SPEAK OUTPUTS
L
R
Min
load 4
Ω
0
-15
+15
0
-15
+15
0
-15
+15
HIGH
12 KHz
EQ
MID
2.5 KHz
LOW
80 Hz
The mono channels of the mixing consoles have a high-
slope LOW CUT filter for eliminating unwanted, low-frequenty
signal components (75 Hz, 18 dB/octave).
LOW CUT
TRIM
Use the TRIM control to adjust the input gain. This control should always be turned fully counterclock-
wise whenever you connect or disconnect a signal source to one of the inputs.
Each mono input also features a balanced line input on a
1/4" connector. Unbalanced devices (mono jacks) can also
be connected to these inputs.
LINEIN
please remember that you can only use either the
microphone or the line input of a channel at any one
time. You can never use both simultaneously!
2.1 Mono channels
2.1.1 Microphone and line inputs
Fig. 2.1: Connectors and
controls of mic/line inputs
Each mono input channel offers a balanced microphone
input via the XLR connector and also features switchable
+48V phantom power supply for condenser microphones.
The PMX preamps provide undistorted and noised-free gain
as is typically known only from costly outboard preamps.
MIC
Please mute your play back system before you
active the phantom power supply to prevent switch-
on thump being directed to your loudspeakers.
Please also note the instructions in chapter 2.4.2
“Voltage supply, phantom power and fuse”.
+10 -40
MIC
+10
+60
TRIM
dB/dBu
LOW CUT
75Hz
18 dB/Oct
LINE IN
BAL
OR
UNBAL
1
PMX Series Mixer
4
All mono input channels include a 3-band equalizer. All bands provide boost or cut of up to 15dB. In the
central position, the equalizer is inactive.
The circuitry of the British EQs is based on the technology used in the bast-known top-of-the-line
consoles and providing a warm sound without any unwanted side effects. The result are extremely musical
equalizes which, unlike simple equalizers, cause no side effects such as phase shifting or bandwidth
limitation, even with extreme gain settings of
±
15 dB.
2.1.2 Equalizer
Fig. 2.2: Panorama and routing controls
The upper (HI) and the lower band (LO) are shelving
filters
that increase or decrease all frequencies above
or below their cut-off frequency. The cut-off frequencies
of the upper and lower band are 12 kHz and 80 Hz
respectively. The mid band is configured as a peak filter
with a centre frequency of 2.5kHz
Fig. 3.1: Digital effects module
PROGRAM
(PUSH)
PHONES
FX
FOOTSW
2 4 - BIT MULTI - FX PRO CESSOR
00 SMALL HALL
03 MID HALL
06 BIG HALL
09 CHURCH
10 SMALL ROOM
13 MID ROOM
16 BIG ROOM
19 CHAPEL
20 PLATE
27 SPRING
30 GATED REV
36 REVERSE
40 EARLY REFL
44 AMBIENCE
48 STADIUM
49 AMBIENCE FX
50 DELAY
59 ECHO
60 CHORUS
66 FLANGER
70 PHASER
74 PITCH SHIFT
80 CHORUS & REVERB
82 FLANGER & REVERB
84 PHASER & REVERB
86 PITCH & REVERB
88 DELAY & REVERB
90 DELAY & GATED
91 DELAY & REVERSE
92 DELAY & CHORUS
94 DELAY & FLANGER
96 DELAY & PHASER
98 DELAY & PITCH
CLIP
-3
-6
-10
-15
-20
24-BIT DUAL ENGINE DSP
LEVEL
24-BIT A/D & D/A CONVERTER
PMX Series Mixer
13
Fig. 2.16: AMP output
AMP
OUTPUT
This
speakon
socket
is
for
stereo
Amp
L/R
output
.
It's
used
to
connect
speaker
cabinet
by
speakon
NL 4FC
.
Note
:
Min
Load 4
Ω
2.4.3 AMP
Output
HEAT
REMOVAL
SYSTEM
This
is
the
mixer's
stereo
amp
fan
refrigeration
system.
It
works
with
low
speed
in
normal
temperature
(
≤
45
℃
).
When
it
is
higher
than 45
℃,
it
will
quicken
up
.
Note
:
Keep
the
windhole
free
,
or
the
equipment
will
be
too
hot
and
turn
to
protection
in
advance
.
Fig. 2.17: Heat removal system
2.4.4 Heat removal system
DO NOT OBSTRUCT AIR VENTS
SERIAL NUMBER
Please note the important information on the serial number given in chapter 1.3.3.
After the phantom power supply has been switched on, do not connect microphones to the
mixer (or the stagebox/wallbox). Connect the on. In addition, the monitor/PA loudspeakers
should be muted before activating the phantom power supply. After switching on, wait approx.
One minute to allow the system to Stabilize.
Caution! You must never use unbalanced XLR connectors (PIN 1and 3 connected) on the
MIC input connectors if you want to use the phantom power supply.
3.DIGITAL EFFECTS PROCESSOR
24-BIT MULTI-EFFECTS PROCESSOR
These effect presets are designed to be added to dry
signals. If you move the FX TO MAIN control, you mix the
channel signal (dry) and the effect signal.
Here you can find a list of all presets stored in the multi-
effects processor. This built-in effects module produces
high-grade standard effects such as reverb, chorus, flanger,
delay and various combination effects. The integrated
effects module has the advantage of requiring no wiring.
This way, the danger of creating ground loops or uneven
signal level is eliminated at the outset, completely simpli-
fying the handing.
+1
-1
-2
+2
