Page 1
MU 1705
Compact Mixers
Page 2
PHONIC CORPORATION
Page 2
MU1705 USER
’
S MANUAL
This triangle, which appears on your
com po nent, alerts you to the presence
of uninsulated “ dan ger ous voltage” in-
side the enclosure that may be suf fi cient
to con sti tute a risk of shock.
This triangle, which appears on your
component, alerts you to important op er at ing and maintenance in struc tions in
this ac com pa ny ing literature.
SAFETY PRECAUTIONS!
WARNING - TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EX-
POSE THIS UNIT TO RAIN OR MOISTURE.
Do not allow water or liquids to be spilled into this unit. If the unit has been exposed to rain or liquids,
please unplug the power cord iMUediately from the outlet (with DRY HANDS) and get a qualifi ed service
tech ni cian to check it. Keep this unit away from heat sources such as radiators, heat registers, stoves,
etc. that produce heat.
The unit contains no user-serviceable parts. Refer all servicing to a qualifi ed
CAUTION:
TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COV ER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE. REFER ALL SER VIC ING TO QUAL I FIED
SERVICE PERSONNEL.
Keep this unit clean by using a soft dry brush and occasionally wiping it with a damp cloth. Do not use any
other solvents, which may cause damage to paint or plastic parts. Regular care and inspection will be rewarded by a long life and maximum reliability.
Your Phonic MU1705 was carefully packed in the factory and the packing box was de signed to protect the
unit from rough handling. We recoMUend that you care ful ly examine the packaging and its con tents for any
signs of physical damage, which may have oc curred in transportation.
If the unit is damaged: Notify your dealer and the shipping company iMUediately. Claims for damage or
replacement may not be granted if it is not reported properly or in a timely manner.
SAFTY PRECAUTIONS
service en gi neer through a Phon ic dealer.
Page 3
PHONIC CORPORATION
Page 3
MU1705 USER’S MANUAL
INTRODUCTION..................................................4
FEATURES...........................................................4
GETTING STARTED............................................4
CONVERTING TO RACKMOUNT MODE............ 5
CONNECTING IT UP........................................... 6
TYPICAL CONNECTING LEADS.........................7
UNBALANCED & BALANCED............................. 8
CHANNEL STRIP DESCRIPTION....................... 9
GAIN................................................................. 9
EQUALIZERS................................................... 9
AUX / EFX SECTION......................................10
PAN.................................................................10
PEAK/-20/PFL.................................................10
L/R OR GP (ROUTING SWITCH)................... 11
CHANNEL FAD ER.......................................... 11
STEREO CHANNELS 6-11.............................12
AUX RTN........................................................ 12
EFX RTN.........................................................12
2T RTN ........................................................... 12
MASTER SECTION DESCRIPTION.............13
AUX OUT...................................................13
EFX OUT..........................................13
PHONES....................................................13
GROUP TO L/R.........................................13
GROUP 1/2 FADER.............................13
MASTER DISPLAY...........................14
MONO LEVEL CONTROL.........................14
MAIN L/R OUTPUT F AD ER..........................14
REAR PANEL DESCRIPTION........................14
PHANTOM POWER SWITCH......................14
POWER SWITCH........................................14
INITIAL SET UP.....................................15
APPLICATIONS.....................................16
1: LIVE SOUND REINFORCEMENT ............16
2:SUB MIX ING............................................17
3:MUSIC CLUB..........................................18
DI MEN SIONS.................................................19
SPECFICATIONS............................................20
SYSTEM BLOCK DIAGRAM....................21
APPENDIX:.........................................22
1: SUGGESTED READING....................22
2: GLOS SA RY.......................................23
CONTENTS
pP
Phonic reserves the right to improve or alter any information supplied within this document without prior
notice. V2.2 Jun. 8, 2004
Page 4
PHONIC CORPORATION
Page 4
MU1705 USER
’
S MANUAL
IN TRO DUC TION
GETTING STARTED
1. Check the AC voltage before connecting the
plug. This product is equipped with a 3wire ground ing type plug; this is a safety fea ture
and should not be defeated. Proper ground ing
must be prac ticed to pre vent elec tri cal shock to
the operator, the mi cro phone user, and any musicians whose in stru ments are wired to this unit.
Choose the main sup ply for the sound system
with care, and do not share sock ets or earthing
with light dimmers.
2. Position the mixer where the sound can be heard
clearly; preferably with the audience.
3. Run audio cables separately from dimmer wir ing, using balanced lines wherever possible. If
necessary, cross audio and lighting ca bles at
right angles to min i mize the possibility of in ter fer ence. Keep un bal anced cabling as short as
possible.
4. Check your cables regularly and label each
end for easy identifi cation.
5. Before switching on the main power, keep all
the output faders all the way down to prevent
dam age or excessive noise caused by bad level
ad just ment, wrong wiring, de fec tive cables,or
bad connections.
6. Always turn on the MU1705 mixer before the
pow er amplifi er; turn off the MU1705 mixer af ter
turn ing off the amplifi er.
7. Always turn off the power before connecting or
disconnecting the unit.
8. Never use solvents to clean the unit. Clean with
a soft, dry cloth.
INTRODUCTION / FEATURES / GETTING STARTED
Congratulations on your purchase of the MU 1705
Mixer. The MU 1705 is built of rug ged con struc tion,
it can be mounted on a stan dard 19-inch ack, which
is ideal for both touring and fi xed PA in stal la tions.
In order to get the best per for mance from the MU
1705, please read this user manual care ful ly , and
re tain it for later reference. If you ignore the man u al and directly jump into the unknown, some thing
might happen and makes a fool out of you. Please,
at least fi nd out what things are dif fer ent about
this mixer and check if you are fa mil iar with all
its fea tures even if you are an experienced mixer
board user.
FEATURES
5 balanced microphone/line input chan nels,
two with insert points
3 stereo line input chan nels
2 stereo line returns
2T input and recording output
1 aux and 1 effect mix send
3 band EQ for each line in put chan nels
PFL for input, AFL for output
60mm high quality linear faders
Dual 13-segments LED level meter
2 audio groups
Stereo main output
Mono main output
+48V phantom power
-20/PFL, PEAK in di ca tors on each in put chan-
nel
AUX SND can be set in PRE or POST fader
Low cut fi lter on each mono input channel
Page 5
PHONIC CORPORATION
Page 5
MU1705 USER’S MANUAL
CONVERTING TO RACKMOUNT MODE
There is an option to meet the requirements of the
en gi neer who prefers to use a mixer that is installed
on a stan dard 19” rack. It is simple to install the rack
mount kit by the fol low ing procedure:
1. Install the rack mount kit with the 6 screws num bers 1-6.
2. Install the mixer on the rack.
CONVERTING TO RACKMOUNT MODE
Page 6
PHONIC CORPORATION
Page 6
MU1705 USER
’
S MANUAL
CONNECTING IT UP
CONNECTING IT UP
Page 7
PHONIC CORPORATION
Page 7
MU1705 USER’S MANUAL
TYPICAL CONNECTING LEADS
TYPICAL CONNECTING LEADS
Page 8
PHONIC CORPORATION
Page 8
MU1705 USER
’
S MANUAL
UNBALANCED & BALANCED
UNBALANCED & BALANCED
Unbalanced & Balanced Connection
Most of the mistakes in audio in stal la tions are
be cause of incorrect and defective audio connections. In order to perfectly com plete your installation;
please pay special at ten tion to the following section unless you are already familiar with balanced/
un bal anced operations.
What is an unbalanced system?
You can fi nd this kind of system in most of home
audio-video systems. They have one conductor to
carry the signal, and another con duc tor for a ground.
Normally, for lower level signals, the ground con duc tor shields the signal conductor.
What is a balanced system?
A balanced system transmits the signal via 2 con-
duc tors plus one ground shielding conductor. The 2
sig nal conductors carry the same signal but out of
phase. For the bal anced input stage, the am pli fi er
will boost the difference of the 2 signal con duc tors
and remove the identical part (known as co on mode
signal) of the 2 signals . Be cause the real sig nal
is carried by the 2 con duc tors out of phase, so it
is perfectly carried to the input. At the same time,
interference that occurs during trans mis sion will be
iden ti cal (coMUon mode). Because the sig nal con duc tors are run together, there is no chance they can
be different, and all the in ter fer ence will be re moved
by the balanced in put amplifi er.
The difference between 2 operations:
Because of the coMUon mode interference iMUu ni ty
of a balanced system, the ground con duc tor doesn’t
need to carry any elec tri cal current, which means
the ground of the 2 con nect ed units has an identical
ground level which is vi tal to an in ter fer ence free
system. Let’s look back to the un bal anced sys tem.
The sig nal electrical current goes from the sig nal
con duc tor to the ground conductor, and that means
the ground level of the 2 connected units are not
identical. This means the sys tem is much easierto
experience noise interference.Running long ca bles
is easy for a balanced system but dif fi cult for an
unbalanced system, and lower noise lev els are a
con stant characteristic of a bal anced system. Be cause a balanced system needs 2 con duc tors for the
signal and 1 conductor for the ground, a min i mum
of 3 con duc tors are need ed for wiring a bal anced
system. So a dedicated sys tem sep a rates the ground
and shields the 2 conductors.
Please read following section for properly wiring
bal anced and unbalanced systems:
The Correct Wiring for Balanced Op er a tion
Always connect the main power with 3 plugs. Make
sure the power system ground is working properly.
Don’t use a ground in su la tor plug adapter without
prop er ly connecting the ground individually. This
is vi tal to making a suc cess ful audio system con nec tion.
Always connect the ground pin (PIN 1 in XLR) to
the source unit, and disconnect this pin on the des ti na tion unit. This connection topology is to avoid
cre at ing a grounding loop between the signal and
pow er ground. Utilize only the power ground, be cause it al ways has a lower re sis tance and better
dis tri bu tion than the signal ground.
If there is hum, a possible reason is a bad ground
connection for the system. In case you can not fi nd
the fault, try connecting the ground pin of the input
connectors. If the hum is reduced or eliminated,
check your power ground ing system. Special at ten tion is needed when you use the equip ment
racks with some distance between them, and/or use
a large quan ti ty of power amplifi ers. Check the power
ground be tween the racks and power dis tri bu tion
strips with your elec tri cal supply engineer . Make sure
there is one, and only one, prop er ground point for
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaa
aaaaaaa
aaaaaaa
aaaaaaa
aaaaaaa
Page 9
PHONIC CORPORATION
Page 9
MU1705 USER’S MANUAL
CHANNEL STRIP DESCRIPTION
Two inputs are available to the
mono input channel, via an XLR
con nec tor (normally for mi cro phone sourc es) or a 3-pole 1/4”
phone jack for high er level signals
such as key boards, drum machines, synths or tape machines.
Both in put sock ets are permanently
active, and may be used by simply plug ging the source into the
required input. You do not need
to unplug something from the mic
sock et if you want to use the line
input. When both the mi cro phone
and line sig nals are plugged into
any chan nel from CH1 to CH5,
then the cir cuit will au to mat i cal ly
be switched to line source.
An unbalanced INSERT is offered
which is a break point in the input
channel signal path. It allows the
signal to be taken out of the mixer,
through an external device and
then brought back into the console to con tin ue through to the
fi nal output. The insert is a 3-pole
1/4” phone jack, which is normally
by-passed.
When a jack plug is inserted, the
sig nal path is broken at a point
just
after the high pass fi lter, but before
the EQ section. The signal from the
channel appears on the TIP of the
phone plug and is returned on
the RING. The in sert point allows
com pres sors, limiters, effect and
oth er signal pro cess ing units to
be added as required to particular
in put chan nels and be cause it is
lo cat ed PRE EQ, noise gen er at ed
by the ex ter nal equip ment may be
1. GAIN
This rotary knob adjusts the chan nel
signal level. Too high, and the signal
will distort as it over loads the channel.
T oo low , and the level of back hiss will
be more noticeable and you may not
be able to get a high enough signal
lev el to the out put of the mixer . Proper
gain or gain set tings allow the mix er to
work at the best operating level. Adjust
the gain when there is a signal present
to the high est lev el without trig ger ing
the peak LED. That is the most ap pro pri ate po si tion.
This gain adjuster has two in di ca tions
to match ei ther a microphone or line
in put signal. When you use the mi cro phone input, please refer to the in side
ring from 0~+60 dB; but when you use
line input, please re fer to the out side
ring from -20~+40dB.
If you use a condensor microphone, it
is required to send phantom pow er to
it. The global phantom power switch
is lo cat ed on the rear panel.
All faders (Group 1, Group 2, Mono,
L/R and CH1~11) should be all the
way down when you switch on the
phantom pow er. In or der to pre vent
excessive noise to stage mon i tor
speak ers and main speak ers,
phan tom powered mics should be
plugged in after the phan tom power
is switched on.
2. EQUALIZERS
These equalizers are designed to
suit different room acoustics, control
feed back and improve the live PA
sound. No amount of equalization will
cor rect the fre quen cy response curve
of a poor loudspeaker. Always begin
with all con trols in the “0” po si tion and
avoid ex ces sive ly cutting/boost ing
CHANNEL STRIP
DE SCRIP TION
Page 10
PHONIC CORPORATION
Page 10
MU1705 USER
’
S MANUAL
CHANNEL STRIP DESCRIPTION
ments of any particular frequency,
which will lim it the sys tem’s
dy nam ic range or in crease the
pos si bil i ty of an un pleas ant feed back sound.To make sound more
im pres sive, a dynamic pro cess is
nec es sary. Chan nel in serts are
de signed to add-on a compressor, lim it er or gate. Please refer to
Phon ic PCL3200 or MCL2000 for
further in for ma tion.
HIGH
Each input channel of the MU1705
has a three-band EQ. Turn the
HIGH to the right to boost high
frequency, adding crispness to
cymbals, vo cals and electronic
instruments. Turn to the left to cut
this frequency, re duc ing sibilance
or hiss. The con trol has a shelving
re sponse that gives 15dB of boost
or cut at 12KHZ.
MID
This knob provides 15dB of boost
and cut at 2.5k Hz, similar to the
High EQ knob.
LOW
The control has a shelving re-
sponse that gives 15dB of boost
or cut at 80Hz. Add warmth to
vocals or ex tra punch to guitars,
drums and synths by turning to
the right. Turn to the left to reduce
stage rumble, hum or to im prove a
mushy sound.
LOW CUT (CH1~5 only)
Slide down the dip-switch, insert
the 18dB per octave 75Hz low cut
fi lter in the signal path. This low
It can also be used to cut off low
frequency hum.
3. AUX / EFX SECTION
These rotary faders send out the input
channel signal to AUX or EFX buses.
These are used to set up separate
mix es for a foldback sys tem and
ex ter nal processing ma chines and
recording.The AUX send can be set
as either pre-fader (so that the aux
send is in de pen dent from the fader,
which is suit able for foldback or monitor) or post-fad er (which is suit able for
the pro ces sor unit; the ef fect sig nal will
fade up and down with the fader). PRE
or POST AUX sig nal is se lect ed by a
push but ton.
The EFX send is always post-fader
and both AUX Send and EFX send
are post EQ.
4. PAN
This control sets the amount of the
chan nel signal feeding the left and right
mix buses, and allows you to lo cate
the source smoothly across the ste reo
im age. When the con trol is turned ful ly
right or left, you are able to route the
signal to ei ther left or right output.
5. PEAK / -20 / PFL
PEAK
The LED indicators light up when an
ex ces sive ly high sig nal lev el is present in the channel. In general, Input
level should be set to the level where
the LED fl ash es briefl y on the loudest
peaks only, if it fl ashes continuously,
turn the in put con trol down slightly.
This en sures the best possible signal-
Page 11
PHONIC CORPORATION
Page 11
MU1705 USER’S MANUAL
CHANNEL STRIP CHANNEL
-20
The LED will come on if the channel
re ceives a signal input higher than
-20 dBu. Both the -20 dBu and the
PFL share the same indicator.
PFL
Pre-Fader-Listening, when the
PFL switch is pressed, the prefader sig nal will be fed to the control
room/headphone output, where it
re plac es the se lect ed monitor
source. PFL is very useful for a mixing en gi neer to monitor in di vid u al
chan nels with out af fect ing the main
mixes, for mak ing ad just ments or
tracing prob lems.
6. L/R OR GP (ROUTING
SWITCH)
The input channel signals may be
rout ed in stereo to the main output
(L/R) or pairs of Group busses (1-2),
by pressing the routing button. The
P AN will also affect the signal route.
Turning extremely left can only feed
Group 1 and extremely right only
feed Groups 2.
7. CHANNEL FADER
A long-throw 60MU linear fad er
de ter mines the pro por tion of the
chan nel in the mix and provides
a clear visual in di ca tion of channel level.
Page 12
PHONIC CORPORATION
Page 12
MU1705 USER
’
S MANUAL
CHANNEL STRIP DESCRIPTION
These 3 stereo input channels are de signed for a stereo line level sig nal, from
a stereo source such as keyboards, drum
ma chines, synths, hi-fi equip ment or DAT
play ers. They have the same func tion as
mono channels except for GAIN setting
and bal ance ad just ment. These high
im ped ance inputs ac cept 2-pole phone
jacks. Use these inputs for keyboards,
drum ma chines, synths, tape ma chine
or pro cess ing units. If the source signal
is mono please plug into the left chan nel
socket only . All of func tions are the same
with the mono input channel strip.
8. AUX RTN
The AUX R TN control section in cludes one
knob and one PFL push button. The knob
con trols the AUX RTN level. When you
would like to mon i tor the signal of AUX
RTN, sim ply de press the PFL button, the
in put sig nal will be fed into CTRL RM.
9. EFX RTN
The EFX RTN control section in cludes
one knob and one PFL push button. The
knob con trols the EFX RTN lev el. When
you would like to mon i tor the signal of EFX
RTN, sim ply de press the PFL button, the
in put sig nal will be fed into CTRL RM.
10. 2T RTN
This knob con trols the level sent to the
mas ter L/R. When you would like to mon i tor
the signal from the 2T RTN, sim ply de press
the PFL button, the in put sig nal will be fed
into CTRL RM.
STEREO CHANNELS 6-11
Page 13
PHONIC CORPORATION
Page 13
MU1705 USER’S MANUAL
11. AUX OUT
This control routes a mono sum of the
in put channel signal to the AUX bus. It is
sep a rate from the master L/R out puts and
can there fore build additional mix output
for the stage monitor, effect unit or extra
loud speak ers.
12. EFX OUT
This control routes a mono sum of the
in put channel signal to the EFX bus. It is
sep a rate from the master L/R out puts and
can there fore build additional mix output
for the effect unit.
13. PHONES
This knob controls the CTRL RM/
head phones level output.
14. GROUP TO L/R & AFL
GROUP TO L/R
You can assign the GROUP 1/2 signal to
MAIN L/R. If you depress the L/R or GP
but ton of any input channel then the in put
sig nal will be fed to GROUP 1/2. Moreover, if
you would like the in put chan nel signal to be
mixed by the MAIN L/R, then it is nessary to
de press the GROUP 1/2 to L/R button.
AFL
This AFL button can send the GROUP 1/2
signal to CTRL RM or PHONES for mon i tor ing; this signal will then be af fect ed by
GROUP 1/2 faders.
15. GROUP 1/2 FADER
A long-throw 60mm linear fader de ter mines
the proportion of the group signal in the mix
and provides a clear visual in di ca tion of
MASTER SECTION DESCRIPTION
MASTER SECTION DE SCRIP TION
Page 14
PHONIC CORPORATION
Page 14
MU1705 USER
’
S MANUAL
16. MASTER DISPLAY
This blue PWR LED will light when the power is
on.When you would like to monitor any in put chan nel or output signal, de press its PFL but ton , or its
AFL button in GROUP, and the mas ter level meter
will show you the sig nals which you have chosen.
In addition, the green PFL LED in di ca tor will light
up.The 13-segment LED meter shows the lev el of
mas ter mix L and R in the ste reo mode.
17. MONO LEVEL CONTROL
The MONO output signal mixes the pre-
fad er sig nal of the MAIN L/R. You can use
this signal as the cen ter cluster or apply it to
another area. This knob con trols the level of
the mono mix output.
18. MAIN L/R OUTPUT FADER
These 60MU long faders adjust the out put level
of the MAIN L/R.
A +48V global Phantom Power master switch
lo cat ed in the rear panel, available for condense
mi cro phone on each mi cro phone in put chan nel. All
fad ers (CH1~11, Group 1, Group 2, L/R and MONO
) should be all the way down when this phantom
pow er is switched on. In order to pre vent ex ces sive
noise to stage mon i tor speak ers and main speak ers, you should not have condensor mi cro phones
pluged in when the +48V master switch is on.
19. POWER SWITCH
Before you turn on the power switch, please pull
down all the faders to the bottom to prevent un want ed tran sient high level signals from destroying
your audio system. The power on LED will light up
in the dis play sec tion when you turn on the power
switch. The de scrip tion beside the power socket tells
you the part num ber of power supply adaptor for your
local main power.
18. PHANTOM POWER SWITCH
REAR PANEL DESCRIPTION
REAR PANEL DESCRIPTION
Page 15
PHONIC CORPORATION
Page 15
MU1705 USER’S MANUAL
INITIAL SET UP
This procedure is very important. Even if you don’t
like to read manuals, please read this section.
After you connect up the system, you are ready
to set the initial set up for every input channel.
The match ing of every input trim to the signal
source is crucial; every detail will affect the fi nal
output of the mixer. Basically , the input sen si tiv i ty
adjustment for the channel fader and out put fad er
are the main factors. You should try to set only
as much mi cro phone trim as required to achieve
good bal ance between signals. If the in put trim is
set too low, you will not get enough gain on the
faders to push the signal up to an ad e quate level.
If the in put trim is set too high, the channel fader
will need to be pulled down in compensation, but
it leaves a great er risk of feed back because small
fader movements will have a very sig nifi cant ef fect
on output level. Certainly, the limited fader travel
path will not be successful in the mixing pro ce dure.
Please use the following set up procedure. Don’t
use the old way: turning the out put up until they
clip and then backing off.
Set all faders and trim controls all the way
off.
Any condenser microphones should be con-
nect ed before the +48V phantom pow er is
switched on.
Set power amplifi er levels to 70%.
Set the Headphones lev el to about 50%.
If you want to hear what you’re doing later,
plug your headphones into the phones
output socket.
Depress the MUTE button.
Push in the PFL button.
Set EQ control to the cen ter position.
Set PAN and BALANCE knobs to the center
position.
You need headphones to continue.
Apply a typical performance level signal,
mon i tor ing the level on the LED meter.
Adjust the in put trim until the meter shows
around the 0dBu position, with occasional peaks
to the fi rst red LED at max i mum source level.
This al lows enough head room to ac coMUo date
peaks and the max i mum level for normal operation. You can lis ten to them through your
headphones.
For microphone sources, the gain control ad just -
ment will de pend on what kind of mi cro phone
you use, normally turn the trim clock wise to 2~3
o’clock. But please ask the sing er to per form
outloud, don’t whisper, if they do not sing at
a normal level while you’re doing the sound
check, you might drive the mix er to over load
or pro duce feedback, be cause you set the gain
too high during the ini tial set up.
Repeat this procedure on all other channels.
When more channels are added to the mixer,the
LED meters may move up to the red section,
adjust the overall lev el using the master fad ers
INITIAL SET UP
Page 16
PHONIC CORPORATION
Page 16
MU1705 USER
’
S MANUAL
APPLICATION1: LIVE SOUND REINFORCEMENT
APPLICATIONS
Page 17
PHONIC CORPORATION
Page 17
MU1705 USER’S MANUAL
APPLICATION2: SUB MIXING
APPLICATIONS
Page 18
PHONIC CORPORATION
Page 18
MU1705 USER
’
S MANUAL
APPLICATION3: MUSIC CLUB
APPLICATIONS
Page 19
PHONIC CORPORATION
Page 19
MU1705 USER’S MANUAL
DIMENSIONS
Measurements are shown in MU/inch.
Page 20
PHONIC CORPORATION
Page 20
MU1705 USER
’
S MANUAL
SPECIFICATIONS
Due to continually improving product performance, specifi cations are subject to change without notice.
Page 21
PHONIC CORPORATION
Page 21
MU1705 USER’S MANUAL
SYSTEM BLOCK DIAGRAM
Page 22
PHONIC CORPORATION
Page 22
MU1705 USER
’
S MANUAL
APPENDIX 2: GLOSSARY
AFL (After-Fader-Listening)
Acronym for after fader listen, also known as post-
fader solo function.
AUX (Auxiliary send)
A console output comprising of mixed signals from
channels and groups derived independently of the
main stereo/group mixes. The feeds to the mix are
typically implemented on rotary level controls.
Balanced
An audio connection method, which balances the
signal between 2 wires and a screen which carries
no signal. Interference is picked up equally by the
2 wires, but out of phase; resulting in can cel la tion
of the interference signal.
Clipping
Severe distortion onset in the signal path, usually
happens when the peak signal voltage is being
lim it ed by the circuit’s power supply voltage.
dB (decibel)
A ratio of quantities measured in similar terms us ing
a logarithmic scale.
Equalizer (EQ)
A devise that allows the cutting or boosting of fre-
quen cies of selected bands in the signal path.
Fader
Audio level control. The term also refers to a straight-
line slide control rather than a rotary control.
APPENDIX 1: SUGGESTED READING
Phonic recoMUends the following books for those
interested in advanced audio engineering and
sound system operation:
Sound System Engineering by Don and Caro-
lyn Davis, Focal Press, ISBN: 0-240-80305-1
Sound Reinforcement Handbook by Gary D.
Davis, Hal Leonard Pub lish ing Corporation,
ISBN: 0-88188-900-8
Audio System Design and Installation by Philip
Giddings, Focal Press, ISBN: 0-240-80286-1
Practical Recording T echniques by Bruce and
Jenny Bartlett, Focal Press, ISBN: 0-24080306-X
Modern Recording Techniques by Huber &
Runstein, Focal Press, ISBN: 0-240-80308-6
Sound Advice – The Musician’s Guide to
the Recording Studio by Wayne Wadham,
Schirmer Books, ISBN: 0-02-872694-4
Professional Microphone T echniques by David
Mills Huber, Philip Williams. Hal Leonard Pub lish ing Corporation, ISBN: 0-87288-685-9
Anatomy of a Home Studio: How Everything
Really Works, from Mi cro phones to Midi by
Scott Wilkinson, Steve Oppenheimer, Mark
Isham. Mix Books, ISBN: 091837121X
Live Sound Reinforcement: A Com pre hen sive
Guide to P.A. and Music Re in force ment Sys tems and Tech nol o gy by Scott Hunter Stark.
Mix Books, ISBN: 0918371074
Audiopro Home Recording Course Vol 1:
A Com pre hen sive Mul ti me dia Audio Re cord ing Text by Bill Gibson. Mix Books, ISBN:
0918371104
Audiopro Home Recording Course Vol. 2:
A Comprehensive Multimedia Audio Re cord ing Text by Bill Gibson. Mix Books, ISBN:
APPENDIX
Page 23
PHONIC CORPORATION
Page 23
MU1705 USER’S MANUAL
Polarity
The positive and negative poles of an audio con-
nec tion. Usually connections are made with pos i tive
to pos i tive and negative to negative.
Post-fader
The point in the signal path after the monitor or mas ter
fader and therefore affected by fader position.
Pre-fader
The point in the signal path before the monitor or
mas ter fader and therefore not affected by fader
position.
Roll off
A fall in gain at the extremes of the frequency re-
sponse.
Shelving
An equalizer response which affects all fre quen cies
above or below the break frequency.
Stereo return
An input specifi cally for the receiving of other ex ter nal
devices.
Transient
A temporary rise in the signal level.
Unbalanced
A single wire audio connection method that uses a
screen as a signal return. This method does not pro vide the noise iMUunity of a balanced input.
+48V
the phantom power supply for channel mic inputs, for
condenser microphones and active DI boxes.
Feedback
A howling sound caused by placing a microphone
too close to a loudspeaker driven from its am pli fi ed
signal.
Frequency response
The variation of frequencies in a device.
Gain/input sensitivity
The variation in signal level.
Highpass fi lter
A fi lter that rejects low frequencies.
Insert
A break point for the connection of an external
de vice in the signal path. For example, signal pro ces sors or another mixer.
Pan
Or panorama; controls levels sent to left and right
outputs.
Peaking
A bandpass response of an equalizer response
curve affecting only one band of frequencies.
PFL (Pre-fader-Listening)
A function that allows the operator to monitor the
pre-fade signal on an independent channel of the
main mix.
Phase
A term used to describe the relationship between
2 signals. Signals that reinforce each other are Inphase; signals that cancel each other are out-of
phase.
APPENDIX
Page 24
Loading...