Phonic MM 1805 User manual

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Thistriangle,whichappearsonyourcom-
ponent, alerts you to the presence of
uninsulated dangerousvoltage inside
the enclosure that may be sufficient to
constitute a risk of shock.
This triangle, which appears on your
component, alerts you to important op-
eratingand maintenance instructionsin
this accompanying literature.
SAFETY PRECAUTIONS!
WARNING - TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EX-
POSE THIS UNIT TO RAIN OR MOISTURE.
Do not allow water or liquid to be spilled into this unit. If the unit has been exposed to rain or liquids,
pleaseunplug thepower cordimmediately fromthe outlet (withDRY HANDS)and geta qualifiedservice
technician to check it. Keep this unit away from heat sources such as radiators, heat registers, stoves,
etc.
Theunit containsno user-serviceableparts. Referall servicingto aqualifiedservice engineerthrough a
Phonicdealer.
CAUTION:
TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR
BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER ALL SERVICING TO
QUALIFIED SERVICE PERSONNEL.
Keep this unit clean by using a soft dry brush and occasionally wiping it with a damp cloth. Do not use
anyother solvents, whichmay causedamage to paintor plasticparts. Regular care and inspectionwill be
rewardedby a longlife andmaximum reliability.
YourPhonic MM1805 /MM1805X wascarefully packed inthe factoryand the packing box wasdesigned to
protectthe unitfrom roughhandling. We recommendthat youcarefully examinethe packagingand its
contentsfor anysigns ofphysical damage, whichmay haveoccurred intransportation.
If the unit is damaged:Notify your dealer and the shipping company immediately. Claims for damage or
replacementmay notbe grantedif itis notreported properlyor ina timelymanner.

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CONTENTS
1. INTRODUCTION..........................................................................................4
2. GETTING STARTED...................................................................................4
2.1 FRONT-PANEL DESCRIPTION ........................................................................... 5
2.1.1 MONO CHANNEL 1~6 ...................................................................................................... 5
2.1.2 STEREO CHANNEL 7~14 ............................................................................................... 10
2.1.3 OUTPUT & INPUT SOCKETS ........................................................................................ 12
2.1.4 DIGITAL EFFECT (1805X ONLY) .................................................................................... 16
2.1.5 GRAPHIC EQUALIZER ................................................................................................... 17
2.1.6 OUTPUT FADERS .......................................................................................................... 17
2.2 BACK-PANEL DESCRIPTION ........................................................................... 20
2.3 INITIAL SET UP .................................................................................................. 20
2.4 BALANCED/UNBALANCED SYSTEM ............................................................. 21
3. APPLICATION .......................................................................................... 23
3.1 DJ MIXING .......................................................................................................... 23
3.2 VIDEO POST-PRODUCTION ............................................................................. 23
3.3 SUBMIXING ........................................................................................................ 24
3.4 STANDARD CONNECTION ............................................................................... 25
4. APPENDIX ................................................................................................ 26
5. SPECIFICATIONS .................................................................................... 37
6. SYSTEM BLOCK DIAGRAM .................................................................. 38

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Phonicreserves theright to improveor alterany informationsuppiedwithin thisdocument withoutprior notice.
V1.4 Nov. 22, 2002

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1. INTRODUCTION
Congratulationson yourpurchase of the MM 1805(X)Mixer withbuilt-in
255 programmed digital effects(MM1805X only).TheMM1805(X) is
builtinto a rugged construction, whichis idealfor bothtouring and fixed
PAinstallations. In order to getthe bestperformance ofthe MM
1805(X),please read thisowner manual carefully,and look afterit. If you
ignore the manual and directly jump into the unknown, theres some-
thingmight happenand makesthe foolout of you. Please atleast find
outsomething differentand checkifyou arefamiliar withthe other
mixer.
FEATURES
l 6 mono input channels are able to accept a wide range of Micro-
phone and Line level from separate input sockets.
l 4 stereo inputs feature the 2 band EQ and other same control
functions as mono inputs.
l Additional2T return inputs,for CDplayback or linkto submixer.
l Built-in7-band graphicequalizer offersprecise correctionof the
output signal if required.
l Individual+48V phantompower dip-switch on1-6 channelwith
global switch at master section.
l Built-in digital effect with 255 programs allows the user to add
reverberation or specific effect to vocals or instrumental sounds
(MM 1805X only).
2. GETTING STARTED
1.Checkthe ACvoltage beforeconnecting theAC plug.This productis
equipped with a 3-wire grounding type plug; this is a safety feature and
shouldnotbe defeated. Propergrounding isa mustpractice to prevent
electric shock hazard to the operator, the microphone user, and the
musicians who wired to this unit.
2.Before switch on the main power, keep all the output fader all the way
downto preventdamaging or excessivenoise causedby bad level
adjustment, wrong wiring, defective cables, or bad connection.
3.Alwaysturn on theMM1805(X)before thepoweramplifier, turnoffthe
amplifier beforetheMM1805(X).
4.Alwaysturn off thepower beforeconnecting and disconnectingthe
unit.
5.Neveruse solventsto cleanthe unit.Clean witha soft,dry cloth.

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2.1 Front-Panel Description
2.1.1 MONO Channel 1~6
1. MIC (CH1~6)
TheMicrophone isvia astandardfemale XLR-3connector. Pleaseuse only
professionallowimpedancemicrophoneandproperwiredcablefor best
result.
48V Phantom Power Slide-Switch (CH1~6 on the back panel)
+48V Phantom Power and slide- switch on/off is available on each
microphone input channel. All faders (Group 1, Group 2, Mono, ST
and CH1~14) should be all the way down when switching on phan-
tom power, in order to prevent excessive noise to stage monitor
speakers and main speakers; Phantom powered microphone should
not be plugged in with the +48V switched on.
2. LINE (CH1~6)
Line input with 1/4 phone jack socket. Plug in this jack socket will
automatically change the input trim from MIC to LINE and switch to
differentTRIM accordingly;anyconnection tothe Micinputshould be
unplugged when the Line input is in use.
3. INS
TheINSERT is abreak pointin theinput channel signalpath. Itallows the
signalto betaken outfrom themixer, through an external piece of equip-
ment such as a compressor and then back to mixer to continue the final
mix output.
Standardconnection astip-ring-sleevefor send-return-ground.
Properlyutilize theoutboard gearsis thegeneral practicefor theworking
pro. Please check out Phonic lines of signal processor products; such as
PCL 3200, PCL 4200 .
4. TRIM
Thisrotary knob adjuststhe channelsignal level. Too high, the signal will
distort as it overloads the channel. Toolow, the levelof backhiss will be
more noticeable and you may not be able to get enough signal level to the
output of the mixer. Proper trim setting allows the mixer to work in the
best operating level, adjust the trim when signal presents to the highest
levelwithout triggeringthepeak LED.Thatis themost appropriate posi-
tion.
This trim has two kinds of indication to suit mic or line input, when you use
mic input, please read inside ring from 0~+60 dB, if you use line input,

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pleasereadoutsideringfrom-20~+40dB.
5. Low Cut (CH1~6 only)
Slide down the dip-switch, insert the 18dB per octave 75Hz low cut filter in
the signal path. This low cut filter is useful on live vocals to reduce stage
rumble or “ popping ” from Mics. It can alsobe usedfor cutoff low fre-
quency hum.
6.HIGH
Each input channel except 7~14 of the MM 1805(X) has a three-band
swept EQ. Turn to the right to boost high frequency, adding crispness to
cymbals, vocals and electronic instruments. Turn to the left to cut this
frequency,reducing sibilanceor hiss.The controlhas ashelving response
that gives 15dB of boost or cut at 12KHZ.
7. MID
These two knobs work together as a MID frequency EQ section. The upper
knob provides 15dB of boost and cut, just like the HF EQ knob, but
frequency at which this occurs can be set by the lower knob over the range
of100Hz to8KHz. Thisallows sometruly improvement of the signal in live
performance,because themid bandcovers therange ofmost vocals.
Listen carefully when you use this controls together to find how particular
characteristicsof vocalor guitarsignal canbe enhancedor reduced.Set
the upper knob in the “ 0 ” position when not in use.
8.LOW
Thiscontrol has shelving response thatgiving 15dBof boostor cut at
80Hz. Adding warmth to vocals or extra punch to guitars, drums and
synths by turning to the right. Turn to the left to reduce stage rumble, hum
orto improveamushy sound.
Theseequalizers aredesigned tosuit different roomacoustics, feedback
controland improvethe livePAsound. Noamount ofequalization will
correctthe frequency responsecurve of apoor loudspeaker. Alwaysbegin
with all control in the “ 0 ” position and avoid excessively cutting/boosting
large segments of the peculiar frequency, which would limit the system
dynamicrange orincrease thepossibility of the unpleasant feedback
sound.
To make sound more impressive, dynamic process is necessary.
Channel inserts are designed to add-on a compressor, limiter or
gate. Please refer to Phonic PCL-3200 for further information.

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9. AUX
This rotary fader sends out the channel signal toAUX bus. The signal can
be pre-fader so that the aux send will not be affected by the fader, which is
suitablefor foldbackor monitor;it can bePost-fader, whichis suitablefor
effectssignal that fadeup andfade downwith the fader.PRE orPOST aux
signal is controlled by a slide-switch (10).
10. AUX PRE/POST SWITCH
Theswitch allow user to setthe AUXsend at per-fader or post-faderopera-
tion .
11.EFX
Thisrotary faderfeeds thechannel signal tothe built-indigital effectand
main effect mix out as well. The signal is post fader. This is very helpful to
simulataneously adjust the level of the processed and direct signal.
12. PAN
Thiscontrol setsthe amountof thechannel signal feeding the leftand right
mix bus, allowing you to locate the source smoothly across the stereo
image. When the control is turned fully right or left, you are able to route
the signal to either left or right output.
13. Peak LED Indicator
LED lights up when an excessively high signal level is present in the
channel.Ingeneral, Input levelshouldbeset to thelevelwherethe LED
flashesbriefly on the loudest peaksonly; ifit flashescontinuously, turn the
input control down slightly. This ensures the best possible signal-to-noise
ratioanddynamicrange.
14. CHANNEL ON/OFF SWITCH
All outputs from the channel except inserts are enabled when the switch is
down, when the On switch is released, the related channel is muted. This
allows levels to be preset before the signal is required. While switching on
thebutton, the indicatedLED would light.
15. CHANNEL FADER
Along-throw 60mmlinearfader determinestheproportion ofthe channel in
themixand providesaclearvisual indicationofchannel level.

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16. GP GROUP SWITCH
The input channel signal always routes to ST; press the GP switch rout
the channel signal to the GP output only, Select GP1 or GP 2 by channel
PAN control. Turn fully to the left, the channel signal will be routed to GP 1;
turn fully to the right, the channel signal will be routed to GP 2; You have
to use the L/R buttons to patch the GP1 or GP2 to either side of the stereo
mix.
17. PFL(Pre-Fader-Listening)
When PFL switch is pressed, the pre-fader signal will be fed to control
room/headphonesoutput, whereit replaces theselected monitorsource.
PFLis very useful for mixingengineer tomonitor individualchannel without
affectthe mainmixes, asto makeadjustments ortrace problem.When
PFL is selected the LED indicator will light up.
18. NORMAL / MS SWITCH (UNIQUE FEATURE)
If you want to make a M-S stereo recording, normally, you will need 2
microphones, one is cardioid for M signal pointing at the center, and the
other is figure eight microphone for S signal pointing the side. In order to
decode the MS signal to XY, you need 3 channels of Mic input to start with:
one for M and the rest two to for +S and accordingly. MM series unique
featureNORMAL/MS switchwill helpto simplify the whole thing.
Now you won ’ thaveto worryaboutthe channelavailability,and patching
withspecial cable. When you havean occasionfor thestereo recording,
please just choose MM series mixer and simply slide down the M-S switch,
themixer will prepare everything foryou, theodd channelwill now become
theM channel,the evenchannel becomes the S channel.
M-S STEREO RECORDING
M-Sis an abbreviation for mid-side,the microphonesused forM-S recording
are a cardioid (or figure eight) facing directly to the source, and a figure-eight
microphonefacingsideways. Thefigure-eightmicrophone picksupthe left
halfof thesource with onephase andthe right halfwith invertedphase.
When the signal is added to the signal from the cardioid, the signal from the
left side adds together, while the signal from the right subtract due to the
phase inversion. The combined pattern of the two microphones is similar to
two cardioids (or figure eight) facing 45 degrees to the left and the other
cardiod facing 45 degrees to the right to create the stereo image.
Why don ’ t we use two cardioids 90 degrees apart? That will do something
different! With the M-S system, the related angle of the cardioids can be
variedwith respectto thelevel ofS (figureeight), andthis willvary thewidth
ofthe stereoimage.
What is Cardioid ?
Cardioid means “h eart-shaped, ” and any micwhich hasa hearted-

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shaped Polar Pattern is called a cardioid microphone. The cardioid is most
sensitiveto thesounds whichare arrivingfrom thefront, thesounds which
are arriving from 90 degrees to the side is 6 Decibels less sensitive to the
front . Theoretically, it is completely insensitive to the sounds coming from
therear. Inpractice, the100% directional qualitiesof acardioid areimpos-
sibleto achievedue toreflected soundsfrom wallsand ceiling,which are
enteringthe sensitive area of themicrophone.
Themost important attribute of thecardioid isthe microphonecan discrimi-
natebetween directsounds andreverberant sounds,which arecoming from
allother directionsat random.One ofthe mostimportant usesof cardioid
microphoneis insound reinforcement,where the directivitiveallows the
system gain to be higher without generating acoustic feedback.
What is dynamic microphone?
Themost common type of microphoneis thedynamic,and the dynamic
microphoneis likeaminiature loudspeaker.Dynamicmicrophone ishighly
dependable,ruggedand reliable,theyarevery commoninstageuse, where
physical strength is very important. They are also use in outdoor paging
applicationsand in recordingstudios.
What is condenser microphone?
Condenser microphone is a very simple mechanical system, compared to
othermicrophone types condensermicrophone, itincludes almost no
movingparts. It is simply athin stretcheddiaphragm that held very closeto
a metal disc which called a backplate. When sounds acts on the dia-
phragm, the pressure variations cause it to move slightly in response to the
soundwaveform, andthe capacitanceand thevoltage onthe backplatewill
vary.This voltagevariationis thesignaloutput ofthe microphone. The
condenser microphone has extremely high output impedance; it must be
placedvery near to a preamplifierto avoidloss ofthe signal.
POLAR RESPONSE
Cardioid Figure-8