Peavey 2443/3243 user manual Standard Channels, Simultaneously

Standard Channels

1 - 20 (AAM™ 2443)

1 - 28 (AAM3243)

	1	Rear Panel Connections
		1. INSERT This is a female 1/4" TRS connector for
	INSERT
	(TRS)	1 terminating two, single-ended (unbalanced) line level
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		circuits. The tip is a line output.
	LINE	2. LINE (BAL) This is a female 1/4" TRS connector for
		2 terminating balanced lower high impedance line level
5	(BAL)
	MIC (BAL)	circuits. Tip is positive, ring is negative. This circuit is
		wired in parallel with the female XLR connector. This
6		input is connected through a 20 dB pad to the Mic
		3 input. Connecting to this input will not disable the XLR
		input connector, so both inputs should NOT be used
7		simultaneously.
		3. MIC This is a female XLR connector for terminating
8	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.
9	Channel Strip Controls
	4. GAIN 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. LOW CUT 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
10	maximum position.
	6. HI This active tone control is a shelving-type that varies high-frequency
	response by +/-15 dB in the range above 12 kHz.
	7. MID 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. MID FREQ 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.
11	9. LOW This active tone control is a shelving-type that varies low frequency
	response by +/-15 dB. Corner frequency is 75 Hz.

		10. AUX 1 - 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
	12	(– ∞) to +10 dB. Unity gain is at the center detent position.
		11. AUX 5 - 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
13		(-∞) to +10 dB. Unity gain is at the center detent position.
		12. PAN This control determines the signal’s position with respect to L/R
		and Sub 1 - 4 outputs. Rotating the control counterclockwise increases the
14		amount of signal sent to L and odd-numbered Subs; rotation clockwise
		increases the amount sent to R and even-numbered Subs.

15	13. ASSIGN SWITCHES	These post-fader, post-EQ switches determine where
	the channel signal is being sent.

14. MUTE SWITCH and MUTE/CLIP LED 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.

16	15. PFL SWITCH & SIGNAL/PFL LED 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.

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