Owner`s Manual
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DESIGNED AND MANUFACTURED IN THE USA
PHANTOM SERIES CONSOLE
OPERATION GUIDE
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PHANTOM SERIES CONSOLE
OPERATION GUIDE
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INTRODUCTION
Thank you and congratulations on your new ART purchase. The Phantom Series Console you have
just purchased offers the performance and features of recording consoles costing thousands of dollars
more. We designed the Phantom Series to take the pounding life on the road and be right at home in a
recording studio. Using years of applied audio technology, the Phantom Series was designed to be
your first choice in recording technology. Whether you bought the sixteen, twenty-four, or thirty-two
channel, your choice is a world class professional console.
The ART of mixer design:
For the ART Phantom series of mixers we set
about to design a family of mixers that would be
flexible enough to be able to cover a wide range
of applications and offer a true value with far
better performance and functionality than
anything else in their price range. By applying
our CAD expertise, rigorous CAE analysis,
automated test techniques, design for
manufacturability programs, and our knowledge,
gained over years of designing highly complex
analog circuitry for the professional audio
industry, we were not only able to meet the
goals we set out for our mixers but, also to
improve upon some of the critical performance
areas of conventional mixer design.
We chose the latest in automated assembly
potentiometers that, if compared to one of our
competitors, are fourth generation, ultra
precision totally sealed controls. We use high
precision auto-insertable parts in all key circuitry
areas and minimal harness wiring for low noise,
high reliability, and consistent signal integrity.
An all steel chassis provides exceptional hum
and R.F. shielding, and the built in over designed
power supply has its own shielded compartment.
In addition, if due to an accident or abuse, you
have a problem, simply removing about a dozen
screws gives you total access, making the
Phantom series one of the quickest and easiest
mixers to service in the field at any price!
There are two areas in any mixer that determine
90% of its audio performance. In the first area,
the mic input preamp, we use a special 6
transistor op-amp hybrid design that yields
extremely low noise, high CMRR, excellent
~ headroom, and exceptional transient response
(can handle a whisper to a shotgun blast.) The
second area, the mix amp, also uses a hybrid
circuit design that not only yields superior noise
performance, when one channel is assigned, but
also has very low noise when all channels are
assigned to the buss, a more common
occurrence. The Phantom's mix amps have
extended headroom, that equals other high end
recording desks. This attention to noise
performance and headroom is found only on the
most expensive consoles.
All primary channels have balanced XLR inputs.
Studio quality phantom powering is available via
rear panel switches. Our flexible 4 band EQ
section has excellent dynamic range and the
controls feature progressive tapering so that
whenever the controls are at 12 o'clock you can
be sure of flat response. In fact the Phantom
series of mixers offers a frequency response that
is within +/-0.5dB at 20kHz, far better than most
conventional mixers and more in line with the
emerging requirements of digital recording and
mastering.
There are many other features and functions in
the Phantom series that address a wide variety of
applications, such as, full solo and talkback
facilities, individual channel muting, 2-track ins
and outs, separate control room and headphone
outputs, switchable metering, 4 monitor and 4
aux sends that can be internally configured as pre
or post fader depending on application, line ins
on all channels, channel inserts on all primary
channels, 8 direct outs, mono out, and much
more. The real power of this family of mixers,
however, lies in its signal routing flexibility. In
the case of the 2408 you can configure it from a
16 X 8 X 2 mixer to a 27 X 2 mixer and just
about any combination in between. There are
213 pots, 89 jacks, and 95 switches on the 2408
giving you a maximum of flexibility with a
minimum of repatching.
For P.A. use, the Phantom's mic inputs on each
primary channel, balanced XLR main outputs,
mono output, 4 sub-group capability, up to 8
monitor mixes, independent 8 into 2 mix
section, assignable talkback, and the ability to
solo muted channels, meet the requirements of
live mixing on all but the largest jobs. Whether
used as the main board, monitor board, or as
both in a club, the Phantom series is configurable
to accommodate virtually any venue.
In sound contract or fixed installation, the
multiple outputs are extremely useful. For
FEATURES:
* 16, 24, or 32 Channel (model 1608, 2408, 3208)
* Balanced XLR Mic inputs
* Independent Configurable 8X2 Mixer
* Four Main Buses can be Run Independent or Summed
Stereo
* Summed Mono Output of the Two Stereo Buses
* Parallel Mode Discrete Low Noise Mic Amps
* Discrete Low Noise Mix Amps
* Line inputs
* Eight Pre/Post Fader Mix Buses
* All Monitor/ Auxiliary Sends are Internal Jumper
Selectable for Pre or Post Fader
* Eight Direct Outs
* T.R.S. Inserts on all Mic Inputs
* More than 20 Mix Outputs
* 4 Band Low Noise EQ
Record for your reference:
DATE OF PURCHASE
PURCHASED FROM
SERIAL NUMBER
example, in a church installation the Phantom
can provide a mix output for the house, two
remote clusters, an under balcony mix, nursery
feed and still have mix outs for recording, all
with at-console level controls.
For professional or home recording the
Phantom series can easily accommodate an 8-
track, 4-track, and 2-track, with plenty of aux
sends for effects, an 8 into 2 submix for either
drum machines, keyboards, or 8-track cue, while
still having most of its primary channels open for
mics and instruments. Its performance
specifications meet or exceed those of current
digital recording practices. The direct channel
outputs can allow for multitrack mastering.
The Phantom's shielded steel case, balanced
XLR inputs, and multiple output busses, will
make it a very cost effective answer in many
broadcast and post production facilities.
These are just a few of the applications where
the Phantom series of mixers offers true value
and flexible growth potentional.
* Eight Phantom Power Inputs
* Dedicated 8 Channel Tape Return Section
* LED Clip Indicator for Each Channel
* Full Channel Soloing and Muting With LED Indicators
* Switchable Metering
* Isolated 2-Track Monitor Tape Return
* Separate Stereo Control Room Output
* Assignable Talkback/Main/Monitor/ Aux
* Independent Solo Level
* Separate Headphone Output
* Sealed Body Low Noise Pots
* All Steel Chassis
* Hard Contact Switches
* Optional Wood End Panels
* Designed and manufactured in the United States of
America
600-5004-100
ABOUT THIS MANUAL...
The manual you are about to read (hopefully!)
covers all the Phantom Professional Series
Consoles, the 1608, 2408, and 3208. When
features differ, we'll tell you with a Note-box
what is different between models. Generally, the
differences are in numbers only.
INSTALLATION
The PHANTOM SERIES CONSOLES may be
used in a variety of setups including: Home and
Studio Recording, Live Sound, P.A., Keyboard,
Guitar and Drum Racks, and Fixed Installation.
Self contained in an all steel case, the
PHANTOM SERIES CONSOLE is designed for
continuous professional use. Mounting location
is not critical, but for greater reliability we
recommend that you not place the unit on top of
power amps, tube equipment, or other sources
of heat.
Of course, the best location for your Phantom
Console is in a clean and dry environment. We
realize this 1s not possible for many situations
but, there are precautions you can take to
protect your console. In a hostile environment
(clubs), cover your Phantom when not in use.
Buy a road case for transporting your console.
When used in a tame environment, protect your
console from dust.
You may mount models 1608 and 2408 into a
standard 19" rack, you will need 11 rack spaces.
Don't forget to leave access space for your
outputs! Dimensions are: 19.25"H, 19.0" W,
8.0"D for the 1608 and 2408. Dimensions for
the 3208 are: 19.25"H, 28.5"W, and 8.0"D.
CONNECTIONS
POWER
This device is AC powered via a standard 3
conductor grounded power cable. Plug into any
standard AC receptacle. We recommend the use
of a surge protector to decrease the chance of
equipment damage due to voltage surges or
spikes on the line. For your own safety as well as
the safety of others, do not remove the ground
pin of the cable. Do not use a three to two prong
adapter either. Refer to the rear panel or the
specifications for proper operating voltages.
AUDIO
Audio connections to the Phantom Seres
Consoles are made at the rear of the unit vía
professional 1/4" stereo and mono phone jacks
and XLR connectors. All XLLR connectors
follow the A.E.S. standard wining configuration
of Pin 1 Ground, Pin 2 ( + ) Hot, and Pin 3 ( -).
CLEANING
Avoid using harsh abrasives, chemicals or
solvents when cleaning the surface of your
Phantom Console, use a damp cloth. We do not
recommend cleaning or lubricating the faders,
pots, or switches with commercial cleaners or
lubricants.
CONTACT
Applied Research & Technology
215 Tremont Street
Rochester, New York 14608
United States of America
Telephone: 716-436-2720
Fax: 716-436-3942
TOP PANEL CONTROLS AND FEATURES
INPUT CHANNEL CONTROLS
INPUT GAIN
The Input Gain control adjusts the amount of signal level received from the Mic or
Line Inputs. Setting this control is critical to the performance of your Phantom Mixer.
Using this control wisely allows you to accommodate virtually every signal source
applied to the mixer inputs. All microphones, keyboards, instruments, tape and other
program source devices have their signal level optimized for the best possible signal
to noise ratio by the proper setting of the Input Gain control. A maximum gain of (+)48dB and
attenuation of (-)6dB is the range available.
EQUALIZER
Four bands of equalization are available in each channel of the Phantom console. Use
these controls to adjust the tonal characteristic of your sound.
A boost or cut of (+/-)12db is the gain range. Both the high and low bands are
shelving type filters allowing the spectra above and below audibility to be controlled.
HIGH
Center frequency for the High EQ section 1s 12KHz. Use this band ' + adjust the
brightness of the sound.
MID/LOW MID
Two mid-band frequencies are available for adjustment, Mid and Low-Mid. The Mid
frequency center is 2.5KHz, and the Low-Mid center frequency is 200Hz.
LOW
This shelving type filter adjusts the Low frequency range from approximately 20Hz to
70 Hz with a center frequency of 35 Hz.
EQ NOTES:
1) When the pot 1s set at 12 o'clock, that EQ band 1s bypassed.
2) When an EQ pot 1s positioned at a 9 o'clock setting, the result is a (-)5dB cut in gain. Setting the
EQ pot to the 3'oclock position results in a (+)5dB boost in gain. The pot tapers increase the
controllability of the EQ in the mid gain positions, and limits any noise from an outside source the EQ
may bring up.
3) The EQ center frequencies and bandwidths were chosen to allow detailed tailoring of specific
musical material while preventing audible side effects like ringing.
4) Boosting EQ settings can substantially increase your channel gain. After EQing, if you see your
channel Clip LED on, turn down the Input Gain pot of that channel until the Clip LED shuts off.
5) Cutting (rolling off) EQ settings will decrease your channel gain. After EQing, Solo the channel and
make level adjustments with your Input Gain pot (turn it up) so the Clip LED just comes on with the
loudest (peaks) portions of the input source. Now, turn down the Input Gain so the Clip LED stays
off.
MONITOR SEND
The Monitor Send section of the Phantom allows you to send four (4) Pre-Fader mixes to individual
outputs on the rear panel. Each of the four outputs has its own master level controls (Monitor Sends
in the Output Control Section) and are intended to be used as Monitor mixes in a live application.
A signal controlled by the Monitor Send section of the channel (labeled MONITOR) allows you to
send the signal (bus) directly afier the EQ section to the 1/4" Monitor Send jacks on the rear panel.
The signal 1s Pre-fader, that is, the Channel Fader has no effect on the signal level of the Monitor
Send. You can assign the signal to two of four monitor send buses with the Monitor Select Switch.
The Monitor Sends may also be made to be Post-Fader Sends. Removal of the face plate (14 screws
and the fader knobs) and the repositioning of a jumper is required. For detailed instructions on
changing the routing of the Monitor Send, see the MON/AUX Notes section.
MONTO Monitor 1/3 Control
Sets the signal level sent to the 1 or 3 Monitor Bus. The signal will be controlled by
the corresponding Master Monitor Send pot and be present at the Monitor Send 1 or
3 jacks on the rear panel.
Monitor 2/4 Control
Sets the signal level sent to the 2 or 4 Monitor Bus. The signal will be controlled by
the corresponding Master Monitor Send pot and be present at the Monitor Send 2 or
4 jacks on the rear panel.
Monitor Select Switch
Selects which Monitor Bus the signal 1s sent to. When the switch 1s out (up), the
Monitor pot sends the signal to Monitor Bus 1 and 2. With the switch in (down), the
Monitor pot sends the signal to Monitor Bus 3 and 4.
AUX (AUXILIARY) SEND
The Auxiliary Send section of the Phantom allows you to send signal from individual channels to 4
Post-Fader outputs on the rear panel. These four outputs have individual Master Level controls and
are intended to be used as Effects Sends in a studio or live situation.
The Auxiliary Send section of each Input Channel (labeled AUX) allows you to send signal, from a
point directly after the Channel Fader, to the Aux Send jacks on the rear panel. The signal is Post-
Fader, which means that the Channel Fader's position influences the level being sent to the Auxiliary
Bus. You can assign the signal to 2 of the 4 Auxiliary Send buses with the Auxiliary Select Switch.
For detailed instructions on changing the routing of the Auxiliary Send, see the MON/AUX NOTES
section.
NOTE: Normally, the audio signal is post fader, there will only be level sent to the assigned buses if
the Channel Fader 1s up.
Auxiliary 5/7 Control
Level adjustment for signal sent to the 5 or 7 Aux Bus. The Channel signal 1s sent to
the corresponding Master Aux Send pot and the Aux Send jacks on the rear panel.
Auxiliary 6/8 Control
Level adjustment for signal sent to the 6 or 8 Aux Bus. The Channel signal is sent to
the corresponding Master Aux Send pot and the Aux Send jacks on the rear panel.
Auxiliary Select Switch
— Selects which Auxiliary Bus the signal is sent to. When the switch is up, the Aux pots
Ns send signal to Aux Bus 5 and 6. When the switch is depressed (in), the Aux pots send
u ) signal to Aux Bus 7 and 8.
MON/AUX NOTES
1) The Monitor pots are switch selectable between buses 1,2 and 3,4.
2) The Monitor pots are internally jumper selectable to be pre or post fader.
3) The AUX pots are switch selectable between buses 5,6 or 7,8.
4) The Aux pots are internally jumper selectable to be pre or post fader.
5) Changing the jumpers for PRE/POST :
REMOVE AC PLUG FROM AC MAINS RECEPTACLE! Be sure power is
disconnected from your PHANTOM CONSOLE if you remove the lid. Remove the fourteen screws
holding the cover to the chassis. There are eight screws on the top (six small, two large) and six large
screws along the front and rear panel (three each end). Remove the fader knobs. Lift off the cover.
ROW 6 OR 8 The jumpers are located
between the sixth and
seventh row of pots
(Monitor), and eighth
COO 000 and ninth row of pots
PRE @@ OPOST PRE Q @[email protected] (Auxiliary). When the
jumper connects the
| center and left post, the
ROW 7 OR 9 send 1s PRE fader. When
the jumper covers the
center and right post, the
O00 ООО send is POST fader.
CHANNEL SET CHANNEL SET
FOR FOR
PRE FADER POST FADER
PAN
The pan control allows you to set the signal anywhere left or right in the stereo field
on either the Master or Subgroup Bus. When the pot is set fully to the left, signal 15
present only on the Left channel of the bus. Setting the pot fully to the right sends
signal only to the right bus. Centering the pot sends an equal amount of signal to the
left and right outputs. The pan pot has a constant image taper. This means as you
fade from left to right, the left channel is faded out and the right channel increases in gain
proportionally.
CLIP LED |
When too much signal is present in the channel this LED will light. Its position ın the
audio signal path is directly after the EQ section. Ifthe LED is lit, lower the level of
the Input Trim control. Also, check your EQ pots to make sure you're not boosting
the frequencies unreasonably.
SUBS
MAIN/SUB SELECT SWITCH
This switch assigns the signal in the channel to be routed either to the Main or
Subgroup Bus. With the switch in, signals are routed to the Subgroup Bus. When the
switch 1s in the out position, signal is sent to the Main Bus.
MUTE SOLO/MUTE LED
The Solo/Mute LED indicates if the signal in the channel is being routed to the Solo
circuit or if the channel is Muted. If the LED 1s at full brightness, the signal 1s being
| sent to the Solo Circuit. When the LED is at half brightness, the channel has been
muted.
SOLO
The Solo function allows you to monitor single or multiple input channels without disturbing other
settings on the console.
Soloing (depressing the SOLO switch) a channel sends the Pre-Fader signal directly to the Control
Room Output, and Headphone Output without affecting the Mono and Main L/R outputs. When a |
Solo switch 1s depressed, all other audio is muted to these outputs. This is helpful when you wish to
check the output of a particular channel or group of channels without disrupting the rest of a mix. The
soloed signal is also sent to the Output Meters. This is helpful when setting input levels.
Adjust the Solo monitor level with the SOLO Level pot located in the Master Section of the console.
MUTE
The Mute switch cuts off (mutes) the channel signal to all audio buses except the solo bus. When the
switch is in, Mute is engaged.
SOLO/MUTE NOTES
I) The Mute and Solo circuits are located after the EQ section. EQing can be monitored when a
channel is soloed.
2) The Mute switch 1s located after the Solo switch in the signal chain. This allows a Muted channel to
be Soloed.
3) The Mute and Solo circuits are located after the Clip indicator. Clipping is indicated on Muted and
Soloed channels.
4) The Mute function precedes the Pre-Fader sends. This ensures that unwanted signals are not sent to
Monitor mixes.
5) Independent/adjustable Solo monitor level is provided to protect speakers and ears from harmful
volume levels.
' CHANNEL FADER
+10 The Channel Fader sets the final signal level of the channel before it is sent to the
audio buses. Level range is (-) infinity (no level) to (+) 10dB of gain. A nominal
-0- (Unity gain or OdB) setting ts indicated by the number 0. The O level 15 the cleanest
—— setting for the Fader (no boost or cut).
___— When setting levels: It is good practice to keep the Channel Fader at or below the
— nominal (0) setting. If you find that you are using a channel with the Fader set well
— above 0, you probably have the Input Trim set too low. Although additional gain is
— available through use of the Faders, 1t is best to use this gain only after you have
o optimized the Mic/Line Input gain. (see Input Gain)
|
LINE INPUT CONTROLS (8X2 SUBMIXER)
Located at the upper right hand section of the Phantom are eight (8) Line Inputs. These inputs can be
used for: line level inputs where EQ is not needed (1.e. Keyboards, samplers);-effect-returns, 8 track
tape return, or as an 8 X 2 "submixer". There are 1/4" unbalanced inputs located on the rear panel
labeled "LINES IN". Input Level control, Panning and Soloing may be done with the Line Inputs. All
of the outputs sum into a stereo output located on the rear panel (17-24 Out Sum to Stereo). The
stereo output can be routed to the Mains, Subs or both (and of course OFF), while always being sent
to the special line mix outputs. The power here is not just the 8 inputs but the ability to re-configure
this section to the application.
**(See application notes on how to bring this output back into the console to utilize Mon/ Aux sends
and EQ).
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LEVEL
The Level control allows you to adjust the incoming signal level to the Channel. Since
there are no Clip indicators for the Line Ins, it is good practice to use the SOLO
function when setting the input level to these channels to optimize input gain and to
prevent accidental overload of the input stage. |
РАМ
The Pan control allows you to place the signal anywhere in the stereo field. When the
pot is set fully to the left, signal is only present on the left output (or Bus). When the
pot is set fully to the right, signal is only present on the right output (or Bus). When
the pot is centered, equal amounts of signal are sent to the left and right outputs
(Buses). Pan works directly with the "Line In Assign" function. The Line In Assign
selects which stereo bus a signal is to be sent to. (Mains, Subs, or both) The Pan pot
controls which "side" (left or right or both) of the bus you wish to route the signal.
SOLO
Pushing in the Solo Button routes the signal in the channel to the Solo circuit. The solo circuit allows
just the channel being soloed to be heard at the Control Room and Headphone Outputs. When you
depress the switch to Solo the channel, the audio signal is sent directly to the Control Room Output,
and Headphone Output without affecting the Mono and Main L/R outputs. When a Solo switch is
depressed, all other audio from all channels is muted to these outputs. This is helpful when you wish to
check the output of a particular channel or group of channels without disrupting the rest of a mix. The
soloed signal is also sent to the Output Meters.
MASTER CONTROL SECTION
MASTER/OUTPUT/TAPE/LEVEL/CONTROL
All routing of the "mixed" signals to the appropriate outputs, buses, and metering is maintained by this
section. Incoming signals, such as 2-track (cassette), and Talkback Microphone levels are set and
assigned in this section.
MONITOR SENDS MONITOR SENDS
= es Sets the master level of Monitor Sends 1 through 4. The
signal is sent to the Monitor Send jacks on the rear panel.
AUX SENDS
Sets the master level of Aux sends 5 through 8. The signal
is sent to the Aux Send jacks on the rear panel.
2 TRACK TAPE SEND
Controls final level sent to the 2-Track Tape Send Qutput jacks. The 2-track
output jacks , whose source is the Sub L/R output, allow the user another
low level (-10dB) output with separate left and right controls.
DE re 2 TRACK TAPE RETURN
Allows you to adjust the level of the incoming tape signal. Signal is routed
e <= _ directiy to the Main Left and Right Bus. Signal source is the 2 TRK TAPE
— » ow | RETURN (1/4") jacks on the rear panel.
TWO TRACK NOTE:
1) The 2 Track Return may be used as two additional inputs with a level control direct to the Main
L/R Bus.
TALKBACK
TALKBACK
The talkback section allows the user to plug a mic into a 25th input and route it
to either the Momtor, Auxiliary, or Subgroup 1 & 2 buses. Applications for
Talkback include studio/ stage talkback and cue print to tape. Level and Bus
Assign controls are provided. Adjust the microphone input signal with the
Talkback pot. When the MON switch is depressed, the signal is sent to the Monitor bus. The AUX
switch sends the signal to the Auxiliary bus. When both switches are depressed the talkback signal is
sent to Subgroups 1 and 2 (SUBS L\R).
( SOLO \ SOLO
The SOLO function allows you to set input channel levels via the output meters, and
listen to individual or summed inputs via the control room or headphone outputs.
This separate SOLO level pot assures the un-initiated user no blasting loud levels as a
channel 1s soloed. The setting of the pot does not affect the LED meter. When ANY
channel is soloed, the mains signal in the control room is automatically muted. When
the LED is lit, it indicates a channel is being soloed.
( mono OUT \ MONO OUT
When using the Phantom as a live mixing console, the final output level of the four
Subgroups are controlled by the MONO QUT pot. The output level potentiometer
(pot) used to feed the summed output of the four (4) Subgroups to a mono source for
amplification or recording. This output is intended for use with mono PA systems.
10
amen
CONTROL RM
PHONES |
CONTROL ROOM
An output level potentiometer (pot) used to feed the final stereo output of the
console to the control room amplifier and speakers. The Control Room output is
located after the Mains L\R Faders. The position of the Mains L\R Faders has a direct
influence on the level sent to the Control Room Output, however, the Control Room
output setting does not affect the Main Out level. Use the Meter Select Switch to
select the source for the Control Room. |
PHONES
Set the level of your Headphones with thts control. Use the Meter Select Switch to
select the source for the Phones.
(1 R
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0 +3 — +3 e
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8 -9 — -9 8%
B® -12 — — -12 8
8-15 — -15 8
# -18 — -18 &
8-21 — -21 &
SUB TO MAIN
This switch sends the Subs Left/Right Output to the Mains Left/Right Bus. When the
PHANTOM is used in à stereo application, depressing the Subs to Main Switch allows
for the two subgroups (1L and 2R) to be assigned to the Mains L/R (Main Output).
‘When using all four subgroups in a mono application, the switch will be out.
LEVEL METER
A ten step LED meter keeps you informed of your selected signal level
at all times. The switchable ten step LED Meter allows the user to
select and view the audio signal level of the Mains LAR, Subs LR,
Monttor, Auxiliary and Solo buses and the Input channels. Meter
switching 1s provided through use of the two Meter Assign Switches -
and the Solo function. When the two Meter Assign Switches are up
(normal position), the Meter displays the output of the Mains LAR bus.
When the MON switch 1s depressed the Meter displays the output of
the Mon 1 and 2 buses. When the AUX switch is depressed the Meter
displays the output of the 5 and 6 buses. When both the MON and
AUX switches are depressed, the Meter displays the output of the Subs
LAR buses. When a Solo switch 1s depressed the Meter automatically
displays the Solo bus. Channel signal level can be assigned to the Meter
by use of the Solo function.
1]
LINE IN ASSIGN
The Line In Assign switches assign the stereo output of the eight Line Inputs to the
Mains L/R, the Subs L/R or both buses. When neither of the switches are depressed the
stereo output of the eight Line Inputs are not assigned to any bus. When the SUBS
switch is depressed the stereo output is sent to the Subs L/R buses. When the MAIN switch 15
depressed the stereo output is sent to the Mains L/R buses. When both the SUBS and MAIN switches
are depressed the stereo output of the eight Line Inputs 15 sent to both the Subs L/R and Mains L/R
buses. The stereo output is always present at the rear panel jacks (17-24 Out Sum to Stereo).
SUBS MAIN | MASTER FADERS
L _R | All channels are sent to the Main Bus unless they are
SUBGROUP SUBGROUP SUBGROUP SUBGROUP assigned to Sub Groups. If channels are assigned to Sub
4 2 3 a Groups (Subs L\R), the Sub Groups then have to be
| assigned to the Main Outputs (Mains L\R). The Master
| = - 22 Faders control the output level of the Subs L\R and
= = = Mains LAR. The Subs L\R faders control the final output
— — — | level of the channels assigned to the Sub bus. The Mains
— = — LR faders control the output level of the channels
— — — | assigned to the Main bus and the final output level of the
— — — console.
> — oo —_æ
1/L | 2/R 3 AIR
REAR PANEL CONNECTIONS
MIC INPUTS
Each channel input has an XLR (female) balanced mic input with a gain potential of
up to 48dB. Input impedance is 2.4K ohms and is intended for low impedance
microphones. Phantom power is available to Ch 1-8 for use with condenser
microphones. A voltage of 48 Volts is applied to pins 2 and 3 when the Phantom
Power Enable switches are pushed in on the rear panel. Two phantom power
switches control Ch 1-4 and Ch 5-8 separately. When using unbalanced lines to the mic ins, make sure
phantom power is switched off.
VERY IMPORTANT NOTE: PIN CONFIGURATION FOR THE FEMALE XLR MIC
INPUTS ARE: PIN 1 GROUND, PIN 2 ( +) [HOT] AND PIN 3 ( -) [COLD]. PLEASE MAKE
SURE YOUR CABLES ARE WIRED IN THIS CONFIGURATION, OTHERWISE, YOU
WILL CREATE NOISE IN YOUR SYSTEM.
12
BALANCED LINE INPUTS BALANCED LINE INPUTS
For each channel input there also is a 1/4" phone jack
10 9 8 7
(T.R.S.) balanced Line Input. The configuration of the
jack is Tip ( +) [Hot], Ring ( -) [Cold], and Sleeve is
Ground. These inputs are intended to be used for
balanced line input signals and high impedance mics. Gain is adjustable via the Pad control. The input
impedance is 2.4K ohms.
LINE INPUTS LINE INPUTS 8X2
Unbalanced line level inputs intended to be used for
20 19 18 17
effects retums, cue Mix, extra inputs, etc. Summation of
the 8 inputs 1s available on two rear panel output jacks,
and assignable to the Main and/or Sub buses.
MONITOR SEND
The monitor sends are low impedance unbalanced outputs
: 3 2 which send the final monitor mix to the next stage of the
system. Monitor sends are usually intended for pre-fader
mix but, the Phantom Sertes Consoles can be configured for
post-fader sends as well.
MONITOR SEND
AUX SEND
The auxiliary sends are low impedance unbalanced outputs
4 3 2 1
which send the final auxiliary mix to the next stage of the
system. Normally intended for use as effects sends but input
channels can be set for pre-fader sends as well.
CHANNEL INSERTS
Each channel has an unbalanced, line level insert point
° > 3 3 between the mic amp and the EQ where external dynamics
devices may be introduced to the mixer after the input
gain stage. This also 1s the cleanest way to get a line level
| input into the mixer (as long as you don't need the pad to
control gain). The Insert jack is configured to both send and receive the signal. Using a stereo (Tip,
Ring, Sleeve) setup, the Tip is the Receive (input), Ring is the Send (output), and Sleeve is ground.
The input impedance for the Receive is 2.5K ohm, and the Send is 100 ohms. The tip is the input, the
ring 1s the output. If you insert a 1/4" plug in half way, you get an output from the Mic amp without
interrupting the signal.
AUX SEND
CHANNEL INSERTS
13
The insert jack is configured like the following diagram. To make an insert cable, wire it as shown in
the picture. Use shielded cable, even though the diagram doesn't show it, it has to be there!
| INSERT JACK CONFIGURATION
RECEIVE
GROUND ed
A
INSERT CABLE a —
TP SLEEVE L
a в RETURN
CHE
Le J
RING (
SEND
CHANNEL 1-8 DIRECT/TAPE OUT CHANNEL 1-8 DIRECT /TAPE OUT
8 5 4 3 A direct channel out for the first eight channels is
available. This direct out is post fader and is useful for
sending the signal directly from a channel to multitrack
tape decks. Another use would be as additional post fader
sends.
SUB-GROUP OUT
MAIN SUB GROUP OUT SUBS Anytime you mix to a subgroup, the subgroup mix is
output through the Sub Group Outputs 1L, 2R 3L, and
4R. The Subgroup outputs are unbalanced low
impedance 1/4" phone jacks. For Stereo operation, the
py an > na #W and 4R output jacks are configured to be the Main
Output jacks.
14
2TRK
\_ TAPE SEND
2 TRACK TAPE SEND AND RETURN
(0 R
Left and right stereo, low impedance, unbalanced, line
level, 1/4" phone jack outputs are provided for
sending the Sub L/R output directly to a 2 Track
2 TRK recorder. Adjust the 2 Track Tape Send Level
TAPERETURN — controls to set the audio level sent to the recorder. A
left and right unbalanced, high impedance 1/4" phone
AN
jack 2 Track Tape Return is provided to input the output of a two track directly onto the Main Left
and Right Bus.
en = 17-24 OUT SUM TO STEREO
The summed levels of the eight Line Inputs (17-24) is available as a Left and
Right stereo output for the eight line inputs and is assessable via the two 1/4"
unbalanced, low impedance output jacks.
17-24 OUT
\_ SUM TG STEREO |
HEAD
PHONES
MONO
OUT
N— J
ы ная a =
E
DE EEE
A
HEADPHONES
The audio output at the Headphone Jack is whatever the meter select switch has been
set to. Headphone level is controlled with the Phones level pot. A Stereo (Tip, Ring
Sleeve) 1/4" jack with an output impedance of 150 ohms is located on the rear panel.
Select the signal source with the Meter Select Switch (Main, Subs, Monl/2, or Aux
5/6). If you solo a channel, only that signal (the solo signal) will be present in the
headphones.
MONO OUT
An unbalanced 1/4" phone jack, low impedance line level signal intended for use as the
Мат Р.А. feed in a live application. Signal source is the summation of the Main L+R
and Sub L+R, and is unaffected by Subs to Main switch.
CONTROL ROOM OUT
L R
The output at the Control Room Jacks 1s whatever the Meter Select switch has
been set to. Control Room level is controlled with the Control Room level pot.
CONTROL ROOM OUT
The jacks are 1/4" unbalanced phone jacks with an output impedance of 150
ohms. The signal source is the same as the Headphone output. Select the signal
source with the Meter Select Switch (Main, Subs, Mon1/2, or Aux 5/6). If you solo a channel, only
that signal (the solo signal) will be present at the Control Room Outputs.
15
4 \ TALKBACK |
The Talkback Mic Input is a high impedance unbalanced XLR connector located
| on the rear panel. You may route the signal to Mon 1-4, Aux 5-8, or Sub L/R
buses. Use the talkback to communicate through the Monitors or Auxes to
performers. When Talkback is assigned to the Subs, you may use it for "printing
|. TALKBACK to tape". You may use high or low impedance, dynamic or self powered
microphones with the Talkback Mic Input.
TALKBACK NOTE: -
1) Use the talkback input to check any external effects patched through your auxiliary outs.
7 | Y MAIN OUT L/R (XLR)
The Main output of the mixer is provided at the left and right
Main Output male XLR connectors on the rear panel. These
outputs are balanced with an output impedance of 600 ohms.
L R
VERY IMPORTANT NOTE: PIN CONFIGURATION FOR
_ MAIN OUT DD THE MALE XLR MIC INPUTS ARE: PIN 1 GROUND,
PIN 2 (+ ) [HOT)} AND PIN 3 ( -) [COLD]. PLEASE
MAKE SURE YOUR CABLES ARE WIRED IN THIS CONFIGURATION, OTHERWISE,
YOU WILL CREATE NOISE IN YOUR SYSTEM.
CH58 cCH1-4 ) PHANTOM POWER ENABLE SWITCHES
O O To enable Phantom power to the Mic Input Channels you must access the
PHANTOM POWER enable switches on the rear panel. One switch enables channels 1-4, and the
ENABLE other enables channel 5-8. These switches are recessed below the panel to
protect your settings. Simply insert a pen point or other such implement to
toggle the switches on or off. When the switch is in, phantom power is enabled, with the switch out,
phantom power is disabled.
6 Power nn POWER SWITCH
The power switch turns the power on and off to the mixer. Your Phantom Series
| O | | Console may be left on continuously or you may turn it on and off as needed.
Remember to always turn the mixer on before your effects processors and power
amplifier if you choose to power on and off. "O" indicates off and "I" indicates on.
16
POINTS OF INTEREST TO USE WITH YOUR PHANTOM SERIES CONSOLE
HOME RECORDING
The basic home recording mixer is required to mix a small number of microphones down to a limited
number of audio outputs. A means of returning a multiple tracks for bouncing and subsequent mix
down to two tracks is also a requirement. Both pre-fader and post-fader sends are needed in limited
quantity. Pre-fader sends are primarily used for monitor mixes and post-fader sends for effects. A Solo
bus is used for listening to individual channels and setting pre-fader operating levels. Mute switches
allow individual channels to be turned off without touching any other levels. Direct outputs allow the
user to connect the mixer to a much larger multitrack-track. Channel inserts provide access to
individual inputs for added signal processing. A Talkback mic is used for communicating from the
"control" room to the musicians’ monitor mix. It is also used for printing to tape.
LIVE USE
Live use changes the application of some of the mixer features. Generally, more pre-fader mixes are
required. Virtually all of the inputs will be used, and generally with microphones. Most P.A.s require a
mono output. Sub mixes are used to easily adjust groups of input channels. The solo and mute
functions are definitely a requirement here as is the talkback.
Compared to other lower cost mixers, the output section of the mixer shines. Your Phantom Console
has the ability to route input channels to any of 4 main buses. The second (SUB L/R) stereo output
bus can be summed through a switch to the main outputs. All 4 buses to drive a MONO output
(including its’ own level pot) for use witha P.A.
APPLICATIONS STRENGTH
P À. ideas
P.A. is one of the strengths of the Phantom Console. It can process 16 mic and 8 line inputs at once.
(The 3208 has 24 mic inputs!) The number of mic inputs is what separate the consoles intended for
home recording vs. those intended for live use.
The MONO output is another indicator of a mixer that is ready for live use applications. Since most
P.A.s are mono, this is virtually a requirement. It also allows the mixer main buses to act as sub-mixes.
This allows the user to assign drums to say Sub-L, and fade only the drums in the mono mix by using
the Sub-L fader.
Live use also demands lots of pre-fader sends for monitor mixes. Phantom Series Consoles can
provide up to 4 monitor mix pots per channel and up to 8 mixes on the output of the mixer. The user
can determine the configuration by moving the internal jumpers on each input channel.
Applying the Phantom series mixers as "monitor" boards can provide up to 12 outputs and 6
independent mixes.
The last 8 inputs of the Phantom Series Consoles can be used for either effects returns, or keyboard
sub-mix. It can be "muted" by not assigning the output to either Mains or Subs. These inputs also have
individual SOLO switches.
17
Mutes and solo's are configured for optimal live use. The mutes are the equivalent of totally killing an
input channel and all of its sends. The monitor mixer can use the headphone or control room output to
hear soloed channels even if they are muted. Both mute and solo are indicated on each channel by an
LED. The LED glows dim for MUTE, and bright for SOLO.
Recording ideas
The 8x2 mix section is great for multitrack-track recorder output returns. It can provide a cue mix for
an 8 track and can be switched onto either the Mains or Subs. If assigned to the Subs, when the meters
are switched to monitor the subs, the control room output follows this selection and you hear the 8-
track mixdown at the push of a button!
This section even has its own output so you could connect the line 8X2 output to the input of a 2-
track recorder and return the 2-track outputs to the 2-track receive jacks with no possibility of
feedback.
The cleanest way to route inputs to outputs is to use the Direct outs. They also allow a mixer to work
with a large multitrack-track recorder. Not going through a mix bus allows the signal to bypass a lot
of circuitry. When the signal passes through less stuff, it avoids picking up additional noise, distortion
and crosstalk. The cleanest way into the mixer is to use the channel insert as an input! this bypasses the
Mic amp and Pad circuit, while still allowing processing by the EQ.
You could consider returning effects via the last eight line inputs but, it is more versatile to return
them through input channels. This allows you to apply EQ to reverbs, route effects to the appropriate
bus (Subs or Mains) and mute then with the push of a button.
18
SPECIFICATIONS
IMPEDANCES:
INPUT
MIC
BALANCED LINE
CHANNEL INSERT
LINE
TAPE RETURN
OUTPUT
MAIN BALANCED (XLR)
MAIN and SUB (1/4")
CHANNEL INSERT
DIRECT
MONO
CONTROL ROOM
TAPE SEND
HEADPHONES
MAXIMUM LEVELS (0dBu =.775V RMS)
INPUT
MIC
BALANCED LINE
LINE
2-TRACK
TALKBACK
OUTPUT
MAIN BALANCED (XLR)
MAIN and SUB (1/4)
CHANNEL INSERT
DIRECT
MONO
CONTROL ROOM
TAPE RETURN
HEADPHONES
2.4K ohms
8.4K ohms
5.0K ohms
2.5K ohms
5.0K ohms
600 ohms
150 ohms
100 ohms
100 ohms
150 ohms
150 ohms
150 ohms
150 ohms
(+)14dBu
(+)24dBu
(+)24dBu
(+)24dBu
(+)20dBu
(+)26dBu
(+)22dBu
(+)22dBu
(+)22dBu
{(+)21dBu
(+)21dBu
(+)22dBu
180mW/Ch
THD (600 ohm source, clip light dim) 20Hz-20KHz
MAXIMUM (max gain, 0dBu out)
MIC IN TO MAIN L OUTPUT
TYPICAL
MIC IN TO MAIN L OUTPUT
CMRR
MIN GAIN (6dB)
60Hz.
IKHz
MAX GAIN (48dB)
60Hz.
1KHz.
0.025%@ 1K Hz
0.007%@1KHz
73dB (Mic), 52dB (Line)
76dB(Mic), 52dB (Line)
70dB (Mic), 56dB (Line)
74dB (Mio), 56dB (Line)
19
FREQUENCY RESPONSE (+0,-1dB)
MIC IN TO MAIN OUT 14Hz to 22KHz
BALANCED LINE INPUT TO MAIN OUTPUT 13Hz to 21KHz
TWO TRACK INPUT TO MAIN OUTPUT 11Hz to 42KHz
GAIN (all faders full, channels assigned subs to mains)
MAX FROM MIC IN TO BALANCED OUTPUT 100dB
MIC 46dB
BALANCED LINE IN 36dB
CHANNEL FADER. 10dB
L/R MASTER (SUB) 10dB
BALANCED OUT 6dB
NOISE (E.LN.) (in dBu)
MIC INPUT NOISE (shorted , fader at 0dB)
@ Min Gain (6dB) (-)102
@ Mid Gain (20dB) (-)115
@ Max Gain (47db) (-)131
MIC IN TO MAIN OUT (main output noise) (-)93
MIC IN TO CONTROL ROOM OUT (-)89
HEADPHONES (-)98
MONO OUTPUT (-)96
MON/AUX OUTPUT (all channels assigned) (-)105
DYNAMIC RANGE
MIC IN TO MAIN OUT 115dB
CONTROL ROOM 112dB
HEADPHONES 115dB
MONO OUTPUT 113dB
CROSSTALK
MAIN L TO МАМ К [email protected]
MAIN L TO SUB L [email protected]
CONTROL ROOM L/R [email protected]
HEADPHONE L/R SEPARATION [email protected]
MIC INPUT CH 3 TO CH 4 (shorted @ max gain) [email protected]
POWER REQUIREMENTS
95 TO 125 VOLTS AC, 500ma, 55W TYPICAL (MODEL 602--2408) . PROTECTION: INTERNALLY FUSED, 1A
SLO-BLO. (current and power consumption slightly lower for model 601--1608, and higher for model 603--3208)
PRODUCTS MANUFACTURED FOR USE OUTSIDE THE UNITED STATES ARE CONFIGURED FOR COUNTRY
OF DESTINATION
DIMENSIONS
19.25"H, 19.0"W, 8.0"D, 32LBS (MODEL, 1608, 2408)
19.25"H, 28.5"W, 8.0"D, 40LBS (MODEL 3208)
DUE TO CONSTANT PRODUCT EVALUATION AND POSSIBLE IMPROVEMENT, SPECIFICATIONS
ARE SUBJECT TO CHANGE WITHOUT NOTICE.
COPYRIGHT 1992, ALL RIGHTS RESERVED, APPLIED RESEARCH & TECHNOLOGY, INC.
20
WARRANTY & SERVICE INFORMATION
LIMITED WARRANTY
Warranty service for this unit will be provided by Applied Research & Technology, Inc. in accordance
with the following warrant statement.
Applied Research & Technology, Inc. warrants to the original purchaser that this product and the
components thereof, will be free from defects in workmanship and materials for a period of one year
from the date of purchase. Applied Research & Technology, Inc. (ART) will, without charge, repair or
replace, at its option, defective product or component parts upon prepaid delivery to the factory
service department or authorized service center, accompanied by proot of purchase date in the form of
a valid sales receipt.
EXCLUSIONS: This warranty does not apply in the event of misuse or abuse of the product or as a
result of unauthorized alterations or repairs. This warranty 1s void if the serial number 1s altered,
defaced, or removed. |
ART reserves the right to make changes in design or make additions to or improvements upon this
product without any obligation to install the same on products previously manufactured.
ART shall not be liable for any consequential damages, including without limitation damages resulting
from loss of use. Some states do not allow limitation of incidental or consequential damages, so the
above limitation or exclusion may not apply to you. This warranty gives you specific rights and you
may also have other rights which vary from state to state.
For units purchased outside The United States, service will be provided by an authorized distributor of
Applied Research & Technology, Inc.
SERVICE a | |
The following information is provided for the unlikely event your unit requires service.
1) Be sure the unit is the cause of thie problem. Check to make sure the unit has power supplied, all
cables are connected correctly and the cables themselves are in working condition. |
2) If you find the unit to be at fault, write down a description of the problem inciuding how and when
the problem OCCUTS.
RAY are returning the product to the factory, you must, call the factory for a Return Authorization
number.
4) Pack the unit in it's original carton or a reasonable substitute. Print the RA number clearly under the
address.
5) Include with your unit: a return shipping address (We cannot ship to a P.O. Box), a copy of your
purchase receipt, a daytime phone number, and the description of the problem.
6) Ship the unit to:
APPLIED RESEARCH & TECHNOLOGY, INC.
215 TREMONT STREET
ROCHESTER, NY 14608
AT IN: REPAIR DEPARTMENT
7) Contact our customer service department at (716) 436-2720 for your Return Authorization number
or questions regarding repairs. Customer Service hours are 9:00 AM to 4:00 PM Eastern Time,
Monday through Friday.
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18
4 BAND EQ
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INPUT CHANNEL
1-16
DIRECT OUT
{FIRST & CHANNELS)
INPUT CHANNEL
NPU
LEVEL
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PHANTOM 2408 MIXER
BLOC >IAGRANM
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