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V1.0 2004/2/9
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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 ampli ers) that produce heat.
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 t 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 speci ed by the
manufacturer.
12. Use only with a cart, stand, tripod,
bracket, or table speci ed 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 tip-over.
13. Unplug this apparatus during lighting storms or
when unused for long periods of time.
14. Refer all servicing to quali ed 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 ash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of suf cient
mag ni tude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and main te nance (servicing) instructions in the
literature accompanying the appliance.
WARNING: To reduce the risk of re 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 speci ed
may result in hazardous radiation exposure.
!
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TABLE OF CONTENTS
INTRODUCTION................................. 4
GETTING STARTED
........................... 4
CHANNEL SETUP
.............................. 5
MAKING CONNECTIONS .................. 6
1. XLR Microphone Jacks .....................................6
2. Line Inputs..........................................................6
3. INS (Insert)
(MU 502)
.............................................6
4. Stereo Channels ................................................6
5. Main L and R Outputs........................................6
6. Stereo AUX Return
(MU 802
)................................6
7. EFX Send
(MU 802 and 1002)
...................................7
8. Phones ...............................................................7
9. 2T Record / Record Out.....................................7
10. 2T Return ............................................................7
11. Control Room Outputs
(MU 802 and 1002)
.............7
12. Power Switch .....................................................7
13. Power Connector ...............................................7
CONTROLS AND SETTINGS............. 8
14. Line/Mic Gain Control........................................8
15. High Frequency Control ....................................8
16. Middle Frequency Control
(MU 802 and 1002)
.......8
17. Low Frequency Control.....................................8
18. High-Pass Filter (75 Hz)
(MU 502 and 1002)
...........8
19. EFX Control
(MU 802 and 1002)
...............................8
20. +4 / -10 Switch
(MU 1002)
......................................8
21. Pan / Balance Controls .....................................8
22. Peak Indicator....................................................9
23. Level Control ......................................................9
24. EFX Master Control
(MU 1002)
.............................9
25. AUX Stereo Return Control
(MU 802)
..................9
26. 2T Return Controls ............................................9
27. EFX Cue Button
(MU 802 and 1002)
........................9
28. Phantom Power Switch .....................................9
29. Phones (Ctrl Rm/Phones) Control ...................9
30. Main L-R Control..............................................10
31. Mono Button
(MU 802 and 1002)
...........................10
32. Level Meter .......................................................10
33. Power Indicator ................................................10
APPLICATIONS.................................11
DIMENSIONS.................................... 13
SPECIFICATIONS
............................. 14
BLOCK DIAGRAMS ......................... 15
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INTRODUCTION
Thank you for choosing one of Phonic’s many quality
compact mixers. The MU series of Mixers – designed
by the ingenious engineers that have created a variety
of mixers fantastic in style and performance in the past –
displays similar prociency that previous Phonic products
have shown; with more than a few renements, of course.
The MU series features full gain ranges, amazingly low
distortion levels, and incredibly wide dynamic ranges,
just showing the dominance these small machines will
have in the mixing World.
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.
GETTING STARTED
1. Ensure all power is turn ed 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 leve l and all ch annel s swi tched off 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 turne d on usin g the cha nnel setu p
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 AC cable into the AC inlet on the
back of the device and then into a 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.
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MU 502/802/1002 USER’S MANUALPHONIC CORPORATION Page 5
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 or down as
far as they will go (which should be the -∞ mark, unless
you’re using a toaster).
2. No input other than the one being set should have
any device plugged in. This will ensure the purest
signal is used when setting channels.
3. Set the level control of the channel you are setting to
the 0 dB mark.
4. 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.
5. Set the gain so the Level Meter indicates the audio
level is around 0 dB.
6. This channel is now ready to be used; you can stop
making the audio signal.
7. You can repeat the same process for other channels.
Or not, it’s your call.
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MAKING CONNECTIONS
Inputs and Outputs
1. XLR Microphone Jacks
These jacks accept typical 3-pin XLR
inputs for balanced and unbalanced
signals. They can be used in con-
junction with microphones – such as
professional condenser, dynamic or
ribbon microphones - with standard
XLR male connectors, and feature
low noise preamplifiers, serving for
crystal clear sound replication. Each of the MU series
mixers features two standard XLR microphone inputs
for your convenience.
NB. When these inputs are used with condenser microphones, the Phantom Power
should be activated. However, when Phantom Power button is engaged, single ended
(unbalanced) microphones and instruments should not be used on the Mic inputs.
2. Line Inputs
This input accepts typical 1/4” TRS or TS inputs, for bal-
anced 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. INS (Insert) (MU 502 Only)
Located below the channel 1’s XLR
microphone input, the primary use
for this TRS phone jack is for the
addition of external devices, such as
dynamic processors or equalizers,
to the 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 MU
802 and MU 1002 Mixers do not feature these jacks;
however can have external processors running parallel
through the various outputs and inputs.
4. Stereo Channels
Each of the MU series’ mixers feature a few stereo chan-
nels, thrown in for maximum exibility. Each of these
stereo channels features two 1/4” TRS phone jacks, for
the addition of various line level input devices, such as
electronic keyboards, guitars and external signal proces-
sors or mixers. On the MU 502, the rst stereo channel
(mic 2-3) features both a 3-pin XLR microphone input
and two 1/4” phone jacks, therefore can be used as
either a monaural microphone or line
input channel or a stereo line input
channel. These Stereo Channels
can also be used as Mono channels,
where the signal from any 1/4" phone
jack plugged into the Left stereo input
will cause the signal to be duplicated
to the Right input also. This does not
work in reverse, however.
5. Main L and R Outputs
These two ports will output the nal stereo balanced line
level signal sent from the main mixing bus. The primary
purpose of these 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 (Equal-
izers, Crossovers, etcetera).
6. Stereo AUX Return (MU 802 Only)
These 1/4” TS inputs are for the return of audio to the
MU 802 mixer, processed by an external signal proces-
sor. If really needed, they can also be used as additional
inputs, with a level control located on the face of the
mixer. The Stereo AUX Return can also accept Mono
signals, where plugging the 1/4" phone jack of any de-
vice into the Left stereo input will cause the signal to be
duplicated to the Right input also. This does not work in
reverse, however.
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MU 502/802/1002 USER’S MANUALPHONIC CORPORATION Page 7
7. EFX Send (MU 802 and 1002)
These 1/4” TS outputs may be used to connect to an
external digital effect processor, or even to an amplier
and speakers (depending on your desired settings), to
the mixer. This output, however, is only featured on the
MU 802 and MU 1002 mixers; therefore you shouldn’t
go looking for it on the MU 502.
8. Phones
This stereo output port is suited for use with headphones,
allowing monitoring of the mix. The audio level of this
output is controlled using the Phones/Control Room
control.
9. 2T Record / Record Out
These outputs will accommodate RCA cables, able to be
fed to a variety of recording devices. Also included is a
mini stereo jack for the addition of recording devices such
as MD players, and even laptop computers.
10. 2T Return
Th es e R CA an d mini
stereo inputs are used
to connect the mixer with
external devices, such as
tape and CD players, or
even Laptop computers,
receiving a signal from
another source and feeding it to either the Main L and R
or the Phones mixing bus. The 2 trim controls, featured
on the MU 502 model only, control the input sensitivity
of the RCA and mini stereo jacks, ensuring total control
over audio levels and quality.
11. Control Room Outputs (MU 802 and 1002)
These two 1/4” Phone Jack outputs feed the signal
altered by the Control Room/Phones 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 other possible uses. This
output, however, is featured on the MU 802 and 1002
mixers only.
Rear Panel
12. Power Switch
This switch is, of course, used to turn
the mixer on and off.
13. Power Connector
This port is for the addition of the ex-
ternal power supply, allowing power to
be supplied (hence the name) to the
mixer. Please use the power supply
that is included with the mixer only.
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CONTROLS AND SETTINGS
Channel Controls
14. Line/Mic Gain Control
This controls the sensitivity of the input signal of the
Line/Microphone input. 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 ac-
complished by adjusting it to a level
that will allow the peak indicator oc-
casionally illuminate. The MU 502
features a single gain control for
channel 1, located on the face of
the mixer, whereas the MU 802 and
1002 feature a gain control on both
channels 1 and 2, however located
directly below the Line inputs.
15. 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.
16. Middle Frequency Control (MU 802 and 1002)
This control is used to provide a peaking style of boost
and cut to the level of middle frequency (2.5 kHz) sounds
at a range of ±15 dB. 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. The middle frequency control is featured on
the MU 802 and 1002. The MU 502 features High and
Low Frequency controls on channel 1 only.
17. 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.
18. High-Pass Filter (75 Hz) (MU 502 and 1002)
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.
19. EFX Control (MU 802 and 1002)
These controls alter the signal level that is sent to the
EFX SEND output, which can be used in conjunction with
external signal processors (this signal of which can be
returned to mixer via the AUX return input, or any stereo
input channel), or simply as an auxiliary output for any
means required. This control is post fader, therefore any
changes made to the corrsponding channel fader are also
applied to the EFX signal. This control is featured on the
MU 802 and 1002, however not on the 502.
20. +4 / -10 Switch (MU 1002)
This switch is used adjust the
input sensitivity of the corre-
sponding channels, which will
adapt the MU 1002 to external
devices which may use differ-
ent operating levels. If the input
source is -10 dBV (consumer
audio level), it is best to engage the switch, allowing
the signal to be heard. The +4 dBu mode is suitable for
Profesional Audio signals, which are considerably higher
than the consumer level. However, if you are unsure of the
source’s operating level, we suggest leaving the switch
disengaged until you test the source’s signal. You can
then engage if necessary (if the level of the input signal
is obviously too low).
21.Pan / Balance Controls
This alternates the degree
or level of audio that the left
and right side of the main
mi x s ho ul d rec ei ve . O n
mono channels, this 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 accord-
ingly (balance). Every model
features a PAN or BAL con-
trol on each of their channel
strips.
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22. Peak Indicator
This LED indicator will illuminate when the device hits
high peaks, 6 dB before overload occurs. It is best to
adjust the gain of the channel so that the PEAK indicator
lights up on intervals. This will ensure a greater dynamic
range of audio. The Peak indicator is on channel 1 only
of the MU 502 mixer, however on both channels 1 and 2
of the MU 802 and 1002.
23. Level Control
This control will alter the signal level that is sent from the
corresponding channel to the main mixing bus.
Master Section
24. EFX Master Control (MU 1002)
This control adjusts the nal level of
the EFX mixing bus (as taken from
the EFX level controls on each chan-
nel strip), the audio of which is sent to
the EFX Send output (and sent to the
Control Room/Phones output when
EFX Cue button is engaged).
25. AUX Stereo Return Control
(MU 802)
This control adjusts the signal lev-
el of audio fed through to the AUX
Stereo Return inputs, which will
be added to the MAIN L-R mix.
26. 2T Return Controls
Pushing either one of the buttons in the 2T Return Control
Section selects the destination of the 2T Return signal.
The uppermost button (“to L/R”)
sends the signal to the Main L-R
mixing bus, whereas the lower
button (either “to Phones” or “to
Ctrl Rm”) sends the signal to the
Phones or Control Room/Phones
mixing buses, respectively. These
buttons can, of course, be used si-
multaneously, feeding the signal to
both the Control Room/Phones and Main L/R mixing bus.
If the "to Phones" or "to Ctrl Rm" button is not pushed
in, the Phones and Control Room outputs will receive the
Main L-R signal (the 2T Rtn signal has priority over this
signal, however, just as the EFX Cue - on the MU 802
and 1002 mixers - has priority over the 2T Rtn).
MU 802 and 1002 2T Return Control Additions: The 2T
Return Controls of both the MU 802 and MU 1002 feature
a level control, as well as the two 2T Return buttons. The
signal sent through the 2T Return Input arrives rst at the
level control, where the user can adjust the signal level to
their liking, before sending the signal elsewhere.
27. EFX Cue Button (MU 802 and 1002)
And now for one of the handiest buttons you will ever
come across in a mixer! This button, on the MU 802 and
1002 only, sends the stereo EFX signal (as adjusted by
the various EFX level controls on all channel strips) to
the Control Room/Phones mixing bus. The EFX signal
has priority over all over signals sent to
the Control Room/Phones mixing bus.
If not engaged, the 2T Return signal
then has priority to be sent to the Ctrl
Rm/Phones outputs, followed by the
Main L-R signal.
28. Phantom Power Switch
When this switch is in the on position it activates +48V
of phantom power for both microphone inputs, allowing
condenser microphones to be used on these channels.
NB. Phantom Power should be used in conjunction with condenser microphones
only. Do not engage Phantom Power if a condenser microphone is not being used,
to avoid causing damage to the mixer’s circuitry.
29.Phones (Ctrl Rm/Phones) Control
On the MU 502, this control is used to
adjust the audio level of the phones
feed, to be sent to the Phones output,
which can be used in conjunction with
headphones or, if required, as an
auxiliary output. On the MU 802 and
1002, however, this output controls not
only the phones level, but the signal
level sent to the Control Room output
also, for use in monitoring, as side ll,
or for the addition of other, external
devices.
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30. Main L-R Control
This control is nal level control for the main left and right
audio feed, sent to the Main L and R output. The MU 502
features a rotary-style level control, whereas the MU 802
and 1002 both feature a 60 mm fader.
31. Mono Button (MU 802 and 1002)
This button, located above the Main L-R Control, allows
the user to convert the Main L-R stereo signal of the
mixers into a monaural signal, blending the two signals
together, allowing you to check the phasing of the left and
right signals. Also, converting the signal into a monaural
one allows you to use the Main L-R Output as 2 seper-
ate mono outs,
32. Level Meter
The MU series’ level meters give an accurate indication
of when audio levels of the MAIN L/R output reach cer-
tain levels. It is suggested for the maximum use of audio
to set the various levels controls so that the uppermost
LED ashes only occasionally (and perhaps it’s better if
you ensure the level stays around a pinch below that).
The MU 502 features a dual 4 segment level indicator,
where the MU 802 and 1002 feature a dual 5 segment
level indicator.
33. Power Indicator
The Power Indicator will light up when the power of the
mixer is on; in case you weren’t too sure.
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APPLICATIONS
On the following few pages you will nd a wide range of possible uses for the MU series of mixers. Of course these
are far from the only applications that can be attributed to the mixers’ use; however they should give you an idea of the
possible uses that the various inputs and outputs have. The right combination of microphones, guitars, drum machines,
keyboards, as well as recording devices, signal processors, ampliers and speakers, can make for the perfect live per-
formance, home-studio recording session or even a basic public address, to name a few possibilities.
Recording Application
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Live Sound Application
Using an External Signal Processor With MU 1002
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DIMENSIONS
All measurements are shown in millimeters / inches
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MU 502 MU 802 MU 1002
Inputs
Total Channels 3 4
6
Balanced Mono Mic / Line Channel 1 2 2
Balanced Stereo Line Channel 2 2
4
Aux Return N/A 1 stereo N/
A
2T Input Mini stereo and stereo RCA Mini stereo and stereo RCA Mini stereo and stereo RCA
Output
s
Main L/R Stereo 2x 1/4" TRS, Bal. 2x 1/4" TRS, Bal. 2x 1/4" TRS, Bal.
Rec Out Mini stereo and stereo RCA Mini stereo and stereo RCA Mini stereo and stereo RCA
CTRL RM L/R N/A 2 x 1/4" TS 2 x 1/4" TS
Phones 1 1
1
Channel Strips 3 4
6
Efx Send
N/
A
1 1
Pan/Balance Control Yes Yes Yes
Volume Controls Rotary Rotary Rotary
Inserts 1 N/A N/A
Master Section
Phones Level Control Yes Yes Yes
Main L/R Level Control Rotary VR 60 mm fader 60 mm fader
Meteri
n
g
Number of Channels 2 2 2
Segments 4 5 5
Phantom Power Suppl
y
+48V DC +48V DC +48V DC
Switches Master Master Master
Frequency Respons
e
(
Mic input to any output
)
20Hz ~ 60KHz +0/-1 dB +0/-1 dB +0/-1 dB
20Hz ~ 100KHz +0/-3 dB +0/-3 dB +0/-3 dB
Crosstalk
(1KHz @ 0dBu, 20Hz to
20KHz bandwidth, channel in to main
L/R outputs)
Channel fader down, other channels at
unity
<-90 dB <-90 dB <-90 dB
Noise
(20Hz~20KHz; measured at main
output, Channels 1-4 unit gain; EQ flat
;
all channels on main mi
x; channels 1/3
as far left as possible, channels 2/4 as
far right as possible. Reference=+6dBu)
Master @ unity, channel fader down -86.5 dBu -86.5 dBu -86.5 dB
u
Master @ unity, channel fader @ unity -84 dBu -84 dBu -84 dBu
S/N ratio, ref to +4 >90 dB >90 dB >90 dB
Microphone Preamp E.I.N. (150
ohms terminated, max gain
)
<-129.5 dBm <-129.5 dBm <-129.5 dB
m
THD
(Any output, 1KHz @ +14dBu,
20Hz to 20KHz, channel inputs)
<0.005% <0.005% <0.005
%
CMRR
(1 KHz @ -60dBu, Gain at
80 dB 80 dB 80 dB
Maximum Level
Mic Preamp Input +10 dBu +10 dBu +10 dB
u
All Other Input +22 dBu +22 dBu +22 dB
u
Balanced Output +28 dBu +28 dBu +28 dB
u
Impedanc
e
Mic Preamp Input 2 K ohms 2 K ohms 2 K ohms
All Other Input (except insert) 10 K ohms 10 K ohms 10 K ohms
RCA 2T Output 1.1 K ohms 1.1 K ohms 1.1 K ohms
Equalization 2-band, +/-15 dB 3-band, +/-15 dB 3-band, +/-15 dB
Low EQ 80 Hz 80 Hz 80 Hz
Mid EQ N/A 2.5 KHz 2.5 KH
z
Hi EQ 12 KHz 12 KHz 12 KH
z
Low Cut Filter 75Hz
(-18 dB/oct
)
N/A 75Hz (-18 dB/oct
)
Power Requirement (external power
supply, depends on region)
100 VAC, 120 VAC, 220 ~ 240 VAC, 50/60 Hz 100VAC, 120VAC, 220 ~ 240VAC, 50/60Hz 100VAC, 120VAC, 220 ~ 240VAC, 50/60Hz
Weight 1.1 kg 1.5 kg (3.3 lbs) 1.5 kg (3.3 lbs)
Dimensions (WxHxD
)
155.6 x 50.5 x 244 mm (6.12" x 1.99" x 8.82")
190 x 56 x 233 mm (7.48" x 2.2" x 9.17") 190 x 56 x 233 mm (7.48" x 2.2" x 9.17")
SPECIFICATIONS
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L (MONO)
R
MIC IN
LINE IN
L (MONO)
R
CHANNEL 1
CHANNEL 2/3
CHANNEL 4/5
MU 502 BLOCK DIAGRAM
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MU 802 BLOCK DIAGRAM
CHANNEL 3/4 , 5/6
CHANNEL 1,2
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MU 1002 BLOCK DIAGRAM
CHANNEL 1,2
CHANNEL 3/4 ~ 9/10
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Information in this document is subject to change without notice.
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