formula 122e_182e_uk
FORMULA 182 E / 122 E
Professional Live Sound Mixer
ENGLISH
FBT ELETTRONICA S.p.A. - Via Paolo Soprani 1 - Z.I. Squartabue - 62019 RECANATI (MC) - ITALY
tel. 071750591 r.a. - fax 0717505920 - e-mail : [email protected] - www.fbt.it
INDEX
24-25
26
DIMENSIONS
CHARACTERISTICS
1
PRECAUTIONS
- Read this manual carefully and follow the instructions before using the mixer. Keep the manual for future reference and for trying out new
ways of using the system. Keep the packing too: as well as ensuring that the equipment remains in good condition, it is also an important
factor when the unit is valued for sale on the second-hand market.
- Avoid installing the mixer near sources of excessive heat, exposing it to direct sunlight or leaving it unprotected in dusty surroundings.
- Make certain that the mains power voltage is not higher than that shown on the rear panel.
- Never use the unit if the power cable or plug are not in perfect condition (if necessary, have them replaced or carefully repaired).
- To prevent causing interference on the mixer, avoid installing the mixer near power transformers, television sets, radio transmitters and
electric motors, or lighting dimmers and the cables connecting them to luminaires.
- Avoid pointing microphones in the direction of the loudspeaker enclosures: this can cause annoying feedback, which could also damage
the speakers.
- When connecting various units together (mixers, power amplifiers and electronic instruments), noises and hum could be caused. These
are normally due to earth loops, and can be solved by breaking the loops, creating a "star" earth set-up, i.e. with all the units' earths
connected to a single reference point.
- To avoid regrettable costly problems, only use original connector cables.
- Never connect an output channel to another input channel on the mixer. Before connecting anything, read the instructions in this manual.
- Never connect any audio connector of the mixer to any source of electrical power.
- Do not use solvents such as acetone or alcohol to clean the mixer, as they would damage its finish and the writing on its panels.
- In the event of faulty operation of any part of the system, contact the nearest FBT assistance centre or a specialized centre, but never try to
carry out repairs yourself.
WARNING
<
|
||
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
!
TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE
2
FRONT PANEL
FORMULA 182 E
GAIN
GAIN
dB
GAIN
dB
1
2
3
4
5
6
0
HF
100
300
8 kHz
-15
+15
1k2
MF
3k
100
0
300
300
100
8 kHz
0
0
300
100
8 kHz
0
300
100
8 kHz
0
300
100
8 kHz
300
100
8 kHz
0
0
300
8 kHz
100
0
300
100
8 kHz
0
300
100
8 kHz
0
300
100
8 kHz
300
100
8 kHz
0
0
300
EFFECT
100
8 kHz
0
300
8 kHz
100
0
300
0
300
8 kHz
100
300
8 kHz
0
+15
1k2
MF
3k
STEREO
2
+6 dB
0
HF
3k
100
0
0
STEREO
1
-15
+15
1k2
MF
3k
100
8 kHz
-15
+15
1k2
MF
3k
0
HF
0
15
14
13
12
11
+6 dB
0
HF
16 1 2
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
-15
+15
8 kHz
-15
-15
+15
0
MF
0
LF
0
LF
-15
+15
0
LF
+15
-15
0
LF
I - ECHO 1
J - ECHO 2
K - ECHO 3
L - VOICE 1
M - VOICE 2
N - CHORUS 1
O - CHORUS 2
P - SHIFTER
4
5
6
LEFT RIGHT
7
10 9 8
OVL
PARAMETER
0
-15
+15
E - CONCERT 1
F - CONCERT 2
G - GATE
H - GUITAR
P - 16 effect Off
3
O
-15
+15
0
LF
P A B
C
+15
D
E
F
K
0
LF
+10
J I H
+7
FORMULA 182 E
+15
0
MF
N
M
L
-15
CTRL
EFFECT PROGRAM CHART
HPF
100 Hz
A - HALL 1
B - HALL 2
C - ROOM 1
D - ROOM 2
0
HF
-15
+15
1k2
MF
3k
0
HF
-15
+15
1k2
MF
3k
0
HF
-15
+15
1k2
MF
3k
0
HF
-15
+15
1k2
MF
3k
60
STEREO B
HPF
100 Hz
PH 48V
0
HF
-15
+15
1k2
MF
3k
0
HF
-15
+15
1k2
MF
3k
0
HF
-15
+15
1k2
MF
3k
0
HF
-15
+15
1k2
MF
3k
PH 48V
0
HF
-15
+15
1k2
MF
3k
0
HF
-15
+15
1k2
MF
3k
0
HF
-15
+15
1k2
MF
3k
0
HF
-15
+15
1k2
MF
3k
100
8 kHz
-15
+15
1k2
MF
3k
PH 48V
0
HF
STEREO A
HPF
100 Hz
0
0
-15
+15
1k2
0
HF
10 mic
60
0
0
-15
300
0
HF
10 mic
18
HPF
100 Hz
dB
PAD
-20dB
10 mic 60
-20 line +30
17
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
16
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
15
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
14
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
13
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
12
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
11
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
10
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
9
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
8
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
7
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
PH 48V
0
MF
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
HPF
100 Hz
PH 48V
HF
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
HPF
100 Hz
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
+4
0
-4
G
-7
Professional Live Sound Mixer
PROGRAM
-10
-20
-15
AUX
1
AUX
6
0 dB
-12
AUX
6
0 dB
-12
0 dB
-12
AUX
6
0 dB
-12
AUX
6
0 dB
-12
AUX
6
0 dB
-12
AUX
6
0
0
5
5
L
R
MUTE
PK
-30
dB
AFL
+6 dB
0
0
5
-30
dB
0
CTRL ROOM
BAL
R
MUTE
10
0
L/R
0 dB
L
PK
0 dB
0
0
-30
dB
R
MUTE
10
-6
PRE
POST
2 TRK
0
0
L
PK
0 dB
-12
BAL
R
MUTE
10
0 dB
0
0
L
0 dB
-12
AUX
6
0
0
0
0
5
0
0
5
post
0 dB
AUX 7
SND
BAL
R
PK
-30
dB
post
0 dB
-12
AUX
7
BAL
L
MUTE
10
0
0
R
PK
-30
dB
0 dB
PEAK
PRE
POST
pre
0 dB
-12
AUX
7
PAN
L
MUTE
10
post
0
0
R
0
0
5
0 dB
0 dB
-12
AUX
7
PAN
L
PK
-30
dB
post
0
0
5
0 dB
MUTE
10
0
0
R
PK
-30
dB
post
0 dB
-12
AUX
7
PAN
L
MUTE
10
-12
0
0
5
0 dB
0 dB
0
0
R
PK
-30
dB
post
AUX
7
PAN
L
MUTE
10
-12
0
0
R
0 dB
0
0
0 dB
0
0
5
0
0
0
0
5
-30
dB
AUX
7
PAN
L
PK
10
0 dB
-12
post
0 dB
MUTE
PK
10
-30
dB
0
0
5
0
0
5
-30
dB
R
MUTE
PK
10
AUX
7
PAN
L
MUTE
PK
-30
dB
R
0 dB
-12
post
0 dB
PAN
L
MUTE
10
0
0
R
AUX
7
post
0 dB
PAN
L
0 dB
-12
AUX
7
0
0
R
-12
post
0 dB
PAN
L
0 dB
0
0
AUX
7
0
0
5
-12
post
0 dB
PK
-30
dB
AUX
7
MUTE
10
0 dB
0
0
5
post
0
0
5
-30
dB
0
0
5
R
PK
10
0 dB
-12
PAN
L
MUTE
PK
-30
dB
0 dB
0
0
5
-30
dB
0
0
5
-30
dB
0
0
5
-30
dB
AUX
7
PAN
R
MUTE
10
0 dB
-12
post
0 dB
L
PK
10
AUX
7
PAN
R
MUTE
PK
10
post
0 dB
L
MUTE
PK
10
R
-12
AUX
7
PAN
L
0 dB
0
0
-30
dB
R
-12
post
0 dB
PAN
L
MUTE
PK
10
AUX
7
0
0
R
MUTE
PK
10
PAN
L
MUTE
post
0 dB
0 dB
0
0
R
post
0 dB
-12
AUX
7
0
0
PAN
L
MUTE
0 dB
0 dB
-12
0
0
R
AUX
7
0
0
post
0 dB
PAN
L
0 dB
-12
AUX
7
0
0
PAN
post
0
0
0
0
0 dB
-12
0
0
AUX
7
0
0
post
0 dB
0
0
0
0
0 dB
-12
0 dB
-12
AUX
6
pre
AUX
7
PEAK
AFL
-12
AUX
5
0
0
0 dB
-12
PEAK
AFL
0 dB
0
0
AUX
6
0
0
0 dB
-12
0
0
AUX
6
0 dB
-12
AUX
5
0
0
0 dB
-12
AUX
6
PEAK
AFL
0 dB
-12
pre
0
0
0 dB
-12
0
0
AUX
6
0
0
0 dB
-12
0
0
AUX
6
0
0
0 dB
-12
0
0
AUX
6
0
0
0 dB
-12
0
0
AUX
6
0
0
0 dB
-12
AUX
6
0
0
0 dB
-12
0
0
AUX
6
0
0
0 dB
-12
AUX
6
0
0
0 dB
-12
0
0
AUX
6
0
0
0 dB
-12
AUX
6
0
0
-12
0
0
AUX
6
0
0
0 dB
0
0
0
0
0 dB
-12
PEAK
AFL
0 dB
-12
AUX
4
0
0
0
0
0
0
0 dB
-12
AUX
5
pre
AUX
6
-12
AUX
4
AFL
PWR
pre
0 dB
-12
AUX
5
0 dB
0
0
-12
AUX
4
pre
0 dB
-12
AUX
5
0 dB
0
0
0
0
0 dB
PFL
AFL
-12
AUX
3
pre
PEAK
0 dB
0
0
pre
-12
AUX
4
0
0
0
0
0
0
pre
0 dB
-12
AUX
3
AFL
AUX
2
pre
0 dB
-12
AUX
3
0 dB
-12
AUX
2
-12
AUX
1
pre
0
0
0
0
pre
0 dB
-12
-30
-12
AUX
1
0 dB
-12
AUX
2
pre
0
0
0 dB
-12
AUX
5
0
0
0
0
0 dB
-12
AUX
4
pre
-12
pre
+15
-12
AUX
1
0 dB
AUX
3
pre
0
0
0 dB
-12
-12
pre
pre
AUX
2
0 dB
0
0
0 dB
pre
AUX
5
pre
AUX
3
-12
AUX
4
-12
-15
+15
-12
AUX
1
0 dB
0
0
0 dB
-12
0
0
0 dB
-12
0 dB
pre
pre
AUX
2
-12
AUX
3
pre
AUX
5
pre
0
0
AUX
4
0
0
0 dB
-12
0 dB
0
0
0 dB
-12
-15
+15
-12
AUX
1
0 dB
AUX
2
-12
pre
pre
0
0
AUX
3
-12
0
0
AUX
5
pre
0
0
AUX
4
-12
-15
+15
-12
AUX
1
0 dB
0
0
pre
0
0
0 dB
-12
0 dB
-12
-15
+15
-12
pre
AUX
2
pre
0
0
AUX
5
-12
0
0
-12
pre
0
0
0 dB
-12
0
0
AUX
4
AUX
1
0 dB
pre
AUX
3
0 dB
0
0
-12
pre
AUX
5
-12
pre
0 dB
0
0
0 dB
-12
AUX
3
-15
+15
-12
pre
AUX
2
0 dB
0
0
0
0
AUX
5
-12
pre
0 dB
-12
AUX
1
0 dB
0
0
0
0
0 dB
-12
AUX
4
0
0
AUX
5
0 dB
pre
AUX
2
-15
+15
-12
pre
-12
pre
-12
AUX
4
0
0
0 dB
-12
0 dB
-12
pre
0
0
AUX
5
pre
0
0
AUX
4
0
0
-12
pre
AUX
3
AUX
1
0 dB
pre
0 dB
-12
AUX
3
0
0
AUX
4
AUX
2
pre
0 dB
-12
pre
0 dB
0
0
0 dB
0
0
AUX
3
-12
-15
+15
-12
pre
0 dB
AUX
2
0
0
-12
AUX
1
pre
-12
-15
+15
-12
AUX
1
0 dB
pre
0 dB
0
0
0 dB
-12
AUX
2
pre
-12
0
0
AUX
5
-12
-15
+15
-12
pre
0
0
0
0
AUX
4
AUX
3
pre
0
0
0 dB
-12
AUX
5
pre
AUX
1
0 dB
pre
0 dB
-12
0
0
-12
AUX
2
-15
+15
-12
pre
-12
0
0
AUX
4
AUX
1
0 dB
pre
AUX
3
0 dB
0
0
0 dB
-12
-12
pre
0
0
AUX
5
0 dB
0
0
0
0
0 dB
pre
AUX
2
-15
+15
-12
pre
0
0
0
0
0
0
0 dB
-12
AUX
5
-12
pre
-12
AUX
4
0
0
0 dB
-12
0 dB
-12
pre
0
0
AUX
5
pre
AUX
3
AUX
1
0 dB
pre
0 dB
-12
AUX
3
0
0
AUX
4
pre
0
0
0
0
-12
AUX
4
AUX
2
-15
+15
-12
pre
-12
pre
0 dB
-12
AUX
1
0 dB
AUX
2
pre
0 dB
0
0
0 dB
-12
AUX
5
0
0
0
0
-12
0
0
0 dB
-12
0
0
AUX
4
AUX
3
pre
-12
-15
+15
-12
AUX
1
0 dB
pre
0 dB
pre
0 dB
0
0
AUX
5
pre
AUX
2
-15
+15
-12
pre
-12
AUX
3
pre
0
0
-12
-12
AUX
4
pre
0
0
0 dB
0
0
AUX
5
0 dB
0
0
-12
pre
0
0
pre
pre
0 dB
-12
AUX
1
0 dB
-12
AUX
2
pre
AUX
3
pre
-12
-15
+15
-12
AUX
1
0 dB
0
0
0
0
AUX
4
0 dB
-15
+15
-12
pre
AUX
2
-12
AUX
3
0 dB
0
0
0
0
0 dB
-12
pre
pre
0 dB
pre
-12
AUX
2
-12
AUX
1
0 dB
0
0
pre
AUX
3
pre
-12
-15
+15
-12
AUX
1
0 dB
0
0
0
0
0 dB
-12
pre
AUX
4
AUX
2
-15
+15
-12
pre
0
0
-12
pre
AUX
3
AUX
1
0 dB
0
0
AUX
2
-15
+15
-12
pre
MUTE
PK
10
-30
dB
5
MUTE
PK
10
-30
dB
5
MUTE
PK
10
-30
dB
5
-30
dB
5
PK
10
-30
dB
5
PK
10
5
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
L/R
-30
dB
L/R
LPF
125 Hz
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
AFL
0
0
AFL
0
0
0
0
AFL
0
0
STEREO B
AFL
0
0
STEREO A
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
AUX EFF. RTN
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
MONO CHANNEL SECTION
EFFECT
SUB 1 / 2
LEFT
RIGHT
MASTER SECTION
STEREO CHANNEL SECTION EFFECT SECTION
REAR PANEL
SEND
INSERT
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
Sleeve
CTRL
ROOM
XL R
MIC
Tip
RETURN
Tip
Ring Sleeve
(send) (return)
MADE IN ITALY
TIP=HOT
1-Gnd
2-Hot
3-Cold
LINE
RING=COLD
STEREO B STEREO A
2 TRACK
L
R
2
3
AUX
MAIN OUT
1
MIC
MIC
SND
FORMULA 182 E
SLEEVE=SHIELD
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
1
R
2
L
L
RTN
EXT. EFF.
SND
50-60 Hz
90-240 V
T 2 A - 250 V 35 VA
R
INSERT
MNO 1
SUB
2
5
3
6
4
(AUX7)
FOOT
SW
L
R
RTN
LEFT
(mono)
LEFT
(mono)
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
RIGHT
RIGHT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
3
MONO
MONO CHANNELS SECTION
FORMULA 182 E
MIC
Electronically balanced Neutrik input socket for XLR connector, allows
connecting low impedance signal sources, like microphones or other low
level devices.
INSERT
LINE
Balanced input socket for stereo jack connector with diameter of ¼”
(6,35mm). Electronically balanced, allows to connect high level signal
sources, as keyboards, electric guitars, electronic musical instruments,
audio reproducers. It is also possible to use mono connectors, this
determines the automatic unbalancing of the signal. It is not possible to
use simultaneously the MIC and LINE inputs of the same channel.
LINE
INSERT
Stereo jack socket (Ø6,3mm) to connect external processing equipment
in the signal circuit by a stereo jack. Generally the insert connections
require a special “Y” split cable, terminating with a stereo connector on
one side and two mono connectors on the other.
MIC
1
GAIN
It adjusts the pre-amplification of the signal arriving from the MIC and
LINE inputs, optimizing the correct operation in the channel circuits. The
scale has two different value bands: the range from 10 to 60dB is related
to the MIC input, the value range from -20 to 30dB is related to the LINE
input. For a best adjustment it is necessary to position this control in way
that the PEAK led turns on occasionally only when peaks are present.
PAD
The PAD button operates on the input signal reducing its intensity of 20dB.
GAIN
dB
PAD
-20dB
10 mic 60
-20 line +30
1
HPF
100 Hz
HPF
Loudspeaker filter that eliminates all frequencies below 100Hz, thus
making it easier to understand anything said using the microphone
PH 48V
PH 48V
Phantom power (48V) activation for XLR connectors (every 4 channels),
necessary for the condenser microphones operation; the activation is
signalled by the related led that turns on. Connect all the necessary
microphones before activating the phantom power supply.
0
HF
-15
MF
EQUALIZER ( HF/MF/LF)
The mono channels have a sound adjustment at three bands with semiparametric mid-band. A maximum exaltation/attenuation of 15dB is
possible for each band, in the central position no tone alteration is made.
The upper band (HF) and the lower band (LF) are Shelving filters that
respectively adjust the treble and bass tones. The mid-band has a
frequency adjustment from 100Hz to 8kHz.
300
3k
100
8 kHz
0
-15
+15
0
LF
-15
4
+15
1k2
+15
MONO CHANNELS SECTION
FORMULA 182 E
0 dB
-12
pre
AUX
3
0 dB
-12
pre
AUX
4
0 dB
-12
1
pre
AUX
5
0 dB
-12
0 dB
0
0
AUX
6
-12
0 dB
0
0
-30dB
When this led turns on it indicates the audio signal presence on the
channel.
AUX
2
0
0
PK
When this led turns on it indicates that the level signal is close to being
saturated, it is advised to operate on the GAIN control to decrease the
pre-amplification and check the channel equalizer setting.
pre
0
0
MUTE
Allows to activate/deactivate the channel. The signal is present only on
the PFL.
-12
0
0
PAN
The PAN control adjusts the signal image in the stereo front. For mono
signals in the central position the signal will be present in the same
measure on both output channels, the proportion of the two signals
changes by turning the knob at right or at left, obtaining in the extreme
positions, the annulment of one of the two.
AUX
1
0
0
AUX 1 - 7
These controls are needed to adjust the level of the signal sent to the AUX
1 - 6 circuits, to the internal and external effect.
The AUX/pre lines are independent to the channel Fader position ( for
monitor applications ), the AUX/post lines draw the signal after it is dosed
by the Fader (effects).
AUX
7
-12
post
0 dB
0
0
L/R
The L/R button sends the channel signal to the MAIN L/R.
PAN
1/2
The 1/2 button sends the channel signal to the related sub-units SUB 1/2.
L
R
MUTE
PFL
Allows to monitor in the headphones each single channel independently
by the general mixing. This function allows to listen the level before the
fader. It is useful especially during the Gain adjustment and equalizer
check phases.
FADER
Slider potentiometer with stroke of 100mm, adjusts the single channel
signal level to be sent to the general Master L/R controls. Usually the best
performances are obtained with the cursor is positioned at approx 3/4 of
its upwards stroke (0dB).
PK
10
-30
dB
5
0
5
L/R
1/2
10
15
20
30
0
0
PFL
5
STEREO CHANNELS SECTION
FORMULA 182 E
RIGHT
RIGHT
LEFT
(mono)
LEFT
(mono)
MIC
MIC
STEREO B STEREO A
GAIN
GAIN
dB
dB
10 mic
10 mic
60
STEREO A
STEREO
1
HPF
100 Hz
0
STEREO
2
-15
-15
+15
-15
-15
+15
-15
-15
+15
pre
pre
pre
-12
AUX
3
pre
0 dB
0
0
0
0
0 dB
-12
AUX
4
0 dB
0
0
0
0
0 dB
pre
-12
AUX
2
-12
AUX
3
0 dB
0
0
0
0
0 dB
pre
+15
-12
AUX
1
-12
AUX
2
+15
0
LF
-12
AUX
1
+15
0
MF
0
LF
+6 dB
0
HF
0
MF
0
0
0
+6 dB
0
HF
60
STEREO B
HPF
100 Hz
0
0
-12
AUX
4
pre
pre
-12
AUX
5
0 dB
0
0
0 dB
0
0
-12
AUX
5
pre
-12
AUX
6
0 dB
0
0
0 dB
0
0
-12
AUX
6
pre
-12
AUX
7
post
0 dB
0
0
0 dB
0
0
-12
AUX
7
post
0 dB
0
0
0 dB
0
0
BAL
BAL
L
R
L
MUTE
R
MUTE
PK
10
-30
dB
5
PK
10
-30
dB
5
0
0
5
5
L/R
L/R
1/2
1/2
10
10
15
15
20
20
30
30
PFL
STEREO A
STEREO B
0
0
PFL
0
0
MIC
Electronically balanced Neutrik input socket for XLR connector, allows
connecting low impedance signal sources, like microphones or other low
level devices.
LEFT (mono) / RIGHT
Each stereo channel has two balanced inputs on jack sockets for the
left and right channels. If only the LEFT socket is used the channel
works in mono.
GAIN
Adjusts the pre-amplification of the signal arriving from the MIC input,
optimizing it to the correct operation in the channel circuits. For a best
adjustment it is necessary to position this control in way that the PEAK
led turns on occasionally only when there are peaks.
HPF
Loudspeaker filter that eliminates all frequencies below 100Hz, thus
making it easier to understand anything said using the microphone
PH 48V
Phantom power (48V) activation for XLR connectors (every 4
channels), necessary for the condenser microphones operation; the
activation is signalled by the related led that turns on. Connect all the
necessary microphones before activating the phantom power supply.
STEREO
Adjusts the input volume level of the signals arriving from the LEFT
jack sockets (mono) / RIGHT.
EQUALIZER ( HF/MF/LF)
The stereo channels are equipped of a sound adjustment at three
bands with “Shelving” filter (treble and bass) “peaking” for mids. A
maximum exaltation/attenuation of 15dB is possible for each band, in
the central position no tone alteration is made.
AUX 1-7
These controls are needed to adjust the level of the signal sent to the
AUX1-6 circuits, to the internal and external effect. The AUX/pre lines
are independent to the channel Fader position ( for monitor
applications), the AUX/post lines draw the signal after it is dosed by the
Fader (effects).
BAL
The BAL control adjusts the balancing between the left and right
sources.
MUTE
Allows to activate/deactivate the channel. The signal is present only on
the PFL.
PK
When this led turns on it indicates that the level signal is close to being
saturated, it is advised to operate on the GAIN control or on the
STEREO input level to decrease the pre-amplification and check the
channel equalizer setting.
-30dB
When this led turns on it indicates the audio signal presence on the
channel.
L/R
The L/R button sends the channel signal to the MAIN L/R.
1/2
The 1/2 button sends the channel signal to the related sub-units SUB
1/2.
PFL
Allows to monitor in the headphones each single channel
independently by the general mixing. This function allows to listen the
level before the Fader. It is useful especially during the Gain
adjustment and equalizer check phases.
FADER
Slider potentiometer with stroke of 100mm, adjusts the single channel
signal level to be sent to the general Master L/R controls. Usually the
best performances are obtained with the cursor is positioned at approx
3/4 of its upwards stroke (0dB).
AUX EFF. RTN
6
EFFECTS SECTION
FORMULA 182 E
RTN
L
(AUX7)
SND
EXT. EFF.
-12
AUX
1
pre
0 dB
0
0
EXT. EFF.
Balanced stereo jack sockets for connection to an external effect.
SND: output that allows sending signals coming from AUX7 towards
the external effect
RTN: input that allows connecting to the mixer the stereo output of the
external effect, excluding at the same time the internal effect.
R
The FORMULA mixer is equipped of an effects section with digital
processor of audio signals able to simulate sonorities of any acoustic
environment. 256 programs allow adding special effects to direct
sounds that transit on the mixer channels (see DSP DIGITAL EFFECT
section).
-12
AUX
2
pre
0
0
0 dB
0 dB
-12
AUX
4
pre
0 dB
0
0
-12
AUX
5
pre
0 dB
0
0
AUX 7 (SND)
General volume of AUX 7 (EFFECT) that adjusts the input signal of the
internal effect and of the signal present on the AUX 7 (SND) jack
socket used to connect an external effect.
pre
0
0
AUX 1-6
These controls are needed to adjust the level of the signal sent to the
AUX1-6 circuits, to the internal and external effect. The AUX/pre lines
are independent to the channel Fader position
( for monitor applications), the AUX/post lines draw the signal after it is
dosed by the Fader (effects).
-12
AUX
3
-12
AUX
6
pre
0
0
0 dB
-12
AUX 7
SND
0 dB
0
0
BAL
The BAL control adjusts the balancing between the left and right
sources.
BAL
MUTE
Allows to activate/deactivate the channel. The signal is present only on
the PFL.
PK
When this led turns on it indicates that the level signal is close to being
saturated.
L
R
MUTE
PK
10
-30dB
When this led turns on it indicates the audio signal presence on the
channel.
5
L/R
The L/R button sends the channel signal to the MAIN L/R.
5
-30
dB
0
L/R
1/2
The 1/2 button sends the channel signal to the related sub-units SUB
1/2.
1/2
10
15
PFL
Allows to monitor in the headphones each single channel
independently by the general mixing. This function allows to listen the
level before the Fader. It is useful especially during the Gain
adjustment and equalizer check phases.
20
30
0
0
PFL
FADER
Slider potentiometer with stroke of 100mm, adjusts the single channel
signal level to be sent to the general Master L/R controls. Usually the
best performances are obtained with the cursor is positioned at approx
3/4 of its upwards stroke (0dB).
7
EFFECT
MASTER SECTION
FORMULA 182 E
2 TRACK
CINCH RCA sockets to connect a 2 tracks recorder (example DAT
recorder). Connects the inputs of a recording equipment to the SND
sockets and the outputs to the RTN sockets.
FOOT SW.
Mono jack socket to connect a remote controller that
activates/deactivates the internal effect
AUX 1 - 6
Stereo jack sockets in which are present signals of the Auxiliaries 1-6
arriving from the general controls AUX 1-6 ( see controls description on
page 10).
MAIN OUT L/R
XLR sockets that mix the signals controlled by the LEFT and RIGHT
Faders. The signal drawn by these outputs require the use of an external
amplifier to connect to the diffusers. If active diffusers are used (with
internal amplification), it is possible to make use of the direct connection.
INSERT
Input/output stereo jack sockets to connect external equipment
(equalizers, etc.) on the Main outputs.
SUB 1/2
Stereo jack connectors on which are present the balanced signals
arriving from the Fader SUB 1/2 controls.
MNO
This output receives the LEFT and RIGHT added signals adjusted by the
Fader MONO control.
CTRL ROOM L/R
The Control Room output is usually connected with the monitor system of
the control room.
PHONES
Stereo jack sockets to connect a headphone.
POWER SUPPLY
Switch to turn on the mixer: the PWD led lighting on indicates that the
mixer is turned on.
Socket for connection to the mains supply : 90-240Vac/50-60Hz
Protection fuse housing of the power supply circuit : in case of fuse
breakage, it has to be replaced only with equivalent fuses. T2A/250V.
MADE IN ITALY
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CTRL
ROOM
AUX
MAIN OUT
2 TRACK
L
R
SND
1
R
2
L
L
RTN
EXT. EFF.
SND
50-60 Hz
90-240 V
T 2 A - 250 V 35 VA
R
INSERT
MNO 1
SUB
8
2
5
3
6
4
(AUX7)
FOOT
SW
L
R
RTN
MASTER SECTION
FORMULA 182 E
SUB 1/2
The SUB 1/2 signal, adjusted with the related Fader, can be assigned (1
on LEFT, 2 on RIGHT) to the L/R controls of the Main (button L/R). Each
sub-unit has its own independent output, therefore assign different
channels to different sub-units is a good way to achieve more outputs
than two.
BAL
L
R
MUTE
MUTE
MUTE
PK
10
-30
dB
5
PK
10
-30
dB
5
PK
10
-30
dB
5
0
0
0
5
5
5
10
10
10
15
15
15
20
20
20
30
30
30
L/R
LEFT / RIGHT
MUTE
Allows to activate/deactivate the SUB 1/2 channel. The signal is present
only on the AFL.
PK
When this led turns on it indicates that the level signal is close to being
saturated, it is advised to operate on the Fader control to decrease the
pre-amplification.
-30dB
When this led turns on it indicates the audio signal presence on the
channel.
AFL
Allows to monitor, independently from the MUTE position, the L/R MAIN
signal.
FADER
Slider potentiometer with 100mm stroke, adjusting the general
listening levels of all the signals arriving from the mono, stereo
channels, from the effects section, sending them to the MAIN OUT
outputs.
9
SUB 1 / 2
LEFT
AFL
0
0
AFL
0
0
AFL
0
0
BAL
The BAL control adjusts the balancing between the left and right sources,
in this case between the SUB 1/2 present on the Main L/R.
MUTE
Allows to activate/deactivate the SUB 1/2 channel. The signal is present
only on the AFL.
PK
When this led turns on it indicates that the level signal is close to being
saturated, it is advised to operate on the Fader control to decrease the
pre-amplification.
-30dB
When this led turns on it indicates the audio signal presence on the
channel.
L/R
The L/R button sends the channel signal to the MAIN L/R.
AFL
Allows to monitor, independently from the MUTE position, the SUB signal
after the Fader adjustment.
FADER
Slider potentiometer with stroke of 100mm, adjusts the single channel
signal level to be sent to the general Master L/R controls. Usually the
best performances are obtained with the cursor is positioned at approx
3/4 of its upwards stroke (0dB).
RIGHT
MASTER SECTION
FORMULA 182 E
-12
AUX
1
LEFT RIGHT
AFL
PEAK
AFL
PEAK
0
0
0 dB
OVL
-12
AUX
2
+10
+7
0
0
0 dB
-12
AUX
3
+4
AFL
PEAK
0
0
0
0 dB
-4
-12
AUX
4
AFL
PEAK
-7
0
0
0 dB
-10
-12
AUX
5
PRE
AFL
POST
-20
PEAK
0
0
0 dB
-30
-12
AUX
6
PRE
AFL
POST
0
0
2 TRK
PEAK
0 dB
0
L/R
AFL
PFL
AFL
PWR
0
0
+6 dB
MONO
-6
0
0
0
MUTE
Allows to activate/deactivate the channel. The signal is present only on the AFL.
PK
When this led turns on it indicates that the level signal is close to being saturated, it
is advised to operate on the Fader control to decrease the pre-amplification.
-30dB
When this led turns on it indicates the audio signal presence on the channel.
LPF
It inserts a low-pass filter at 125 Hz on the input signal of an amplifier that supplies a
sub-woofer.
AFL
Allows monitoring the related signal, after the level adjustments.
FADER
Slider potentiometer with stroke of 100mm, adjusts the general listening level sent
to the MONO jack output
CTRL ROOM
MUTE
PK
10
-30
dB
5
AUX 1 - 6
These controls adjust the general levels of the AUX sends.
Each line includes an AFL button and the PEAK led.
Furthermore the AUX5 and AUX 6 controls are supplied of a button for Pre/Post
sends that select the kind of signal (pre or post) to send to the related outputs.
0
5
LPF
125 Hz
2-TRK
10
Adjusts the 2-Track input level.
The L/R button sends the signal to the general L/R outputs.
15
CTRL ROOM
Adjusts the quantity of signal to send to the Control Room and the
headphones volume.
20
30
VU-Meter
AFL
0
0
Led for displaying and measuring, in decibel, the output signal levels. OVL leds
indicates the signal peaks that could cause overloads and distortions.
PFL/AFL
Indicates the activation of the PFL and AFL function in one of the channels.
MONO
PWR
Led indicating that the system is on.
10
FRONT PANEL
FORMULA 122 E
GAIN
dB
GAIN
dB
10 mic 60
-20 line +30
1
2k
MF
6k
300
8k
100
2k
MF
6k
600
0
6k
8k
400
0
6k
600
0
2k
6k
600
0
6k
8k
400
0
6k
600
0
6k
600
0
6k
8k
400
0
6k
600
0
6k
8k
400
6k
600
0
+6 dB
0
HF
0
15
14
13
12
11
+6 dB
0
HF
16 1 2
3
4
5
6
LF
-15
+15
0
-15
+15
0
LF
LF
-15
+15
0
-15
+15
0
LF
-15
+15
0
LF
-15
+15
0
LF
LF
-15
+15
0
-15
+15
0
LF
-15
+15
0
12 kHz
0
LF
-15
+15
0
-15
LF
LF
+15
0
LF
P - 16 effect Off
OVL
PARAMETER
-15
+15
0
MF
-15
+15
0
M - VOICE 2
N - CHORUS 1
O - CHORUS 2
P - SHIFTER
7
10 9 8
+10
+7
+15
0
MF
O
P A B
-15
-15
+15
0
LF
+15
FORMULA 122 E
D
E
F
K
0
LF
+4
C
N
M
L
-15
I - ECHO 1
J - ECHO 2
K - ECHO 3
L - VOICE 1
8k
400
12 kHz
0
+15
2k
MF
600
12 kHz
-15
+15
2k
MF
8k
400
12 kHz
-15
+15
2k
MF
600
12 kHz
-15
+15
2k
MF
8k
400
12 kHz
-15
+15
2k
MF
8k
400
12 kHz
-15
+15
2k
MF
600
12 kHz
-15
+15
2k
MF
8k
400
12 kHz
-15
+15
MF
8k
400
12 kHz
-15
+15
2k
MF
600
12 kHz
-15
+15
2k
MF
8k
400
12 kHz
-15
+15
CTRL
EFFECT PROGRAM CHART
E - CONCERT 1
F - CONCERT 2
G - GATE
H - GUITAR
A - HALL 1
B - HALL 2
C - ROOM 1
D - ROOM 2
100 Hz
STEREO
2
0
0
-15
+15
EFFECT
MIC HPF
0
STEREO
1
0
0
-15
60
STEREO B
100 Hz
0
HF
GAIN
10 mic
MIC HPF
100 Hz
0
HF
dB
60
STEREO A
HPF
100 Hz
0
HF
GAIN
10 mic
12
HPF
100 Hz
0
HF
dB
10 mic 60
-20 line +30
11
HPF
100 Hz
0
HF
GAIN
dB
10 mic 60
-20 line +30
10
HPF
100 Hz
0
HF
GAIN
dB
10 mic 60
-20 line +30
9
HPF
100 Hz
0
HF
GAIN
dB
10 mic 60
-20 line +30
8
HPF
100 Hz
0
HF
GAIN
dB
10 mic 60
-20 line +30
7
HPF
100 Hz
0
HF
GAIN
dB
10 mic 60
-20 line +30
6
HPF
100 Hz
0
HF
GAIN
dB
10 mic 60
-20 line +30
5
HPF
100 Hz
0
HF
GAIN
dB
10 mic 60
-20 line +30
4
HPF
100 Hz
0
GAIN
dB
10 mic 60
-20 line +30
3
HPF
100 Hz
GAIN
dB
10 mic 60
-20 line +30
2
HPF
HF
GAIN
dB
10 mic 60
-20 line +30
J I H
G
0
-4
-7
-10
PROGRAM
-20
-15
AUX
1
pre
0
0
2 TRK
PEAK
AFL
PEAK
0 dB
AFL
0
0
0
0
+6 dB
-6
BAL
PH
48V
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
ON
R
0
0
0
L
PWR
0
L/R
0 dB
BAL
AFL
PFL
AFL
PRE
0
0
0
0
0 dB
PEAK
-12
AUX
4
-12
AFL
0 dB
0
0
0
0
0
0
0
0
0 dB
BAL
0
0
0
0
pre
0 dB
BAL
AUX 5
SND
PEAK
0 dB
POST
pre
-12
AUX
5
AFL
0 dB
-12
AUX
3
0 dB
-12
AUX
4
0 dB
0
0
post
0
0
0
0
pre
-12
pre
LEFT RIGHT
-12
AUX
2
0 dB
-12
AUX
3
0 dB
-12
AUX
4
0 dB
0
0
0
0
0 dB
0
0
0
0
post
-12
AUX
5
PAN
0
0
0
0
0 dB
pre
0 dB
pre
-12
AUX
1
-12
AUX
2
0 dB
-12
AUX
3
0 dB
pre
0 dB
pre
-12
pre
-30
-12
AUX
1
-12
AUX
2
0 dB
AUX
4
-12
pre
-12
pre
+15
-12
AUX
1
0 dB
0
0
-12
0
0
0
0
0 dB
pre
AUX
3
0 dB
0
0
AUX
5
PAN
-12
-15
+15
-12
AUX
2
0 dB
0
0
-12
post
0 dB
PAN
0
0
post
AUX
5
AUX
4
0 dB
0
0
0 dB
-12
-12
pre
-15
AUX
1
0 dB
pre
AUX
3
0 dB
0
0
AUX
4
-12
0
0
0
0
0 dB
PAN
-12
+15
-12
pre
AUX
2
0 dB
0
0
post
0 dB
PAN
AUX
5
0
0
post
0 dB
-12
-12
pre
-12
0
0
AUX
5
AUX
4
AUX
3
0 dB
AUX
1
0 dB
pre
-12
pre
0
0
-12
0
0
0
0
0 dB
PAN
0 dB
-12
AUX
2
0 dB
-15
+15
-12
pre
-12
0
0
AUX
5
post
0 dB
PAN
AUX
4
AUX
1
0 dB
pre
AUX
3
0 dB
0
0
-12
-12
pre
-12
0
0
0 dB
0
0
AUX
5
AUX
3
0 dB
pre
AUX
2
0 dB
0
0
AUX
4
-12
pre
-12
pre
0
0
0
0
-12
AUX
2
0 dB
-15
+15
-12
0
0
AUX
3
0 dB
-12
pre
AUX
1
0 dB
0
0
-12
pre
0 dB
0
0
0
0
0 dB
-12
pre
AUX
2
0 dB
AUX
1
-15
+15
-12
0
0
-12
-15
+15
-12
0
0
0
0
AUX
4
post
0 dB
pre
-12
0
0
0
0
0 dB
PAN
AUX
3
0 dB
0
0
AUX
5
AUX
1
pre
-12
0
0
0
0
post
0 dB
PAN
0
0
0
0
post
0 dB
AUX
2
0 dB
pre
AUX
4
-12
AUX
5
-12
-15
+15
-12
pre
0 dB
0
0
0
0
0 dB
-12
AUX
1
pre
AUX
3
0 dB
-12
AUX
4
0
0
0
0
0 dB
PAN
0
0
post
0 dB
PAN
-12
0
0
AUX
5
pre
-15
+15
-12
pre
AUX
2
0 dB
-12
AUX
3
0 dB
0
0
post
0 dB
-12
AUX
5
0 dB
pre
-12
AUX
1
-12
AUX
2
0 dB
pre
AUX
4
0
0
0 dB
-12
-12
0
0
-12
AUX
4
0
0
-12
0
0
0
0
0 dB
PAN
0 dB
pre
0 dB
-15
+15
-12
AUX
1
pre
AUX
3
pre
0
0
post
AUX
5
0
0
-12
-12
AUX
3
0 dB
0
0
0 dB
0
0
AUX
5
AUX
4
0
0
-12
0 dB
-15
+15
-12
pre
AUX
2
pre
-12
pre
0
0
0
0
AUX
4
AUX
3
0 dB
0 dB
-12
AUX
2
0 dB
0
0
0
0
-12
pre
-12
pre
AUX
1
pre
0 dB
-15
+15
-12
AUX
1
pre
AUX
2
0 dB
-15
+15
-12
0
0
-12
pre
AUX
3
AUX
1
0 dB
0
0
AUX
2
-15
+15
-12
CTRL ROOM
PEAK
PEAK
10
MUTE
0
0
0
0
0
5
0
5
L/R
PEAK
10
MUTE
5
0
5
L/R
10
MUTE
5
0
5
L/R
PEAK
10
MUTE
5
0
5
L/R
PEAK
10
MUTE
5
0
5
L/R
PEAK
10
MUTE
5
0
5
L/R
PEAK
10
MUTE
5
5
L/R
PEAK
10
MUTE
5
0
5
L/R
PEAK
10
MUTE
5
0
5
L/R
PEAK
10
MUTE
5
5
L/R
PEAK
10
MUTE
5
5
L/R
PEAK
10
MUTE
5
0
5
L/R
PEAK
10
MUTE
5
0
5
L/R
PEAK
10
MUTE
5
5
L/R
PEAK
10
MUTE
5
5
L/R
PEAK
10
MUTE
5
0
PEAK
10
MUTE
5
5
PEAK
10
L/R
PEAK
10
MUTE
5
MUTE
5
0
0
0
5
5
5
LPF
125 Hz
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
15
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
AFL
0
0
AFL
0
0
AFL
0
0
STEREO B
AFL
0
0
STEREO A
PFL
0
0
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
0
0
PFL
AUX EFF. RTN
1
3
2
4
5
6
7
8
9
10
11
12
MONO CHANNEL SECTION
STEREO CHANNEL SECTION
EFFECT
SUB 1 / 2
LEFT
RIGHT
MASTER SECTION
EFFECT SECTION
REAR PANEL
FORMULA 122 E
MADE IN ITALY
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CTRL
ROOM
MAIN OUT
L
R
STEREO B STEREO A
2 TRACK
AUX
MIC
MIC
SND
12
11
10
9
8
7
6
5
4
3
2
1
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
1
L
R
2
RTN
L
EXT. EFF.
3
INSERT
R
SND
(AUX5)
L
FOOT
SW
1
50-60 Hz
90-240 V
T 2 A - 250 V 25VA
MNO
SUB
2
RTN
LEFT
(mono)
LEFT
(mono)
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
RIGHT
RIGHT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
4
R
11
MONO
MONO CHANNELS SECTION
FORMULA 122 E
MIC
Electronically balanced Neutrik input socket for XLR connector, allows
connecting low impedance signal sources, like microphones or other low
level devices.
INSERT
LINE
LINE
Balanced input socket for stereo jack connector with diameter of ¼”
(6,35mm). Electronically balanced, allows to connect high level signal
sources, as keyboards, electric guitars, electronic musical instruments,
audio reproducers. It is also possible to use mono connectors, this
determines the automatic unbalancing of the signal. It is not possible to
use simultaneously the MIC and LINE inputs of the same channel.
INSERT
Stereo jack socket (Ø6,3mm) to connect external processing equipment
in the signal circuit by a stereo jack. Generally the insert connections
require a special “Y” split cable, terminating with a stereo connector on
one side and two mono connectors on the other.
MIC
1
GAIN
dB
GAIN
It adjusts the pre-amplification of the signal arriving from the MIC and
LINE inputs, optimizing the correct operation in the channel circuits. The
scale has two different value bands: the range from 10 to 60dB is related
to the MIC input, the value range from -20 to 30dB is related to the LINE
input. For a best adjustment it is necessary to position this control in way
that the PEAK led turns on occasionally only when peaks are present.
10 mic 60
-20 line +30
1
HPF
HPF
Loudspeaker filter that eliminates all frequencies below 100Hz, thus
making it easier to understand anything said using the microphone
EQUALIZER ( HF/MF/LF)
The mono channels have a sound adjustment at three bands with semiparametric mid-band. A maximum exaltation/attenuation of 15dB is
possible for each band, in the central position no tone alteration is made.
The upper band (HF) and the lower band (LF) are Shelving filters that
respectively adjust the treble and bass tones. The mid-band has a
frequency adjustment from 100Hz to 8kHz.
100 Hz
0
HF
-15
+15
2k
MF
6k
300
8k
100
12 kHz
0
-15
LF
-15
12
+15
0
+15
MONO CHANNELS SECTION
FORMULA 122 E
AUX
2
0 dB
-12
pre
AUX
3
0 dB
-12
pre
AUX
4
0 dB
-12
0 dB
0
0
AUX
5
-12
post
0 dB
0
0
PK
When this led turns on it indicates that the level signal is close to being
saturated, it is advised to operate on the GAIN control to decrease the
pre-amplification and check the channel equalizer setting.
pre
0
0
MUTE
Allows to activate/deactivate the channel. The signal is present only on
the PFL.
-12
0
0
PAN
The PAN control adjusts the signal image in the stereo front. For mono
signals in the central position the signal will be present in the same
measure on both output channels, the proportion of the two signals
changes by turning the knob at right or at left, obtaining in the extreme
positions, the annulment of one of the two.
AUX
1
0
0
AUX 1 - 5
These controls are needed to adjust the level of the signal sent to the AUX
1 - 4 circuits, to the internal and external effect. The AUX/pre lines are
independent to the channel Fader position ( for monitor applications ), the
AUX/post lines draw the signal after it is dosed by the Fader (effects).
PAN
L
L/R
The L/R button sends the channel signal to the MAIN L/R.
R
PEAK
1/2
The 1/2 button sends the channel signal to the related sub-units SUB 1/2.
10
PFL
Allows to monitor in the headphones each single channel independently
by the general mixing. This function allows to listen the level before the
fader. It is useful especially during the Gain adjustment and equalizer
check phases.
MUTE
5
0
FADER
Slider potentiometer with stroke of 100mm, adjusts the single channel
signal level to be sent to the general Master L/R controls. Usually the best
performances are obtained with the cursor is positioned at approx 3/4 of
its upwards stroke (0dB).
5
L/R
1/2
10
15
20
30
0
0
PFL
1
13
STEREO CHANNELS SECTION
FORMULA 122 E
RIGHT
RIGHT
LEFT
(mono)
LEFT
(mono)
MIC
MIC
STEREO B STEREO A
dB
GAIN
10 mic
dB
STEREO A
MIC HPF
100 Hz
100 Hz
0
STEREO
2
-15
-15
+15
-15
-15
+15
-15
-15
+15
pre
pre
pre
post
pre
-12
AUX
5
pre
0 dB
0
0
0
0
0 dB
BAL
0 dB
0
0
0
0
0 dB
0 dB
-12
AUX
4
-12
AUX
5
pre
0
0
0
0
0 dB
0 dB
-12
AUX
3
-12
AUX
4
pre
0
0
0
0
0 dB
0 dB
-12
AUX
2
-12
AUX
3
pre
0
0
0
0
0 dB
+15
-12
AUX
1
-12
AUX
2
+15
0
LF
-12
AUX
1
+15
0
MF
0
LF
+6 dB
0
HF
0
MF
0
0
0
+6 dB
0
HF
60
STEREO B
MIC HPF
STEREO
1
GAIN
10 mic
60
0
0
MIC
Electronically balanced Neutrik input socket for XLR connector, allows
connecting low impedance signal sources, like microphones or other low
level devices.
LEFT (mono) / RIGHT
Each stereo channel has two balanced inputs on jack sockets for the
left and right channels. If only the LEFT socket is used the channel
works in mono.
GAIN
Adjusts the pre-amplification of the signal arriving from the MIC input,
optimizing it to the correct operation in the channel circuits. For a best
adjustment it is necessary to position this control in way that the PEAK
led turns on occasionally only when there are peaks.
MIC HPF
Loudspeaker filter that eliminates all frequencies below 100Hz, thus
making it easier to understand anything said using the microphone
STEREO
Adjusts the input volume level of the signals arriving from the LEFT
jack sockets (mono) / RIGHT.
EQUALIZER ( HF/MF/LF)
The stereo channels are equipped of a sound adjustment at three
bands with “Shelving” filter (treble and bass) “peaking” for mids. A
maximum exaltation/attenuation of 15dB is possible for each band, in
the central position no tone alteration is made.
AUX 1-5
These controls are needed to adjust the level of the signal sent to the
AUX1-4 circuits, to the internal and external effect. The AUX/pre lines
are independent to the channel Fader position ( for monitor
applications), the AUX/post lines draw the signal after it is dosed by the
Fader (effects).
BAL
The BAL control adjusts the balancing between the left and right
sources.
MUTE
Allows to activate/deactivate the channel. The signal is present only on
the PFL.
PK
When this led turns on it indicates that the level signal is close to being
saturated, it is advised to operate on the GAIN control or on the
STEREO input level to decrease the pre-amplification and check the
channel equalizer setting.
L/R
The L/R button sends the channel signal to the MAIN L/R.
1/2
The 1/2 button sends the channel signal to the related sub-units SUB
1/2.
PFL
Allows to monitor in the headphones each single channel
independently by the general mixing. This function allows to listen the
level before the Fader. It is useful especially during the Gain
adjustment and equalizer check phases.
FADER
Slider potentiometer with stroke of 100mm, adjusts the single channel
signal level to be sent to the general Master L/R controls. Usually the
best performances are obtained with the cursor is positioned at approx
3/4 of its upwards stroke (0dB).
BAL
L
R
L
R
PEAK
10
PEAK
10
MUTE
5
0
5
MUTE
5
0
L/R
5
1/2
1/2
10
10
15
15
20
20
30
L/R
30
0
0
PFL
0
0
PFL
STEREO A
STEREO B
AUX EFF. RTN
14
EFFECTS SECTION
FORMULA 122 E
R
FOOT
SW
RTN
L
(AUX5)
The FORMULA mixer is equipped of an effects section with digital
processor of audio signals able to simulate sonorities of any acoustic
environment. 256 programs allow adding special effects to direct
sounds that transit on the mixer channels (see DSP DIGITAL EFFECT
section).
SND
EXT. EFF.
-12
AUX
1
pre
0 dB
0
0
EXT. EFF.
Balanced stereo jack sockets for connection to an external effect.
SND: output that allows sending signals coming from AUX5 towards
the external effect
RTN: input that allows connecting to the mixer the stereo output of the
external effect, excluding at the same time the internal effect.
-12
AUX
2
pre
0 dB
0
0
-12
AUX
3
pre
0 dB
0
0
AUX 1-4
These controls are needed to adjust the level of the signal sent to the
AUX1-4 circuits, to the internal and external effect. The AUX/pre lines
are independent to the channel Fader position
( for monitor applications), the AUX/post lines draw the signal after it is
dosed by the Fader (effects).
-12
AUX
4
pre
0 dB
0
0
BAL
The BAL control adjusts the balancing between the left and right
sources.
AUX 5
SND
-12
0 dB
0
0
AUX 5 (SND)
General volume of AUX 5 (EFFECT) that adjusts the input signal of the
internal effect and of the signal present on the AUX 5 (SND) jack
socket used to connect an external effect.
BAL
L
R
PEAK
MUTE
Allows to activate/deactivate the channel. The signal is present only on
the PFL.
10
MUTE
PK
When this led turns on it indicates that the level signal is close to being
saturated.
-30dB
When this led turns on it indicates the audio signal presence on the
channel.
L/R
The L/R button sends the channel signal to the MAIN L/R.
5
0
5
L/R
1/2
10
15
PFL
Allows to monitor in the headphones each single channel
independently by the general mixing. This function allows to listen the
level before the Fader. It is useful especially during the Gain
adjustment and equalizer check phases.
FADER
20
30
PFL
0
0
1/2
The 1/2 button sends the channel signal to the related sub-units SUB
1/2.
EFFECT
15
MASTER SECTION
FORMULA 122 E
2 TRACK
CINCH RCA sockets to connect a 2 tracks recorder (example DAT
recorder). Connects the inputs of a recording equipment to the SND
sockets and the outputs to the RTN sockets.
FOOT SW.
Mono jack socket to connect a remote controller that
activates/deactivates the internal effect
AUX 1 - 6
Stereo jack sockets in which are present signals of the Auxiliaries 1-4
arriving from the general controls AUX 1-4 ( see controls description on
page 18).
MAIN OUT L/R
XLR sockets that mix the signals controlled by the LEFT and RIGHT
Faders. The signal drawn by these outputs require the use of an external
amplifier to connect to the diffusers. If active diffusers are used (with
internal amplification), it is possible to make use of the direct connection.
INSERT
Input/output stereo jack sockets to connect external equipment
(equalizers, etc.) on the Main outputs.
SUB 1/2
Stereo jack connectors on which are present the balanced signals
arriving from the Fader SUB 1/2 controls.
MNO
This output receives the LEFT and RIGHT added signals adjusted by the
Fader MONO control.
CTRL ROOM L/R
The Control Room output is usually connected with the monitor system of
the control room.
PHONES
Stereo jack sockets to connect a headphone.
POWER SUPPLY
Switch to turn on the mixer: the PWD led lighting on indicates that the
mixer is turned on.
Socket for connection to the mains supply : 90-240Vac/50-60Hz
Protection fuse housing of the power supply circuit : in case of fuse
breakage, it has to be replaced only with equivalent fuses. T2A/250V.
MADE IN ITALY
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CTRL
ROOM
MAIN OUT
2 TRACK
AUX
L
R
SND
1
L
R
2
RTN
L
EXT. EFF.
3
INSERT
R
SND
(AUX5)
L
FOOT
SW
1
50-60 Hz
90-240 V
T 2 A - 250 V 25VA
SUB
2
4
R
MNO
16
RTN
MASTER SECTION
FORMULA 122 E
BAL
L
R
PEAK
10
PEAK
10
MUTE
5
LEFT / RIGHT
MUTE
Allows to activate/deactivate the SUB 1/2 channel. The signal is
present only on the AFL.
PK
When this led turns on it indicates that the level signal is close to being
saturated, it is advised to operate on the Fader control to decrease the
pre-amplification.
AFL
Allows to monitor, independently from the MUTE position, the L/R
MAIN signal.
FADER
Slider potentiometer with 100mm stroke, adjusting the general
listening levels of all the signals arriving from the mono, stereo
channels, from the effects section, sending them to the MAIN OUT
outputs.
17
MUTE
5
MUTE
5
0
0
0
5
5
5
10
10
10
15
15
15
20
20
20
30
30
30
L/R
SUB 1 / 2
AFL
0
0
AFL
0
0
BAL
The BAL control adjusts the balancing between the left and right
sources, in this case between the SUB 1/2 present on the Main L/R.
MUTE
Allows to activate/deactivate the SUB 1/2 channel. The signal is
present only on the AFL.
PK
When this led turns on it indicates that the level signal is close to being
saturated, it is advised to operate on the Fader control to decrease the
pre-amplification.
L/R
The L/R button sends the channel signal to the MAIN L/R.
AFL
Allows to monitor, independently from the MUTE position, the SUB
signal after the Fader adjustment.
FADER
Slider potentiometer with stroke of 100mm, adjusts the single channel
signal level to be sent to the general Master L/R controls. Usually the
best performances are obtained with the cursor is positioned at approx
3/4 of its upwards stroke (0dB).
PEAK
10
LEFT
AFL
0
0
SUB 1/2
The SUB 1/2 signal, adjusted with the related Fader, can be assigned
(1 on LEFT, 2 on RIGHT) to the L/R controls of the Main (button L/R).
Each sub-unit has its own independent output, therefore assign
different channels to different sub-units is a good way to achieve more
outputs than two.
RIGHT
MASTER SECTION
FORMULA 122 E
-12
AUX
1
AFL
PEAK
AFL
PEAK
0
0
0 dB
OVL
-12
AUX
2
+10
+7
0
0
0 dB
-12
AUX
3
+4
AFL
0
PEAK
-4
0
0
0 dB
-12
AUX
4
-7
PRE
POST
PEAK
-10
0 dB
0
0
2 TRK
AFL
-20
0
-30
L/R
AFL
LEFT RIGHT
0
0
+6 dB
PH
48V
ON
PFL
AFL
PWR
MONO
-6
0
0
0
MUTE
Allows to activate/deactivate the channel. The signal is present only on
the AFL.
PK
When this led turns on it indicates that the level signal is close to being
saturated, it is advised to operate on the Fader control to decrease the
pre-amplification.
LPF
It inserts a low-pass filter at 125 Hz on the input signal of an amplifier that
supplies a sub-woofer.
AFL
Allows monitoring the related signal, after the level adjustments.
FADER
Slider potentiometer with stroke of 100mm, adjusts the general listening
level sent to the MONO jack output
CTRL ROOM
PEAK
10
MUTE
AUX 1 - 4
These controls adjust the general levels of the AUX sends.
Each line includes an AFL button and the PEAK led.
Furthermore the AUX4 control is supplied of a button for Pre/Post sends.
5
0
5
LPF
125 Hz
2-TRK
Adjusts the 2-Track input level.
The L/R button sends the signal to the general L/R outputs.
10
15
CTRL ROOM
Adjusts the quantity of signal to send to the Control Room and the
headphones volume.
20
30
0
0
AFL
VU-Meter
Led for displaying and measuring, in decibel, the output signal levels.
OVL leds indicates the signal peaks that could cause overloads and
distortions.
PFL/AFL
Indicates the activation of the PFL and AFL function in one of the
channels.
PWR
Led indicating that the system is on.
18
MONO
DSP DIGITAL EFFECT
INSERTION OF AN EXTERNAL EFFECT IN THE “EXT. EFF.” JACK SOCKETS WILL ESCLUDE THE
INTERNAL EFFECT
The sounds we hear are never composed of just one signal but rather of a complex set of signals caused by reflections from the surfaces in
the listening environment; thanks to this physical phenomenon the human ear is able to decode information concerning the spatial
composition of the environment and the position of the sound source.
Reverberated sound is composed of a series of repetitions: the distance between the direct signal and the first repetitions is known as the
"pre-delay" and it is of significant importance because it enables us to differentiate between reverberation and echo.
When the delay exceeds a given time interval, we perceive the source and reverberation as two separate sounds: this phenomenon is
commonly known as echo.
The physical condition necessary to obtain an echo are for the sound to be reflected from a wall or a flexible element at a distance of more
than 20 m from the source.
In the case of reverberation, after the initial reflections the subsequent reflections modulate the sound in terms of its diffusion in the listening
environment, creating an effect that is commonly known as reverb. This secondary reverberation is starkly different from the first
reverberation because it tends to add body to the sound and it decays more gently.
It should be borne in mind that there is no hard and fast relationship between the dimensions of a room and the reverberation time, because
in this context it is essential to take account of the type of materials in the room and their sound reflection index.
PROGRAM CHART
A - HALL
B - HALL
C - ROOM
D - ROOM
1
2
1
2
E
F
G
H
-
CONCERT 1
CONCERT 2
GATE
GUITAR
I
J
K
L
- ECHO 1
- ECHO 2
- ECHO 3
- VOICE 1
M - VOICE 2
N - CHORUS 1
O - CHORUS 2
P - SHIFTER
P - 16 effect Off
PROGRAM
Switch to choose the kind of effect to utilize, 16 options for different kinds of reverberation and delay.
15
14
13
12
11
16 1 2
3
4
5
6
10 9 8
7
PARAMETER
O
P A B
C
N
M
L
PARAMETER
D
E
F
K
J I H
G
PROGRAM
Once chosen the kind of effect desired it is possible to choose one of the 16 variations for each preset.
19
DSP DIGITAL EFFECT
HALL 1 / 2:
The Hall programs provide an emulation of large concert halls where the musicians are on a stage at the centre of a large and reverberant
venue. Divided into two basic families, Hall programs allow you to blend the various instruments on individual channels into a uniform mix,
setting them in the context of a highly realistic sound environment. These programs are highly effective with lead vocals, backing vocals, and
acoustic instruments. HALL 1: intense sound reflection, medium size concert halls with sound absorbing material on the walls; HALL 2:
moderate sound reflection, medium size concert halls with sound absorbing material on the walls.
ROOM 1 / 2:
The Rooms programs recreate the environment of medium size concert venues, featuring characteristic sound colouration caused by
reflective walls that can give rise to a large number of reflected signals. The venue created is the typical music club, lounge, or practice room,
where the effect component decays fairly rapidly thereby maintaining high clarity and intelligibility of the original sound. The Room programs
are particularly suitable for cinema and TV applications, and for rhythm and accompanying instruments.
CHORUS 1 / 2:
CHORUS modulates the delay time by a LFO (Low Frequency Oscillator) and produces a slight intonation variation that, mixed with the
direct signal gives the sensation of an ensemble of homogeneous instruments that play in unison. CHORUS makes the signal wider and
deeper and in fact is usually used in “pads” as strings and vocals. It has to be used with care and only with few sounds, to avoid confused and
inexpressive sound. CHORUS 1_ modulates the Left and Right channels with opposite phases, making iridescent the stereo image.
CHORUS 2_ modulates the two channels with the same phase.
SHIFTER:
This effect is able to increase or decrease the input signal tonality. This property can be used in very different and interesting ways, for
example it is possible to adjust the effect in order to return the note played in input increased of an octave.
GATE:
GATE is a process that suddenly stops the reverberation sound to create a “break-off” effect. It is very well-liked on the battery, since the
sound it produces is particularly great. It is obtained by quickly reducing the signal level after the initial entry, obtaining a short and “sharp”
sound.
ECHO 1/2/3:
This delay effect recreates the warm sound of a tape echo: ECHO1_ is the classical stereo echo with delay times different between the two L
and R channels, especially indicated for voice use. ECHO 2_ is a multiple stereo echo made by four different delay lines for each channel.
ECHO 3_ similar to the previous one but with two different delay lines for each channel and a greater stereo separation between the two
channels.
VOICE 1 / 2:
It is a standard reverberation characterized by a warm sonority; the algorithm is particularly optimized for voice use.
CONCERT 1 / 2:
This preset simulates the acoustics of an open and vast open air environment.
GUITAR:
The GUITAR programs control the electric guitar and the accompaniment in harp style. The sound colour can be changed by playing
different styles.
20
CONNECTION EXAMPLE
SPEAKER
SYSTEM
BB 300
BassBooster
PASSIVE
ACTIVE
ACTIVE
MUTE
GAIN
CONTOUR
BOOST
6 dB
BASS
MID-GAIN
MID-FREQ
HIGH
TRASPARENCY
SEND
RETURN
EFF. BLEND SPATIAL LIMITER
MASTER
POWER
CLIP
Ch 1
Ch 2
O
Clip
Active Protect
Clip
0
10
0
I
10
POWER
AMPLIFIER
OFF
ON
MIC ON
DRUM KIT
SND
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
Sleeve
CTRL
ROOM
XL R
MIC
RETURN
1
2
3
AUX
MAIN OUT
1-Gnd
2-Hot
3-Cold
FORMULA 182 E
STEREO B STEREO A
2 TRACK
L
R
ON
RTN
Tip
Tip
Ring Sleeve
(send) (return)
OFF
ON
OUT
SEND
INSERT
MADE IN ITALY
OFF
MIC ON
GUITAR AMP
TAPE DECK
IN
VOCAL MIC
MIC
MIC
SND
10
9
8
7
6
5
4
3
2
1
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
1
R
2
L
L
RTN
EXT. EFF.
SND
50-60 Hz
90-240 V
T 2 A - 250 V 35 VA
R
INSERT
MNO 1
SUB
2
5
3
6
4
(AUX7)
FOOT
SW
L
R
RTN
LEFT
(mono)
LEFT
(mono)
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
RIGHT
RIGHT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
POWER AMPLIFIER
Ch 1
Ch 2
O
Clip
Active Protect
Clip
0
10
0
I
10
RADIO MIC
F
OF
ON
STUDIO MONITOR
EXTERNAL EFFECT
NOISE GATE
SUB-WOOFER
P.A. MONITOR
21
CONNECTIONS
BALANCED
“Y” CORD
BALANCED
UNBALANCED
“Y” CORD
HEADPHONE
SPLITER
UNBALANCED
22
SPEAKON
LEADS
INSERT CORD
TECHNICAL SPECIFICATIOS
FORMULA 182 E FORMULA 122 E
FREQ. RESPONSE
(22Hz - 22kHz)
mic input on main output (+40dB gain)
line input on main output (0dB gain)
-3 / -0.5dB
-3 / -0.5dB
-3 / -0.5dB
-3 / -0.5dB
DISTORSION
(1kHz, 16dBu main out)
THD + noise (mic +40dB gain)
THD + noise (line 0dB gain)
0.0023%
0.0024%
0.0033%
0.0032%
CMRR (1kHz)
mic (+40dB gain)
mic with PAD (0dB gain)
better 80dB
better 48dB
better 80dB
better 48dB
CROSSTALK (1kHz)
adjacent channel
< -100dB
<-100dB
NOISE
(22Hz-22kHz bandwidth)
EIN (150 Ohm source, +60dB gain)
residual output noise (main out, all lev. off)
main mix noise (all ch. routed mix, fader 0dB mark)
-127.5dB
-92dBu
-80dBu
-128dB
-93dBu
-84dBu
High
High mid
Mid
Low mid
Low
High
High mid
Mid
Low mid
Low
shelving 12kHz
---------100-8kHz, Q=1.41
---------shelving 80Hz
shelving 12kHz
---------peak 2.5kHz
---------shelving 80Hz
------------------100-8kHz, Q=1.41
---------shelving 80Hz
shelving 12kHz
---------peak 2.5kHz
---------shelving 80Hz
micro
micro+pad
tape
line,stereo
+14dBu
---------+18dBu
+18dBu
+14dBu
---------+18dBu
+18dBu
+24dBu
+24dBu
INPUT IMPEDANCE
micro
line
stereo
insert in
1.5kOhm bal
20kOhm bal
10kOhm bal
min 4kOhm
1.5kOhm bal
20kOhm bal
10kOhm bal
min 4kOhm
OUTPUT IMPEDANCE
main, aux, group
direct out
insert out
headphones
600 Ohm
600 Ohm
600 Ohm
min 32+32 Ohm
DIGITAL EFF. PROCESSOR
frequency response (20-20kHz)
number of effects
-3dB
256
-3dB
256
90-240 Vac / 50-60Hz
90-240 Vac / 50-60Hz
30 x 5.4 x 17.8
23.46 x 5.4 x 16
30.86
19.84
EQ.
(ch. mono / mono ch.)
+/- 15dB gain
EQ.
(ch. stereo / stereo ch.)
+/- 15dB gain
MAX INPUT LEVEL
MAX OUT
(all out)
POWER SUPPLY
DIMENSIONS
WEIGHT
WxHxD
(inch)
Lbs
ALL MEASUREMENTS HAVE BEEN TESTED WITH “AUDIO PRECISION TWO” EQUIPMENT
23
600 Ohm
600 Ohm
600 Ohm
min 32+32 Ohm
AUX1
PRE
2
AUX7
SEND
AUX5
FOOT SW
RIGHT
-
AUX1
PRE
+
-
STEREO
1 2
+
AUX7 SND
EXT.EFF.
RTN
LEFT
(MONO)
RIGHT
STEREO A-B
AUX2
GAIN
FADER
PH 48V (A-B)
MUTE
MIC
3
1
LEFT
(MONO)
+48V
LINE
3
2
MIC
AUX2
AUX4
AUX1
AUX5
POST
AUX6
HF
MF
AUX4
AUX2
AUX3
LF
AUX5
3 BAND EQUALISER
HF
PROGRAM
MUTE
AUX5
PARAMETER
AUX4
AUX6
EFFECT
AUX5
MUTE
FADER
FADER
AUX6
MF
AUX6
FADER
FADER
AUX6
-30
PK
L/R
1/2
PFL
RIGHT
L/R
1/2
PFL
LEFT
BALANCE
RIGHT
L/R
1/2
PFL
AUX BUSSES (AUX1-AUX7)
-30
AUX BUSSES (AUX1-AUX7)
LEFT
BALANCE
AUX7
PK
POST
-30
PK
AUX BUSSES (AUX1-AUX7)
LEFT
PAN
RIGHT
AUX7
LF
3 BAND EQUALISER
STEREO CHANNEL
AUX5
INSERT
HIGH PASS
FILTER
100 Hz
3 BAND EQUALISER
AUX5 PRE
EFFECT
AUX3
100 Hz
MIC HPF
PRE
HIGH PASS
FILTER
AUX3
PAD
AUX5 POST
HPF
AUX6 POST
MONO CHANNEL
AUX6 PRE
1
AUX7
24
AUX5 PRE
GAIN
AUX5 POST
+48V
AUX6 PRE
PH 48V
AUX6 POST
(1-4)
AFL
SENSE
PFL/AFL
CTRL
AUX5 POST
(AUX6 POST)
AUX5 PRE
(AUX6 PRE)
AUX1-4
LEFT
AFL
L
PRE
POST
R
SENSE
R
RIGHT
L
R
L
AFL
AUX1-4
MUTE
MUTE
MUTE
PEAK
-30
PK
LEFT
BALANCE
MUTE
(AUX6)
AUX5
PEAK
AFL
LEFT
L/R
FADER
FADER
AUX1-6
AUX1-3
FADER
SUB 1/2
INSERT
SUB 2
SUB 1
2
AUX5-6
3
1
2
1
L
R
R
INSERT
L
CTRL ROOM
RIGHT
MONO
-10
-7
-5
-3
-1
0
+2
+4
+8
+10
AFL
PFL
PWR
LEFT RIGHT
SND
FADER
LOW PASS
FILTER
+
LPF
FADER
AFL
MONO
AFL
RTN
2 TRK
AFL
RIGHT
125Hz
PK
L/R
-30
PK
-30
2
2 TRACK
MUTE
MUTE
1
3
BLOCK DIAGRAM
FORMULA 182 E
SENSE
PFL/AFL
SUB 1
SUB 2
AUX BUSSES
(AUX1-AUX7)
LEFT
RIGHT
25
2
AUX5
SEND
AUX5
FOOT SW
RIGHT
AUX2
+
-
STEREO
1 2
+
-
GAIN
AUX7 SND
EXT.EFF.
RTN
LEFT
(MONO)
RIGHT
PRE
FADER
AUX1
STEREO A-B
LEFT
(MONO)
MIC
3
1
PH
MUTE
LINE
3
2
MIC
1
AUX5
HIGH PASS
FILTER
AUX3
HPF
AUX2
PRE
LF
AUX1
AUX3
3 BAND EQUALISER
MF
3 BAND EQUALISER
AUX1
AUX5
100 Hz
HF
AUX2
PROGRAM
PARAMETER
AUX3
MUTE
LF
AUX4
FADER
FADER
POST
FADER
FADER
LEFT
PAN
RIGHT
AUX4
EFFECT
AUX4
MUTE
MF
3 BAND EQUALISER
STEREO CHANNEL
AUX4
POST
INSERT
HIGH PASS
FILTER
EFFECT
100 Hz
AUX4 POST
HF
AUX4
MIC HPF
AUX4 PRE
MONO CHANNEL
AUX4 PRE
GAIN
AUX4 POST
PH
L/R
1/2
PFL
PEAK
AUX5
PEAK
RIGHT
L/R
1/2
RIGHT
L/R
1/2
AUX BUSSES (AUX1-AUX5)
LEFT
BALANCE
PFL
AUX BUSSES (AUX1-AUX5)
LEFT
BALANCE
PFL
AUX BUSSES (AUX1-AUX5)
PEAK
AUX4 POST
AUX4 PRE
AUX1-3
LEFT
SENSE
PFL/AFL
CTRL
AFL
AFL
PEAK
L
PRE
POST
AUX1-3
R
L/R
FADER
FADER
SENSE
R
AUX4
PEAK
RIGHT
L
R
L
AFL
PEAK
PEAK
LEFT
BALANCE
MUTE
AFL
LEFT
AUX1-4
FADER
SUB 1/2
INSERT
SUB 2
SUB 1
AUX1-3
MUTE
MUTE
MUTE
2
AUX4
3
1
2
1
L
R
R
INSERT
L
CTRL ROOM
RIGHT
MONO
-10
-7
-5
-3
-1
0
+2
+4
+8
+10
AFL
PFL
PWR
LEFT RIGHT
SND
FADER
LOW PASS
FILTER
+
LPF
FADER
AFL
MONO
AFL
2 TRK
AFL
RIGHT
RTN
125Hz
L/R
PEAK
PEAK
2
2 TRACK
MUTE
MUTE
1
3
BLOCK DIAGRAM
FORMULA 122 E
SENSE
PFL/AFL
SUB 1
SUB 2
LEFT
RIGHT
AUX BUSSES
(AUX1-AUX5)
DIMENSIONS
FORMULA 182 E
17.83 inch
28.77 inch
30 inch
5.41 inch
FORMULA 122 E
16.10 inch
22.20 inch
23.46 inch
5.41 inch
26
CODE: 27123
All information included in this operating manual have been scrupulously controlled; however FBT is not responsible for
eventual mistakes. FBT Elettronica S.p.A. has the right to amend products and specifications without notice.
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