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Idiomas disponibles
Idiomas disponibles
CONTROLS AND SETTINGS
Rear Panel
19. Power Switch
This switch is used to turn the mixer on
and off. Ensure you turn all level controls
down before activating.
20. Phantom Power Switch
When this switch is in the on position,
it activates +48V of phantom power for
all microphone inputs, allowing condenser microphones (well,
the ones that don't use batteries) to be used on these channels.
Activating Phantom Power will be accompanied by an illuminated
LED above the left channel Level Meter. Before turning Phantom
Power on, turn all level controls to a minimum to avoid the
possibility of a ghastly popping sound from the speakers.
NB. Phantom Power should be used in conjunction with balanced
microphones. When Phantom Power is engaged, single ended
(unbalanced) microphones and instruments should not be used on the
Mic inputs. Phantom Power will not cause damage to most dynamic
microphones, however if unsure, the microphone's user manual should
be consulted.
Channel Controls
21. Compressor Control and Indicator
This controls the onboard compressor
function on mono channels. Turning
this control up towards the 12 o'clock
position will adjust the threshold and
ratio of the compressor at varying
degrees.
Once you reach the 12
o'clock position, the control will then
adjust the compression settings
along with an onboard expander (or,
in other words, a compander). The
LED that accompanies this control
will light up when the compressor is
triggered.
22. Gain Control
This controls the sensitivity of the
input signal of the Line/Microphone
input of mono channels, and the
Microphone input only of stereo
input channels. 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 accomplished by adjusting it to a level that
will allow the peak indicator occasionally illuminate.
23. Low Cult Filter (75 Hz)
This button, located on channels 1 through to 12, will activate a
high-pass filter that reduces all frequencies below 75 Hz at 18
dB per Octave, helping to remove any unwanted ground noise
or stage rumble. On stereo channels 9-10 and 11-12, the low
cut filter affects only the XLR Microphone inputs (and not the
line inputs).
24. 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.
25. Middle Frequency Control
This control is used to provide a peaking style of boost and cut
to the level of middle frequency sounds at a range of ±15 dB.
The AM844D USB mixer also provides a sweep control, allowing
AM844D
USB
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you to select a center frequency between 100 Hz and 8 kHz.
Changing middle frequencies of an audio feed can be rather
difficult 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 stereo channels of the AM844D USB mixer feature a High-
Mid and Low-Mid control instead of the typical controls described
above. They provide a peaking style of boost and cut to middle
frequencies, where the frequencies are set at 3 kHz and 800 Hz
for the High- and Low-Mids respectively.
26. 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.
27. AUX Controls
These four AUX controls alters the
signal level that is being sent to the
aux 1 to 4 mixes, the signal of which
is suitable for connecting stage
monitors, allowing artists to listen to
the music that is being played. AUX 1
and 2 feature a Pre/Post button, which alternates the feed to the
AUX mix between a post and pre-fader feed. AUX 3, on the other
hand, acts as an EFX send, the signal of which can be used
in conjunction with external signal processors (which can be
returned to the mixer via the AUX return input), or simply as an
Auxiliary output. Both the AUX 3 (EFX) and AUX 4 controls are
post fader and are sent directly to the corresponding outputs.
28. Pan / Balance Controls
This alternates the degree or level of audio that the left and
right side of the main mix should receive. On mono channels,
the PAN 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 accordingly
(balance).
29. On Button and Indicator
This turns the channel on, allowing the
user to use the feed from the channel's
inputs to supply the MAIN L/R, GROUP
1/2, GROUP 3/4, AUX and EFX buses
(as specified by the user, of course).
The corresponding indicator will be
illuminated when turned on.
30. 1-2, 3-4 and L-R Buttons
These handy buttons allow you to decide
the audio path of the corresponding
channel. Pushing the "1/2" or "3/4"
buttons allows the signal to be sent to
the Group 1/2 or 3/4 mixes respectively,
where the "L-R" allows it to be sent to the
Main L/R mix.
31. Peak Indicator
This LED indicator will illuminate when the channel hits high
peaks, 6 dB before overload occurs. It is best to adjust the
channel level control so as to allow the PEAK indicator to light
up on regular intervals only. This will ensure a greater dynamic
range of audio. This indicator also doubles as a Solo indicator,
when the SOLO button is engaged.
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