Peavey Aam 1662 User manual

AAM™1662

Audio Mixer

User Manual

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enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Intended to alert the user of the presence of important operating and maintenance (servicing)

instructions in the literature accompanying the product.

CAUTION: Risk of electrical shock — DO NOT OPEN!

CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer

servicing to qualified service personnel.

WARNING: To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture. Before

using this appliance, read the operating guide for further warnings.

Este símbolo tiene el propósito, de alertar al usuario de la presencia de “(voltaje) peligroso” sin ais-

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riesgo de descarga eléctrica.

Este símbolo tiene el propósito de alertar al usario de la presencia de instruccones importantes sobre la

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PRECAUCION: Para disminuír el riesgo de descarga eléctrica, no abra la cubierta. No hay piezas útiles dentro.

Deje todo mantenimiento en manos del personal técnico cualificado.

ADVERTENCIA: Para evitar descargas eléctricas o peligro de incendio, no deje expuesto a la lluvia o humedad

este aparato Antes de usar este aparato, Iea más advertencias en la guía de operación.

Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur la présence d’une tension dangereuse

pouvant être d’amplitude suffisante pour constituer un risque de choc électrique.

Ce symbole est utilisé dans ce manuel pour indiquer à l’utilisateur qu’il ou qu’elle trouvera d’importantes

instructions concernant l’utilisation et l’entretien de l’appareil dans le paragraphe signalé.

ATTENTION: Risques de choc électrique — NE PAS OUVRIR!

ATTENTION: Afin de réduire le risque de choc électrique, ne pas enlever le couvercle. Il ne se trouve à l’intérieur

aucune pièce pouvant être reparée par l’utilisateur. Confiez I’entretien et la réparation de l’appareil à un réparateur

Peavey agréé.

AVERTISSEMENT: Afin de prévenir les risques de décharge électrique ou de feu, n’exposez pas cet appareil à la

pluie ou à l’humidité. Avant d’utiliser cet appareil, lisez attentivement les avertissements supplémentaires de ce

manuel.

Dieses Symbol soll den Anwender vor unisolierten gefährlichen Spannungen innerhalb des Gehäuses

warnen, die von Ausreichender Stärke sind, um einen elektrischen Schlag verursachen zu können.

Dieses Symbol soll den Benutzer auf wichtige Instruktionen in der Bedienungsanleitung aufmerksam

machen, die Handhabung und Wartung des Produkts betreffen.

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VORSICHT: Um das Risiko eines elektrischen Schlages zu vermeiden, nicht die Abdeckung enfernen. Es befinden

sich keine Teile darin, die vom Anwender repariert werden könnten. Reparaturen nur von qualifiziertem

Fachpersonal durchführen lassen.

ACHTUNG: Um einen elektrischen Schlag oder Feuergefahr zu vermeiden, sollte dieses Gerät nicht dem Regen

oder Feuchtigkeit ausgesetzt werden. Vor Inbetriebnahme unbedingt die Bedienungsanleitung lesen.

GENERAL CAUTIONS AND WARNINGS!

To prevent electrical shock or potential fire hazards, do not expose the AAM™1662 to moisture or rain.

Before using this product, read the user manuals for further warnings and cautions.

The following cautions should be carefully observed when installing, wiring or using this product:

DO NOT use any other power supply or cable other than the one provided with this unit.

DO NOT remove the top cover of the unit. There are no user serviceable parts inside. Refer service

to qualified personnel.

DO NOT use solvents or other cleaners to clean the unit. Basic external care requires only a damp

cloth. Disconnect the power supply cord before cleaning.

Read all safety and installation instructions and retain all documentation for further reference.

The AAM 1662 should be installed so that its mounting position does not interfere with proper ven-

tilation.

This product should not be installed or placed near a source of heat.

Power supply cords and associated connectors should be unplugged from the power source when

the unit is not used for long periods of time, or will be stored.

If this product is to be mounted in an equipment rack, install rear support if required by the rack

manufacturer.

Care should be taken to ensure that the installation is clear of possible sources of contamination.

Make sure that the product’s ventilation openings are not exposed to possible sources of liquid,

gases, or other contaminants.

This product should be inspected by a qualified service technician if the power supply cord or con-

nector has been damaged, if the unit has been dropped, or if a foreign substance has gained access

to the interior electronic and electrical components.

The information contained in this manual is subject to change without notice. Peavey Electronics is not liable

for improper installation or configuration. The information contained herein is intended only as an aid to

qualified personnel in the design, installation and maintenance of engineered audio systems. The installing

contractor or end user is ultimately responsible for the successful implementation of these systems.

All creative content, including but not limited to, specifications, layout design, artwork, photography, draw-

where noted. The "fast forward", stylized Peavey logo, the “AA Blue Wave” logo and the Architectural

Acoustics brand name are registered trademarks of Peavey Electronics. Un-authorized duplication or distribu-

tion is prohibited by law. This manual was designed, written, formatted, pre-press and printed in Meridian,

Mississippi, USA. 2001.

Manual by WR.

Page 4 http://aa.peavey.com copyright 2001 All Rights Reserved
Thank You! 6
What’s In The Box? 6
Description 7
8
Conventions 9
Installation 10
Assumptions 11
Gain Structure & Setting the Input Gain 12-13
Channels 3 through 8 Front Panel Features 17
Group Outputs 1 through 4 Features 23
Specifications 30-31
Master Block Diagram 32-33
Warranty Statement 35
Channels 1 & 2 Rear Panel Features 14
Channels 9 through 14 Rear Panel Features 18
Group Outputs 5 & 6 Rear Panel Features 24
Pre Fader Aux Output Features 25
Master Section Front Panel Features 28
Technical Support 29
Channels 9 through 14 Front Panel Features 19
Channels 15 & 16 Rear Panel Features 20
Channels 15 & 16 Front Panel Features 21
Output Section
Main Outputs Rear Panel Features 22
Channels 1 & 2 Front Panel Features 15
Channels 3 through 8 Rear Panel Features 16
AAM™1662 User Manual
Table of Contents
Warranty Registration 29
Post Fader Aux Output Features 26
Master Section Rear Panel Features 27
Input Channels
Features & Applications

Page 5Peavey Electronics Corporation

Table Of Contents

THIS PAGE LEFT INTENTIONALLY BLANK

AAM™1662 User Manual

Thank You! Thank you for purchasing the AAM 1662 audio mixer. The AAM 1662 repre-

sents the latest in state-of-the-art audio technology for fixed commercial

audio installations.

This manual was written to provide as much information as possible for

your new Peavey Architectural Acoustics product. It is our sincere desire

that you enjoy your purchase.

We feel that the best way to fully enjoy any purchase is to have an in-depth

understanding of the product’s features, functionality and performance char-

acteristics. We hope that this manual, along with the manuals of our other

products, will provide this. If you require additional information that this

manual does not provide, please let us know. We are continuously looking

for better ways to provide information about our products, and your input is

always appreciated.

If you have a comment about this manual, or would like to make a sugges-

tion, please write to: Peavey Electronics Corp., Architectural Acoustics

Division, 711 A St., Meridian, MS 39301. Thank you again for using Peavey!

What’s In The Box? The AAM 1662 is packaged in a single container. This container includes the

following items:

1- AAM 1662 analog mixer

1- IEC removable power supply line cord

(120 VAC Domestic, 230 VAC Export)

1- User manual/literature package

1- Warranty card

If any of these items are missing, please contact your Authorized Peavey

Architectural Acoustics contractor/dealer.

Welcome

Page 7Peavey Electronics Corporation

Description The AAM™1662 is a high quality, commercial grade analog audio mixer.

Designed for desktop or rack mounted installation, the AAM 1662 represents

the latest, state-of-the-art technology in analog circuit design.

The heart of the AAM 1662 is centered around its extensive mix bus archi-

tecture which includes fourteen separate audio buses. Driving these buses

are four different types of input assemblies that offer extremely high per-

formance, versatility and value for most fixed audio applications.

The AAM 1662 includes a versatile input complement. Choices include two

full-featured microphone or line level inputs, six normal mic/line inputs, six

mic/dual sum line inputs and two mic/line stereo inputs. All microphone

inputs include 48 V phantom power and studio grade microphone preampli-

fiers.

The input assign functionality is very rich, and includes multiple options for

sending microphone, single line, dual line or stereo line signals to the output

buses. Multiple options for routing and distributing input signals make the

AAM 1662 one of the most flexible audio mixers on the market today.

The AAM 1662 is equally impressive on the output side. The fourteen dis-

creet mixing buses coupled with eleven output connectors makes this unit

even more versatile. The main L/R and Aux 1/2 outputs are fully balanced, as

is the summed mono output, derived from the L/R buses.

A full monitoring section provides selectable inputs for headphones or con-

trol room outputs. Inputs for these outputs are selectable from any of the

balanced output buses as well as a separate 2-track input that simultaneous-

ly feeds the L/R bus. A full-featured PFL cue mix rounds out this section.

Overall, the AAM 1662 is a powerful, easy-to-use, high performance product.

Sonic performance is well beyond what is to be expected in this price range,

and the wealth of features, busing and routing make the AAM 1662 perfect

for most audio applications where multiple inputs and outputs are required.

With a clean package that is equally suited for desktop or rack mounted

applications, the AAM 1662 looks as good as it sounds. A rear panel connec-

tor bay, removable IEC power connector and several rear panel controls

make this unit easy to implement in fixed installation applications.

Features

Applications

Sixteen full-featured microphone or line inputs

Four different input configurations

Very low noise (VLZ) microphone preamplifiers

48 V phantom power, selectable in two zones

Inserts on channels 1-8

Super channels with pad, polarity and separate phantom power switch

Mute, clip, signal presence & PFL LED on all input channels

Eight additional dual line level inputs w/level control

Precision 60 mm audio faders

PFL on all inputs & subgroups

Three-band EQ with sweepable mid-range band on channels 1-8

Balanced stereo outputs

Balanced mono output

Four subgroups with independent outputs

One stereo subgroup

Two pre-fader balanced auxiliary outputs

Four post-fader auxiliary outputs

Stereo master tape I/O

Selectable headphone or control room monitoring

Desktop or rack mount package

Rear panel connector bay

Domestic (U.S.) & export versions available

The AAM 1662 is a very powerful tool. Ease of use, external control

options and a powerful interface make the AAM 1662 perfect for many

applications. Among the many applications the AAM 1662 was

designed for include:

•Presentation Rooms

•Board Rooms

•Courtrooms

•Auditoriums/Cafetoriums

•Lecture Hall Sound Reinforcement

•Meeting Rooms

•Convention Centers

•Houses of Worship

•Live Performance Venues

•Retail Spaces

•Restaurant/Bar Sound

The new features, performance advantages and functionality included

in the AAM 1662 make this product one of the best audio values avail-

able. From simple systems with basic audio requirements, to full

blown integrated systems, the AAM 1662 is an excellent choice.

AAM™1662 User Manual

Description

Page 9Peavey Electronics Corporation

Conventions This manual is written to provide as much practical information as possible

about the AAM™1662 audio mixer. Primarily written for the systems inte-

grator, there is also much here that can benefit the end user.

In order to present a clear, comprehensive and logical summary of the prod-

uct’s features, this manual is written around the AAM 1662’s architecture.

Essentially, an audio mixer is a collection of inputs and outputs, with several

audio buses in between. If you look carefully at the master signal flow dia-

gram on pages 32-33, you can see this clearly.

This manual presents the features of the AAM 1662 as they relate to the sig-

nal flow. Each section of features is accompanied by the signal flow diagram

for that section. Each part of the signal flow is described and graphics of

corresponding panel features are included for each section as well.

It is very important to understand the relationship of signal flow compo-

nents and how they relate to their front and rear panel counterparts. But

unlike other mixer or console manuals, this book is not a collection of simple

knob, button and connector labels. The objective here is to present the com-

plete mixer. Without understanding signal flow, this is impossible.

This manual is broken into sections for each block of signal flow. These sec-

tions include:

•Super channel inputs (Channels 1 & 2).

•Input channels with direct outputs included (Channels 3-8).

•Input channels with dual line inputs included (Channels 9-14).

•Input channels with stereo inputs included (Channels 15-16).

•Main outputs (Left, Right, Mono)

•Main group outputs (Group 1-4).

•“Bonus” group outputs (Group 5-6).

•Balanced aux outputs (Aux 1-2).

•Unbalanced aux outputs (Aux 3-6).

•Master (Headphones, PFL, Tape I/O and CR).

In this way, a complete primer of the mixer’s signal flow and accompanying

functionality is presented. At the same time, the manuals organization and

presentation style facilitates itself as an excellent reference book for quick

answers to common field questions.

All balanced XLR connections follow the AES standard. This means that pin

2 carries the positive side of the signal, pin 1 carries the negative side of the

signal and pin 1 is terminated to the shield, or chassis ground.

AAM™1662 User Manual

Installation For desktop applications, the AAM 1662 can be installed just about any-

where there is good air flow and normal indoor conditions. Please refer to

the cautions for exterior environments on page 3 of this manual.

For rack mounting, the AAM 1662 is designed to be installed in commercial

grade, EIA electronic equipment racks only. Installing this unit in non-EIA

racks or in other configurations is not recommended. Failure to install this

product in the proper enclosure may void your warranty.

The AAM 1662 is convection cooled, and care should be taken not to block

the air intake or exhaust path located on the sides of the unit. When

installed in EIA racks, the AAM 1662 can be installed adjacent to other

equipment without additional venting; however, it is recommended that

common sense be applied to large installations where multiple units are

mounted in a single rack. It is generally accepted that a ratio of one rack

vents for every two audio components is a good rule of thumb that usually

provides adequate performance. In installations where adverse conditions

exist, and room temperatures are likely to rise, additional vents should be

installed.

The AAM 1662 can be installed into any EIA rack with an internal depth

clearance of 18" or more. This will allow plenty of space for the unit, and its

associated wiring harness. When dressing off wiring harnesses, take care

and leave plenty of room for bends and terminations. Allow the cable to

progress naturally between components. Creating tightly wrapped wire

bundles can cause broken solder joints and defective terminations.

To successfully install your new AAM 1662, and perform the testing exam-

ples contained in this manual, you will need the following components:

•One AAM 1662 mixer

•A high quality balanced microphone and cable

•A stereo line level audio source with connecting cables (CD player)

•A two-channel power amplifier

•Two high quality loudspeakers

In most audio systems, the minimum configuration consists of an input sig-

nal, gain amplifiers, distribution/routing circuits, signal processing, power

amplification and output transducers. Depending on your system, this may

consist of several products. When using the AAM 1662, at least one signal

source and output system are required to configure the minimum system.

Of course, most systems will include more inputs and outputs, but this is the

basic configuration required to work with this manual.

The use of high quality, audio cables is required to successfully implement

the AAM 1662 with professional audio systems.

Installation

Page 11Peavey Electronics Corporation

Assumptions The AAM™1662 is designed for basic or advanced audio systems. It is

assumed that you have a working knowledge of basic audio signal flow,

gain structure, installation, troubleshooting and operation of common

analog audio components.

Additional experience with integrated systems is recommended when

installing the AAM 1662. A successful installation will require a solid,

well-designed cabling system with professionally performed termina-

tions.

If you do not have this knowledge and experience, please refer the con-

figuration and installation of this product to qualified personnel. For

additional information, please refer to our website at

http://aa.peavey.com.

AAM™1662 User Manual

Gain structure is among the most important considerations when installing audio systems. With the AAM 1662, we define

proper gain structure as it relates to the inputs, the summing buses and the outputs. Understanding proper gain structure will

ensure that your new AAM 1662 mixer will operate at its maximum performance level, with minimal noise and maximum

dynamic range.

Setting up the proper gain structure on the AMM 1662 is a simple process. Since all of the summing bus sends and faders have

a 0 dB reference, the only unknown level is the source. Setting the channel’s input gain properly will provide correct gain

throughout the mixer. The following procedure will get you up and running with minimal hassle.

Since there are only two meters on the AAM 1662, you must set the gain structure using the master L/R output buses. Using

the meters in conjunction with the Master Left & Right faders will give you an accurate gauge of the correct levels.

Using a single input source (microphone or line level input) connected to a single channel of the AAM 1662, follow these steps

to correctly adjust the AAM 1662’s gain structure:

Step 1. “Zero” the console.

Set the input fader and the master Left/Right faders to 0 dB. There is no “detent” at this position, so you will have to look care-

fully at the labels adjacent to the faders to make sure that the faders are set properly. Assign the input to the L/R output bus.

Step 2. Apply audio to the input.

Apply nominal audio level at the input. The “nominal” part is key here. The signal level coming from the source should be at

“average” or “mid” level. In other words, if it’s a microphone, it shouldn’t be a whisper, nor should it be a screaming yell!

Something approaching “normal use” is required. If this is a musical vocal then perhaps “nominal” would apply to the vocal

while singing the verse of the song, not the chorus. If the source is a line level output, such as a CD player, then nominal would

be whatever output signal that will be used most often.

Setting Input Gain (Gain Structure)

Input fader set to 0 dB

Input assigned to L/R bus

Master L/R faders set to 0 dB

MIC

LINE

L/R

1/2

3/4

SIG/

PFL

L R

Apply microphone level audio here

Or line level audio here

Gain Structure

Page 13Peavey Electronics Corp

Step 3. Adjusting input gain.

With audio applied, slowly bring up the gain control clockwise from its minimum position. At the same time, look at the mas-

ter Left/Right meters. The correct setting of the gain control is determined by the 0 dB position on the meters. When the nom-

inal level of the audio input source is reading consistently at or near the 0 dB mark on the master Left/Right meters, the gain

control is set correctly.

When the gain control is set, leave it alone. As long as the audio source does not change significantly, this setting should work

fine for most applications. To adjust “volume” for the input, use the fader. Naturally, subtle adjustments of the gain control

may be necessary during performance or use, but if you set it correctly, using this procedure, these changes should be rare.

Step 4. Rinse & Repeat.

If your input level is reading correctly, and you are relatively sure that the input source level will not change significantly, then

move on to the next channel. Repeat this process for every input in the system, making sure that the input sources are as close

to reality as possible. We have all been through a show where we arrived early just to set gain structure, only to have the input

source changed 10 minutes before show time! It is very important that you know what the input source is, and what the nomi-

nal level will be.

Step 5. Adjust, adjust & adjust again!

Obviously, additional adjustments are always required. The input levels vary, the program material may change or the entire

scope of the application may change, sometimes without you even knowing it.

Most of your adjustments should be based on fader movements, and not the gain controls. A proper gain control setting pro-

vides the best performance for the input amplifier, the summing bus and the output stage. When you bring all of the faders up,

the summing effect will create a higher meter reading than you saw when you adjusted each individual channel. A simple

adjustment of the faders will usually correct this.

Remember this, your Left & Right master meters will tell you what you need to know for most applications. If the total, com-

bined level of your inputs is jumping around 0 dB, then you are in good shape. (That is, if you followed the previous proce-

dures.) If your faders are full-tilt-boogie, and the meters peak at -9 dB, then you’ve got a serious gain structure problem. The

same is true if you are constantly in the red, driving the outputs into distortion.

Finally, try and understand that a mixer is a single device in the audio system. You cannot use the master output faders to get

additional level from your power amplifier! If you have the gain structure for the AAM™1662 set up properly, and your meters

are reading happily at 0 dB, then you have good audio. If it’s not loud enough, then you will need to investigate the next device

in the system, after the AAM 1662.

Gain Structure (continued)

Adjust Gain control....

MIC/LINE GAIN

20 40

10d 56d

(LINE GAIN -20d )

CLIP

-3

-6

-9

-15

-20

-27

-33

....so that audio level reads at or about

the 0 dB mark on these meters.

AAM™1662 User Manual

Input Channels 1 & 2 Rear Panel Features

Input channels 1 & 2, also called “Super Channels”, feature additional rear panel buttons for polarity and pad. In addition, the

mid frequency has a wider range of adjustment, and they include their own switchable phantom power supply.

SUPER

CHANNEL

PAD

MIC

LINE

INSERT

DIRECT OUT

PAD SWITCH Two position push switch toggles a 20 dB resistive pad circuit before the first gain

stage. The pad is active when the switch is in the DOWN position.

POLARITY SWITCH (PHASE) Two position switch toggles the polarity of balanced input sig-

nals 180 degrees. The phase is reversed when the switch is in the DOWN position.

BALANCED MICROPHONE INPUT 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. (See page 28.)

BALANCED LINE INPUT Female 1/4” TRS connector for terminating balanced low or high

impedance line level circuits. Tip is positive, ring is negative. This circuit is wired in parallel with

the female XLR connector. Connecting to this input will not disable the XLR input connector, so

both inputs should NOT be used simultaneously.

INSERT JACK Female 1/4” TRS connector for terminating two, single-ended (unbalanced) line

level circuits. The tip is a line output and carries the signal after the first gain stage (post gain).

The ring is a line input and feeds the secondary gain circuit just before the equalization stage.

Inserting a TRS male connector into this jack will break the circuit of the input channel. A com-

plete loop must be made to pass audio through the jack. Inserting a plug so that only the tip makes

connection will provide a line output only, but will break the connection. If a complete connection

is required when using this jack as a line output, it must be made by completing the loop at the

plug.

DIRECT OUT Female 1/4” TS connector for terminating a single unbalanced line level audio out-

put. The signal present at this connector is after the fader and channel mute (post fader and post

mute).

614

Input Features

Page 15Peavey Electronics Corporation

Input Channels 1 & 2 Front Panel Features

10.

11.

12.

13.

14.

15.

16.

17.

4/6

LOW

MID

HIGH

MID

L/R

1/2

3/4

3/5

MIC/LINE GAIN

SIG/

PFL

PAN

AUX

(PRE)

(POST)

AUX EQUALIZATION

15 15

(d )

(Hz)

40 1.2K

500

250120

20 40

AUX 3/4

AUX 5/6

SUPER

CHANNEL

10d 56d

(LINE GAIN -20d )

ODD EVEN

MUTE/

MIC/LINE GAIN CONTROL Rotary 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.

EQUALIZATION Three-band equalizer. The high frequency shelving EQ is fixed at 12.5 kHz, the low

frequency at 80 Hz and the mid band filter is adjustable from 40 Hz to 1.2 kHz. All sections are adjustable

from -15 to +15 dB. The center position for each control is detented, and removes the filter from the signal

path.

AUX (PRE) SEND CONTROLS Aux 1 and Aux 2 are pre-fader foldbacks. Each control drives the corre-

sponding Aux bus, after the Aux 1/2 gain stage, and has a range of infinity (OFF) to +10 dB. A center

detent is provided at 0 dB and represents unity gain at the Aux 1/2 amplifier stage.

AUX (POST) SEND CONTROLS Aux 3, 4, 5 & 6 are post-fader foldbacks. The two controls drive

either the Aux 3/4 bus, or the Aux 5/6 bus, depending on the position of the AUX 3/4, AUX 5/6 push

switch. The default mode of AUX 3/4 is active when the switch is in the UP position. These post fader

sends are driven from the main channel, post fader gain stage, just before the channel assignment stage.

Each control has a range of infinity (OFF) to +10 dB. A center detent is provided at 0 dB and represents

unity gain at the post fader stage.

PAN CONTROL A single rotary control assigns the post fader audio, after the final channel gain stage to

any combination of the Odd (Left, Group 1, Group 3) or Even (Right, Group 2, Group 4) side of the main

output buses. Which buses are driven is determined by the position of the L/R, 1/2 and 3/4 Bus Assign

switches.

MUTE SWITCH This push button switch toggles the channel audio mute status. When the switch is in

the DOWN position all audio is muted, including the L/R, Group 1-4 and Aux 1-6 bus sends. The

MUTE/PK LED will illuminate RED when the channel is muted.

MUTE/PK LED This dual-function LED will illuminate solid RED when the channel is muted. When the

channel is not muted, this LED will flash to indicate audio clipping. Clipping indication is provided after

the first gain stage and after the EQ (pre-fader). The LED becomes active at 2 dB below the clipping point

at the output bus.

SIG/PFL SWITCH This push button switch toggles the channel audio onto and off of the PFL head-

phone bus. When the switch is in the DOWN position, the audio is included in the PFL mix and the PFL

(right master) meter (see page 28). The corresponding SIG/PFL LED will illuminate yellow when active.

SIG/PFL LED This dual-function LED indicates the status of the PFL assign and the audio signal level.

When the LED is illuminated with solid yellow, the channel is assigned to the PFL bus, as determined by

the SIG/PFL switch. When the channel is not assigned to the PFL bus, this LED will constantly indicate

the audio signal presence level (-15 dBu) after the EQ, and just before the fader.

BUS ASSIGN SWITCHES (L/R, 1/2, 3/4) Three switches for assigning the post fader audio to any com-

bination of the Left/Right, Group 1/2 or Group 3/4 output buses. The assignments are made in pairs when

the switch is in the DOWN position. To make an assignment to a single bus, the pan control is required.

When none of the assign switches are in the DOWN position, the channel audio signal will not appear at

the main output buses.

FADER 60 mm precision fader controls the channel’s main audio after the final gain stage and before the

channel assign switches. Unity gain is represented by the 0 dB mark. (There is no detent.) The range of

the fader is infinity (OFF) to +10 dB.

AAM™1662 User Manual

Input Channels 3 through 8 Rear Panel Features

Input channels 3 through 8 include the same features as channels 1 & 2, with the following exceptions. The rear panel phase

and pad switches are not included, the mid-range EQ filter is a “hi-mid” instead of a “low-mid” and there is a low-cut switch.

MIC

LINE

INSERT

DIRECT OUT

BALANCED MICROPHONE INPUT 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. (See page 28.)

BALANCED LINE INPUT Female 1/4” TRS connector for terminating balanced low or high

impedance line level circuits. Tip is positive, ring is negative. This circuit is wired in parallel with

the female XLR connector. Connecting to this input will not disable the XLR input connector, so

both inputs should NOT be used simultaneously.

INSERT JACK Female 1/4” TRS connector for terminating two, single-ended (unbalanced) line

level circuits. The tip is a line output and carries the signal after the first gain stage (post gain).

The ring is a line input and feeds the secondary gain circuit just before the equalization stage and

LCF. Inserting a TRS male connector into this jack will break the circuit of the input channel. A

complete loop must be made to pass audio through the jack. Inserting a plug so that only the tip

makes connection will provide a line output only, but will break the connection. If a complete con-

nection is required when using this jack as a line output, it must be made by completing the loop at

the plug.

DIRECT OUT Female 1/4” TS connector for terminating a single unbalanced line level audio out-

put. The signal present at this connector is after the fader and channel mute (post fader and post

mute).

412

Input Features

Page 17Peavey Electronics Corporation

Input Channels 3 through 8 Front Panel Features

10.

11.

12.

13.

14.

15.

LOW CUT

100 3K

1.2K

150

500350

(75 Hz)

LOW

MID

HIGH

MID

PAN

15 15

(d )

(Hz)

ODD EVEN

L/R

1/2

3/4

SIG/

PFL

4/6

3/5

AUX 3/4

AUX 5/6

MIC/LINE GAIN

20 40

10d 56d

(LINE GAIN -20d )

MUTE/

MIC/LINE GAIN CONTROL Rotary 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.

EQUALIZATION Three-band equalizer. The high frequency shelving EQ is fixed at 12.5 kHz, the low

frequency at 80 Hz and the mid band filter is adjustable from 100 Hz to 3 kHz. All sections are adjustable

from -15 to +15 dB. The center position for each control is detented, and removes the corresponding filter

from the signal path. An additional push button switch toggles an active 75 Hz low cut filter into the cir-

cuit just after the insert stage and before the equalization circuit. The filter is active when the switch is in

the DOWN position.