various music instruments –
such as keyboards, drum machines, electric guitars, as
well as a variety of other electric instruments.
3. Insert Jacks
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. The tip of the
TRS jack will send the signal from the input channel, and
the ring will return the signal back to the mixer (the sleeve
is the grounding).
4. Stereo Channels
The two stereo channels on the mixers include XLR Mic
inputs and 1/4” TS phone jacks. They can be used in conjunction with various stereo devices, such as synthesizers
and keyboards. Also, by connecting a mono signal to the
left phone jack, the mixer automatically doubles the signal
over to the right channel. This is known as jack normalizing.
5. Stereo Returns
The 1/4” TS Stereo Return inputs are for the return of audio to the mixer, processed by an external signal processor. If really needed, they can also be used as additional
stereo inputs. The feed from these inputs can be adjusted
using the Stereo Return controls on the face of the mixer.
When connecting a monaural device to the AUX Return
inputs, simply plug a 1/4” phone jack into the left (mono)
input, and the signal will appear in the right as well.
6. Auxiliary (AUX) 1 and 2 Outputs
These balanced XLR jacks and unbalanced 1/4” TS
phone jacks are the nal output of line-level signal fed
from the corresponding auxiliary send mixing buses, and
are best suited for use with external effect processors or
stage monitors. Feeding the output from the Auxiliary
outs to an amplier - and possibly an equalizer - and then
to a oor monitor speaker allows artists to monitor their
own instruments or vocals whilst performing.
7. EFX (Effect) Sends
These 1/4” TS outputs are the nal output from the EFX
send mixing bus. This feed may be used to connect to an
external digital effect processor or even to an amplier
and speakers, depending on your desired settings.
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AM821X / AM1221X / AM1621X / AM2421X
REAR PANEL
8. Foot Switch Jacks
This port is for the inclusion of a foot switch (non-latchable),
used to remotely adjust properties of the built-in Digital Effects Engine. Using a footswitch with this jack will allow
users to mute and un-mute the Digital Effects.
9. Control Room / Phones
These two 1/4” Phone Jack outputs feed the signal altered by the Control Room level control on the face of the
mixer. 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.
10. Mono / Subwoofer Output
This male XLR and 1/4” TS output feeds a monaural signal of the Main L-R signals combined, as adjusted by the
accompanying level control. This is ideal for use with a
mono sound system, or for the addition of a subwoofer to
your set of speakers, adding more punch to low frequency
sounds.
11. Main Outputs
These outputs will output the nal stereo line level signal
sent from the main mixing bus. The primary purpose of the
two male XLR jacks and 1/4” phone jacks is to send the
main left and right output signal to external devices, which
may include power ampliers (and in-turn, a pair of speakers), other mixers, as well as a wide range of other possible
signal processors (equalizers, crossovers, etcetera).
12. 12V Lamp
This XLR socket allows you to attach a 12 Volt (7 Watt)
gooseneck lamp, allowing better visability in areas with
poor light.
13. Power Connector
This is for the addition of an AC power
cable, allowing power to be supplied to
the mixer. Please use the power cable
that is included with this mixer only.
The Fuse holder, located below the
AC Power connector, is, of course, for
the mixer’s fuse. If the fuse happens
to blow, open the holder cover, and replace the fuse with a suitable replacement (as indicated underneath the
power connector).
MAIN MIXING PANEL
14. Tape Inputs
The rst of these inputs accommodates RCA cables from
such devices as tape and CD players. In addition to these
inputs, however, Phonic has incorporated a mini stereo
port for the inclusion of mini disc (MD), portable CD, and
MP3 players (such as the Apple iPod), as well as laptop
computers. The line from this feed is directed to the Tape
In mixing bus, which users are able to feed to the Control
Room, AUX 1 and 2 or Main L/R mixing buses.
15. Record Outputs
As with the Tape In ports, these outputs will accommodate RCA cables, able to be fed to a variety of recording
devices. Also included are mini stereo ports for the addition of recording devices such as MD players and laptop
computers.
16. Headphones Output
This output port is best suited for use with headphones,
allowing monitoring of the mix. The audio level of this output is controlled using the Control Room / Phones control
on the front panel’s master section.
CONTROLS AND SETTINGS
REAR PANEL
17. Power Switch
This switch is used to turn the mixer on and off. Ensure
you turn all level controls down before activating.
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AM821X / AM1221X / AM1621X / AM2421X
CHANNEL CONTROLS
18. Low Cut Filter (75 Hz)
This button, located on all mono channels, will active a high-pass lter that
reduces all frequencies below 75 Hz at
18 dB per octave, helping to remove
any unwanted ground noise or stage rumble.
19. PAD Button (Stereo Channels Only)
This button, located on channels the nal 4 mono channels of all models, attenuates the input signal of the Mic or
Line inputs by 20 dB. This gives a greater dynamic range
to the input, allowing inputs with higher-level signals to be
used without the possibility of clipping.
20. Gain Control
This controls the sensitivity of the input signal of the Line/
Microphone input 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 that will al-
low the peak indicator occasionally illuminate or slightly
lower than this.
21. High Frequency Control
This control is used 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.
22. Middle Frequency Control
This control is used to provide a peaking style of boost
and cut to the level of middle frequency sounds at a range
of ±15 dB. The mixer also provides 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 difcult 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.
Stereo channels differ slightly, in that they feature a High
Mid and Low Mid control for adjusting Middle Frequency
sounds with set frequencies of 3 kHz and 800 Hz.
23. 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.
24. AUX Controls
These two AUX controls alters the signal level that is be-
ing sent to the auxiliary 1 and 2 mixing buses, the signal
of which is suitable for connecting stage monitors, allowing artists to listen to the music that is being played, or to
fed to an external effect processors.
25. EFX 1 and 2
These two controls adjust the level
of audio sent from the channel to
the EFX 1 and 2 mixing buses.
The EFX 2 signal is also sent to
the built-in digital effects proces-
sor, allowing users to apply effects
to the signal.
26. Pan/Balance Controls
This alternates the degree or level
of audio that the left and right side
of the main mix should receive. On
mono channels, the PAN control
will adjust the level that the left and
right should receive (pan), where
as on a stereo channel, adjusting
the BAL control will attenuate the
left or right audio signals accordingly (balance).
27. Mute Button
This button mutes the channel,
effectively stopping all audio fed
into the inputs from being send
to the Main L/R mixing bus, as
well as the AUX 1, AUX 2, EFX
1 and EFX 2 mixing buses. This
indicated just below the button
(labeled Peak) will be illuminated
when the channel is muted.
28. Peak Indicator
This LED indicator (which doubles
as a mute indicator) will illuminate
when the channel hits high peaks,
6 dB before overload occurs. It is
best to adjust the channel level
control so as to allow the PEAK indicator to light up on regular intervals only. This will ensure a greater
dynamic range of audio. This indicator also doubles as a Mute in-
dicator, when the channel’s mute
button is engaged.
29. Sig Indicator
This LED indicator shows when the input level reaches
-20 dBu, basically showing when a signal is received by
the corresponding channel.
30. PFL Button
The PFL - or Pre-Fader Listen - button is pushed to allow the signal of a channel to be sent to the CTRL RM/
PHONES mix (pre-fader, post-EQ), for use with either
headphones or studio monitors. This allows easier setting of the input gain and tracking of audio by sound engineers. The Sig LED above the button will illuminate when
PFL is activated.
31. Channel Level Control
This 60 mm fader will alter the signal level that is sent from
the corresponding channel to the Main L/R mixing bus.
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AM821X / AM1221X / AM1621X / AM2421X
DIGITAL EFFECT ENGINE
32. Program Control
This control is used to scroll through the various effects
shown on the Digital Effect Display. Turning the control
will automatically change the effect and apply it to the
mix. For a full list of available programs and their pa-
rameters, please check the Digital Effect Table.
33. Peak Indicator
This LED indicator will illuminate when the EFX signal
hits high peaks, 6 dB before overload occurs. It is best
to adjust the EFX Return fader so as to allow the Peak
indicator to light up on high peaks only. This will ensure
a greater dynamic range for audio.
34. Parameter Control
This will adjust the appropriate parameter of the digital
effect that is applied to the audio feed. Please refer to
the Digital Effects Table for more information on effect
parameters.
35. Tap Delay Button and Indicator
When the tap delay effect is selected, pushing this button twice will allow the processor to calculate the time
between the two pushes and use this as the tap delay
time. If the button is pushed multiple times, the processor will calculate the time between the last two pushes
only. The LED that accompanies it will ash at the selected interval.
36. To Aux 1 and 2 Controls
These controls allow users to adjust the signal level
that is being sent from the Effects Engine to the auxil-
iary 1 and 2 mixing buses, the signal of which is suitable for connecting stage monitors, allowing artists or
engineers to listen to the music that is being played.
37. Mute Button
This button mutes the EFX channel, effectively stopping the signal processed by the built-in Effects Engine
from being sent to the Main L/R mixing bus.
38. PFL Button
The PFL – or Pre-Fader Listen – button is pushed to
allow the signal of the Effects Engine to be sent to the
CTRL RM / PHONES mix. This allows easier tracking
of audio by sound engineers.
39. DSP Effects Fader
This 60mm fader will alter the signal level that is sent
from the Effects Engine to the Main L/R mix.
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AM821X / AM1221X / AM1621X / AM2421X
TAPE IN SECTION
40. Level Control
This controls the level of the signal received through
the Tape In mixing bus, to be sent to the Control Room
/ Phones and/or Main L/R mixing buses, as selected by
the user.
41. CTRL RM and MAIN Buttons
These buttons allow users to send the Tape In signal to
these particular mixes. Sending the Tape In signal to the
Control Room mixing bus is useful in monitoring of the
signal, whereas sending it to the Main L/R allows users
to combine the Tape In signal with the main mix.To avoid
any unwanted feedback, don’t press the MAIN button
down when the Record Out signal is returned to the Mixer
through the Tape Inputs.
42. To AUX 1 and 2 Controls
These controls allow users to adjust the signal level of the
Tape In that is sent to the auxiliary 1 and 2 mixing buses.
MASTER CONTROL SECTION
43. Stereo Return To AUX 1 and 2 Controls
These controls adjust the pre-fader level of the signal
from the Stereo Return controls to the corresponding AUX
mixing buses for effect-to-monitor sends.
44. Stereo Return Level Controls
These rotary control will alter the signal level that is sent
from the Stereo Retuns to the Main L/R mix.
45. Stereo Return PFL Buttons
The PFL - or Pre-Fader Listen - buttons are pushed to
allow the Stereo Return signals to be sent to the Control
Room / Phones mix (pre-fader, post-EQ), for use with either headphones or studio monitors. This allows easier
tracking of audio by sound engineers.
46. AUX 1 and 2 Master Controls
These 60 mm fader will alter the signal level that is sent
from the AUX 1 and 2 to their corresponding outputs.
Both faders are accompanied by AFL (or After-Fader Lis-
ten) buttons, allowing users to send the post-fader signal
to the Control Room / Phones mixing bus.
47. Phantom Power Button and Indicator
When this button is pushed in, +48V of Phantom Power is activated for all microphone in-
puts, 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 button. 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.
48. EFX Send 1 and 2 Master Controls
These rotary controls adjust the nal level of the EFX 1
and 2 signals (as taken from the EFX controls on each
channel strip), the audio of which is sent to the corresponding EFX sends. Also accompanying the EFX Send
controls is an AFL button, allowing users to send the post-
fader signal to the Control Room / Phones mixing bus.
The EFX 2 master control also determines the nal level
of the audio sent to the built-in Effects processor of the
mixer.
49. Mono Channel Controls
The 60 mm faders is the nal level control for the Mono
mixing bus, the signal of which is sent to the Mono / Sub-
woofer output on the rear of the mixer. The included AFL
button allows users to send the post-fader Mono signal to
the Control Room mixing bus.
A Low Pass Filter has been included to cut unwanted
high frequency sounds of the mono output at a rate of
12 dB per octave, for a clearer bass sound when using
subwoofers. The switch turns the Low Pass Filter on and
off, whereas the accompanying control adjusts the cut-off
frequency between 60 and 160 Hz.
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