Phonic AM2442FX, AM3242FX User’s Manual
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
简体中文
AM3242FX
User’s Manual
Manual del Usuario
使用手册
English / Español /
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
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
目录
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
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 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.
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
4 AM2442FX / AM3242FX
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 100program 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 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 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 nd, because chances are
there’s something you missed the rst time around.
FEATURES
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Audiophile quality preamp design
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DFX, 32/40-bit digital multi-effect processor with 100
programs.
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16 or 24 mic/line channels with inserts
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3-band EQ with swept mid-range
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75Hz low-cut lter on each mono channel
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4 AUX send mixing bus
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AUX 1 & 2 with pre/post switch
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4 subgroups and additional mono output with sweepable low
pass lter for subwoofer application
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Clip indication and gain level set LEDs plus mute switches for
each channel
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Balanced main mix outputs with XLR and 1/4” TRS connectors,
headphone/control room output and stereo tape outputs
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Solo-In-Place and Pre-Fader-Listen functions plus full-featured
talkback section
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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 ampliers 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.
INPUTS AND OUTPUTS
Mono Input Channels
There are 16 and 24 mono channels on the AM2442FX and
AM3242FX, respectively. To follow you will nd 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
preampliers, serving for crystal clear sound
replication.
NB. When these inputs are used with condenser
microphone s, 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
lter 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 lter.
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.
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7. 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 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.
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.
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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.
15. 1-2 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.
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Stereo Input Channels
Stereo channels differ slightly to the mono channels in their
connections and controls. To follow you will nd 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
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.
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19. 4-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 nal 2 stereo channels on both AM mixers feature slightly
simplied controls. Here you will nd 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).
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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
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 nal 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 nal
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,
ampliers and speakers, etc.
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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
amplier and speakers. The included low
pass lter 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 lter 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 lter. If users wish
to use the Mono channel for monitoring or
other similar purposes, the low pass lter
should not be activated.
29. Mono Fader
This fader controls the level of the mono
signal that is sent to the mono outputs.
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30. Mono Output
The line-level signal sent from the Mono output
can be used to connect to an amplier or active
speaker. It is also possible to use this output
for monitoring purposes, with headphones or
active monitors.
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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
nish speaking.
33. Talkback Mic
Point your mouth here when wishing to communicate with the
performer/musician.
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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.
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8 AM2442FX / AM3242FX
CD/Tape Ins & Outs
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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.
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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.
Auxiliary Section
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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.
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.
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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 ash 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.
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51. 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.
56. +48V Indicator
This LED indicator will light up when
Phantom Power is activated. To turn the
AM’s Phantom Power on or off, simply
ick 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
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
The Left and Right main mix is controlled with this fader – the nal
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.
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57
58
59
51 52 53 54
55. 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.
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60
9AM2442FX / AM3242FX
10 AM2442FX / AM3242FX
61. Main Outputs
These outputs will output the nal 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 ampliers (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
ampliers, 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.
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61
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).
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SPECIFICATIONS
Model AM2442FX AM3242FX
Inputs
Total Channels 24 32
Balanced Mono Mic / Line Channel 16 24
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 (1KHz @ 0dBu, 20Hz to 20KHz bandwidth, channel in to main L/R outputs)
Channel fader down, other channels at
unity
Noise (20Hz~20KHz; measured at main output, Channels 1-4 unit gain; EQ at; all channels on main mix;
channels 1/3 as far left as possible, channels 2/4 as far right as possible
Master @ unity, channel fader down -96dB
<-90dB
Master @ unity, channel fader @ unity -84dB
S/N ratio, ref to +4 -105dB
11AM2442FX / AM3242FX
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