Console Light; Foot Pedal For The Effect Processors; Power Supply; Operation - IMG STAGELINE PMX-122FX Manual De Instrucciones

Bridged operation (switch in lower position)
The power amplifier amplifies the mono sum sig-
nal and provides its total power to a speaker sys-
tem. The speaker system (minimum imped-
ance: 8 Ω!) or a speaker system group with a
total impedance of 8 Ω can only be connected
to the SPEAKON ® compatible jack A in the fol-
lowing way:
Contact 1+ for the positive pole
Contact 2+ for the negative pole
2+ = 1-
2- 1+ =
Fig. 8 SPEAKON compatible plug
®
Connection for bridged operation

4.8 Console light

To illuminate the mixer, a gooseneck light (12 V /
500 mA max.), e. g. model GNL-304, GNL-305
or GNL-314 from "img Stage Line", can be con-
nected to the XLR jack LAMP (17). The light is
switched on and off together with the mixer.
4.9 Foot pedal
for the effect processors
To be able to switch on / off the internal effect
processors FX 1 and FX 2 from the stage, for
example, two foot pedals (e. g. FS-60 from
MONACOR) can be connected to the 3-pole
6.3 mm jack FOOT SW 1/ 2 (50).
FX1
T R S
T
S
Fig. 9 Connection of the foot pedals

4.10 Power supply

Use the mains cable supplied to connect the
mains jack (54) of the mixer to a socket (230 V~/
50 Hz).

5 Operation

CAUTION Never adjust the speaker systems
and the headphones to a very high
volume. Permanent high volumes
may damage your hearing! Your
ear will get accustomed to high volumes which
do not seem to be that high any more after
some time. Therefore, do not further increase a
high volume after getting used to it.

5.1 Switching on and off

1) To prevent switching noise and an excessive
volume, set the following output controls to
minimum prior to switching on the mixer:
– MONO (30)
– MAIN MIX (39)
– PHONES / CTRL-ROOM (42)
– AUX 1 and AUX 2 (33) when the send ways
1 and 2 are used as monitor ways.
2) Depending on the microphone type con-
nected, switch the 48 V phantom power sup-
ply on or off, using the switches PHANTOM
(18) [ chapter 4.1.1].
3) If the internal power amplifier is used, check
whether the assignment switch (37) has been
set to the correct position (
and then switch on the power amplifier, using
the switch POWER AMP (36). If the power
amplifier is not used, switch it off.
4) To switch the mixer on and off, use the
POWER switch (56). When the mixer is
switched on, the LED POWER (48) and the
displays (27) light up.

5.2 Level control of the input channels

The following steps merely serve as an aid; other
procedures are possible.
1) First, make the following basic adjustment.
a) Disengage all buttons LOW CUT (11).
b) Set all controls TRIM (12), all equalizer
controls EQ (10) and all sliders of the
equalizer (35) to mid-position.
c) Set all controls AUX 1 to AUX 4 (7, 9) for
the send ways to minimum.
d) Set all panorama controls PAN (5) and all
balance controls BAL (6) to mid-position.
e) Disengage all buttons MUTE (4, 22, 46),
PFL (3, 21), AFL (31, 44) and the button
COMP/LIM (40).
f) Close all channels faders (1) and the
faders AUX RTN 1 and 2 (19), MONO (30)
and MAIN MIX (39).
g) Set the following controls to minimum:
– FX 1 TO MAIN, FX 2 TO MAIN (23)
– FX 1 TO AUX 1, FX 2 TO AUX 2 (24)
– AUX 1 to AUX 4 (33) on the output panel
– 2-TRACK IN (34)
2) Feed an audio signal to the channel first used
(e. g. sing into a microphone, play a musical
instrument).
3) If the signal is to be made audible via the
speaker systems connected, advance the
fader (1) of the channel to the position "0 dB"
and then advance the fader MONO (30) or
FX 2
MAIN MIX (39) until the signal can be heard
R well. However, it is also possible to monitor
the signal via headphones or via a control
monitor system when the faders are closed,
chapter 5.7.
4) Press the button PFL (3) of the channel to
switch on the pre-fader listening function for
the channel; the LED next to the button will
light up as an indication.
5) Press the button AFL / PFL – MAIN (43) so
that the level indicators (45) indicate the
channel signal. The signal is indicated ahead
of the fader (1), the control PAN (5) or BAL
(6) and the button MUTE (4).
6) Use the level indicators for an optimum
adjustment of the input amplification (approx.
0 dB) by means of the control TRIM
7) Use the controls EQ (10) to adjust the sound:
LOW for the bass frequencies: ±15 dB at 80 Hz
MID FREQ¹ to adjust the filter frequency
(100 Hz – 8 kHz) in the midrange
MID¹ for the mid-frequencies:
±15 dB at 100 Hz – 8 kHz
MID LOW² for the lower mid-frequencies:
±15 dB at 500 Hz
HI-MID² for the upper mid-frequencies:
±15 dB at 3 kHz
HIGH for the high frequencies: ±15 dB at
12 kHz
¹ for mono channels only
² for stereo channels only
If required, press the button LOW CUT
(11) to suppress low-frequency interference
(e. g. impact noise, hum).
Then check the level of the channel and, if
necessary, use the control TRIM to readjust
the input amplification.
chapter 4.7)
8) Disengage the button PFL to switch off the
pre-fader listening function for the channel.
The level of the channel can still be roughly
checked by means of the LED PEAK (2):
When the LED lights up, the channel is over-
loaded; in this case, use the control TRIM to
attenuate the input amplification.
9) To make sure that only the channel being
adjusted is audible while the signal is being
reproduced via the speaker systems: After
controlling the level of the channel, set its
fader (1) to minimum or press the button
MUTE (4) to mute the channel.
10) Repeat steps 2) to 9) for all the other input
channels.

5.3 Mixing input signals

1) Advance the fader MONO (30) or MAIN MIX
(39) until the mixed input signals can be
heard well via the speaker systems. How-
ever, it is also possible to monitor the mixed
signal via headphones or via a control moni-
tor system, chapter 5.7.
2) Use the faders (1) to mix the signals of the
input channels in the volume ratio desired.
Always close the faders of the unused chan-
nels.
3) For the mono channels, use the panorama
controls PAN (5) to place the mono signals in
the stereo sound. For the stereo channels,
use the controls BAL (6) to adjust the balance
of the stereo signals.
4) Please refer to chapter 5.6 for information on
adding effects.
5) To add the input signal of the jacks AUX IN /
TAPE IN (29) to the signal sum, use the con-
trol 2-TRACK IN (34).
Note: If, during recording via the jacks TAPE OUT,
the recording signal is fed as an input signal to the
jacks AUX IN / TAPE IN, press the button MUTE
(46); otherwise, there will be feedback.
6) Use the fader MAIN MIX to adjust the definite
volume of the stereo sum signal, and / or use
the fader MONO to adjust the definite volume
of the mono sum signal.
7) The sum signals can be monitored by means
of the level indicators (45):
a) For the stereo sum signal, disengage the
button AFL / PFL – MAIN beneath the indi-
cators.
b) For the mono sum signal, press the button
AFL / PFL – MAIN and the button AFL (31).
All buttons PFL (3, 21) and the button AFL
(44) on the operating panel 2-TRACK IN
must be disengaged.
The red LEDs CLIP light up in case of an
overload; close the fader MAIN MIX or
MONO accordingly. If the internal power
amplifier is used, the corresponding LEDs
(49) will light up as well:
SIG = Signal indication
CLIP = Overload indication
PROT. = The protective circuit has switched
off the power amplifier, e. g. in case
of overheating or in case of short cir-
cuit at one of the jacks SPEAKERS
(57, 58).
8) To adapt the sound of the sum signal to the
room acoustics, use the 7-band equalizer:
Switch on the equalizer by means of the but-
ton EQ ON (47) and then adjust the sound
with the sliders (35).
Note: The equalizer has also an influence on the
signal at the output TAPE OUT (29). If required, use
the button EQ ON to switch off the equalizer during
recording.
9) To mute a channel, e. g. during an interval,
press the corresponding button MUTE.
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