5
R
Re
ea
arr P
Pa
an
ne
ell C
Co
on
nn
ne
eccttiio
on
nss
11.. IIN
NS
SE
ER
RT
T This is a female 1/4" TRS connector for
terminating two, single-ended (unbalanced) line level
circuits. The tip is a line output.
2
2.. LLIIN
NE
E ((B
BA
ALL)) This is a female 1/4" TRS connector for
terminating balanced lower high impedance line level
circuits. Tip is positive, ring is negative. This circuit is
wired in parallel with the female XLR connector. This
input is connected through a 20 dB pad to the Mic
input. Connecting to this input will not disable the XLR
input connector, so both inputs should NOT be used
simultaneously.
3
3.. M
MIIC
C This is a female XLR connector for terminating
balanced, low impedance microphone circuits. Pin 2 is positive and +48 V DC
is applied to pins 2 and 3 via a resistive network when the front panel
Phantom Power switch is ON.
C
Ch
ha
an
nn
ne
ell S
Sttrriip
p C
Co
on
nttrro
ollss
4
4.. G
GA
AIIN
N This control adjusts the first gain stage of the input channel. The
range is +10 to +56 dB for microphone level inputs and -10 to +36 dB for line
level inputs. The output of this gain stage also drives the SIG/PFL LED.
5
5.. LLO
OW
W C
CU
UT
T This control adjusts the setting of the low cut filter and is
variable from no cut in the OFF position, to cut below 300 Hz in the
maximum position.
6
6.. H
HII This active tone control is a shelving-type that varies high-frequency
response by +/-15 dB in the range above 12 kHz.
7
7.. M
MIID
D This active tone control is a bandpass (peak/notch) type that varies
mid frequency response by +/-15 dB in a range from 200 Hz to 6 kHz.
8
8.. M
MIID
D FFR
RE
EQ
Q This control determines the center frequency of the MID
control. Center frequency for the bandpass filter can be set from 200 Hz to
6 kHz.
9
9.. LLO
OW
W This active tone control is a shelving-type that varies low frequency
response by +/-15 dB. Corner frequency is 75 Hz.
110
0.. A
AU
UX
X 11 -- 4
4 These controls adjust the level of the channel’s pre-fader
signal that is sent to the auxiliary mix. Gain is variable from minus infinity
(– ∞) to +10 dB. Unity gain is at the center detent position.
1111.. A
AU
UX
X 5
5 -- 6
6 These controls adjust the level of the channel’s post-fader
signal that is sent to the auxiliary mix. Gain is variable from minus infinity
(-∞) to +10 dB. Unity gain is at the center detent position.
112
2.. P
PA
AN
N This control determines the signal’s position with respect to L/R
and Sub 1 - 4 outputs. Rotating the control counterclockwise increases the
amount of signal sent to L and odd-numbered Subs; rotation clockwise
increases the amount sent to R and even-numbered Subs.
113
3.. A
AS
SS
SIIG
GN
N S
SW
WIIT
TC
CH
HE
ES
S These post-fader, post-EQ switches determine where
the channel signal is being sent.
114
4.. M
MU
UT
TE
E S
SW
WIIT
TC
CH
H a
an
nd
d M
MU
UT
TE
E//C
CLLIIP
P LLE
ED
D This switch mutes all Aux, Sub, L/R,
and Mono sends from the corresponding channel. The switch is equipped
with a red LED that will illuminate when the channel is muted. When the
Mute switch is disengaged, the LED functions as a clip (PK) indicator that
will illuminate at 2 dB below clipping. Muting the channel does not prevent
the PFL signal from being sent to the PFL mix when the PFL switch is
engaged.
115
5.. P
PFFLL S
SW
WIIT
TC
CH
H &
& S
SIIG
GN
NA
ALL//P
PFFLL LLE
ED
D This switch connects the channel’s pre-
fader signal to the PFL mix. With this feature engaged, the channel’s signal
can be monitored through the headphones and/or on the AFL/PFL display.
S
Stta
an
nd
da
arrd
d C
Ch
ha
an
nn
ne
ellss
INSERT
MIC
(TRS)
(BAL)
LINE
(BAL)
1
11
1 - 20 (AAM
™
2443)
1 - 28 (AAM3243)
4
4
5
5
6
6
7
7
8
8
112
2
9
9
116
6
110
0
2
2
3
3
1111
114
4
115
5
113
3
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