User Manual
AAM™ 2443/3243 Analog Audio Mixer
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IMPORTANT SAFETY INSTRUCTIONS
WARNING: When using electrical products, basic cautions should always be followed, including the following:
1.
Read these instructions.
2.
3.
4.
5.
6.
7.
8.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any of the ventilation openings. Install in accordance with manufacturer’s instructions.
Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including amplifiers)
that produce heat.
9.
Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one
wider than the other. A grounding type plug has two blades and a third grounding plug. The wide blade or third prong is
provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the
obsolete outlet.
10.
11.
Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point
they exit from the apparatus.
Note for UK only: If the colors of the wires in the mains lead of this unit do not correspond with the terminals in your
plug‚ proceed as follows:
a) The wire that is colored green and yellow must be connected to the terminal that is marked by the letter E‚ the earth
symbol‚ colored green or colored green and yellow.
b) The wire that is colored blue must be connected to the terminal that is marked with the letter N or the color black.
c) The wire that is colored brown must be connected to the terminal that is marked with the letter L or the color red.
Only use attachments/accessories provided by the manufacturer.
12.
13.
Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a
cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
14.
15.
Unplug this apparatus during lightning storms or when unused for long periods of time.
Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
16.
Never break off the ground pin. Write for our free booklet “Shock Hazard and Grounding.” Connect only to a power
supply of the type marked on the unit adjacent to the power supply cord.
17.
18.
If this product is to be mounted in an equipment rack, rear support should be provided.
Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in suscep-
tibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise
for a sufficient time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the
following permissible noise level exposures:
Duration Per Day In Hours
Sound Level dBA, Slow Response
8
6
90
92
4
95
3
97
2
1 1⁄2
1
100
102
105
110
115
1⁄2
1⁄4 or less
According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Ear plugs or protectors to the
ear canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss, if exposure
is in excess of the limits as set forth above. To ensure against potentially dangerous exposure to high sound pressure levels, it is
recommended that all persons exposed to equipment capable of producing high sound pressure levels such as this amplification system be
protected by hearing protectors while this unit is in operation.
SAVE THESE INSTRUCTIONS!
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The AAM™ 2443 & 3243 are high quality, commercial grade analog audio mixers. Designed for
flexibility in application, these mixers represent the latest state-of-the-art technology in analog
circuit design.
Description:
Powerful, yet easy to use, these mixers deliver amazing sonic performance. Low noise design and
features applicable to “real-world” situations make these units ideal for audio applications where
multiple inputs and outputs are required.
This manual was written to provide as much information as possible for your new Peavey
Architectural Acoustics product. It is our sincere desire that you enjoy your purchase. For your
convenience, we have included a glossary of terms as a quick reference to mixer and signal flow
terminology.
We feel that the best way to fully enjoy any purchase is to have an in-depth understanding of the
product’s features, functionality, and performance characteristics. We hope that this manual, along
with the manuals of our other products, will provide this. If you require additional information that
this manual does not provide, please let us know. We are continuously looking for better ways to
provide information about our products, and your input is always appreciated.
If you have a comment about this manual, or would like to make a suggestion, please write to:
Peavey Electronics Corp., Architectural Acoustics Division, 711 A St., Meridian, MS 39301. Thank you
for using Peavey!
• 24 (AAM 2443) or 32 (AAM 3243) input channels
• Four Sub groups, each with patchable dynamic compressor
• Low-noise mic preamps on each channel
Features:
• XLR input connectors on each channel
• Balanced 1/4" line inputs on channels 1 - 22(AAM 2443) or 1 - 30 (AAM 3243)
• Insert jacks on channels 1 - 20 (AAM 2443) or 1 - 28 (AAM 3243)
• Innovative chassis design with recessed back panel connectors (ideal for desktop placement)
• Smooth 60 mm faders
• Phantom power selectable in two zones
• Two Super Channels with pad (-20 dB) and polarity switches
• Two Stereo Channels with 1/4" and RCA connectors
• Six Aux Sends
• Two Returns with switchable low-cut (150 Hz) filters
• PFL on all input channels
• AFL on Aux Send, Return, Sub, and Mono channels
• Stereo headphone output
• Balanced XLR and unbalanced 1/4" outputs on Mono, Left, and Right
• 1/4" master inserts on Mono, Left, and Right
• Sub and Master clip LEDs that sample at summing amp and post-fader
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Rear Panel Connections
1. INSERT
terminating two, single-ended (unbalanced) line level
circuits. The tip is a line output.
Standard Channels
This is a female 1/4" TRS connector for
INSERT
(TRS)
1 - 20 (AAM™ 2443)
1 - 28 (AAM3243)
1
4
2. LINE (BAL)
This is a female 1/4" TRS connector for
LINE
(BAL)
2
terminating balanced lower high impedance line level
circuits. Tip is positive, ring is negative. This circuit is
wired in parallel with the female XLR connector. This
input is connected through a 20 dB pad to the Mic
input. Connecting to this input will not disable the XLR
input connector, so both inputs should NOT be used
simultaneously.
5
6
MIC(BAL)
3
7
8
9
3. MIC
This is a female XLR connector for terminating
balanced, low impedance microphone circuits. Pin 2 is positive and +48 V DC
is applied to pins 2 and 3 via a resistive network when the front panel
Phantom Power switch is ON.
Channel Strip Controls
4. GAIN
This control adjusts the first gain stage of the input channel. The
range is +10 to +56 dB for microphone level inputs and -10 to +36 dB for line
level inputs. The output of this gain stage also drives the SIG/PFL LED.
5. LOW CUT This control adjusts the setting of the low cut filter and is
variable from no cut in the OFF position, to cut below 300 Hz in the
maximum position.
10
6. HI This active tone control is a shelving-type that varies high-frequency
response by +/-15 dB in the range above 12 kHz.
7. MID This active tone control is a bandpass (peak/notch) type that varies
mid frequency response by +/-15 dB in a range from 200 Hz to 6 kHz.
8. MID FREQ This control determines the center frequency of the MID
control. Center frequency for the bandpass filter can be set from 200 Hz to
6 kHz.
11
9. LOW This active tone control is a shelving-type that varies low frequency
response by +/-15 dB. Corner frequency is 75 Hz.
10. AUX 1 - 4 These controls adjust the level of the channel’s pre-fader
signal that is sent to the auxiliary mix. Gain is variable from minus infinity
(– ∞) to +10 dB. Unity gain is at the center detent position.
12
13
11. AUX 5 - 6 These controls adjust the level of the channel’s post-fader
signal that is sent to the auxiliary mix. Gain is variable from minus infinity
(-∞) to +10 dB. Unity gain is at the center detent position.
12. PAN
This control determines the signal’s position with respect to L/R
and Sub 1 - 4 outputs. Rotating the control counterclockwise increases the
amount of signal sent to L and odd-numbered Subs; rotation clockwise
increases the amount sent to R and even-numbered Subs.
14
15
13. ASSIGN SWITCHES These post-fader, post-EQ switches determine where
the channel signal is being sent.
14. MUTE SWITCH and MUTE/CLIP LED This switch mutes all Aux, Sub, L/R,
and Mono sends from the corresponding channel. The switch is equipped
with a red LED that will illuminate when the channel is muted. When the
Mute switch is disengaged, the LED functions as a clip (PK) indicator that
will illuminate at 2 dB below clipping. Muting the channel does not prevent
the PFL signal from being sent to the PFL mix when the PFL switch is
engaged.
16
15. PFL SWITCH & SIGNAL/PFL LED
This switch connects the channel’s pre-
fader signal to the PFL mix. With this feature engaged, the channel’s signal
can be monitored through the headphones and/or on the AFL/PFL display.
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The adjacent amber LED will illuminate to indicate that the channel’s signal has been assigned to
the PFL mix, and an amber LED in the Mono Master section will blink to indicate that the signal on
the Mono LED display and at the Headphone Out is PFL. When the PFL switch is not engaged, the
Signal/PFL LED will blink as an indication of signal presence (-20 dBu) on the channel.
16. CHANNEL FADER
This control determines the level of the channel’s signal that is sent to L/R,
Sub, and/or Mono. The range of the fader is (- ∞) to +10 dB, with unity gain at the 0 dB mark.
Input connections and channel strip controls on Super Channels are the same as Standard Channels
with the exception of Insert jacks. In place of Insert connections, Super Channels are equipped with:
17. PAD
This switch attenuates (reduces) the input signal by 20 dB. This
allows accommodation of higher input levels without clipping and is
especially useful when close-miking high sound pressure level (SPL) sources.
Super Channels
22
21 - 22 (AAM™ 2443)
29- 30 (AAM 3243)
0 dB
-20 dB
17
18
18. POLARITY
This switch reverses the polarity of both the XLR and LINE
PAD
NORMAL
REVERSED
input connectors to compensate for an out-of-phase signal that would
otherwise cause frequency (phase) cancellations in the mix.
POLARITY
LINE
(BAL)
MIC(BAL)
Stereo Channels offer the same channel strip controls as Standard Channels
with the exception of the Mid Frequency control. Center bandpass frequency
is set at 850 Hz. In place of the Mid Frequency control, Stereo Channels offer
independent gain controls for the Line and Mic (XLR) inputs. Stereo Channels
also include:
23s
LEFT
19
RIGHT
Stereo Channels
19. STEREO 1/4" LINE INPUTS These TS jacks are unbalanced line level
inputs for stereo (L/R) signals. They are connected in parallel with the Stereo
RCA Line Inputs. For Mono line sources, use a Y cable or one of the channels
with a MONO line input.
MIC(BAL)
23 - 24 (AAM 2443)
31- 32 (AAM 3243)
20. STEREO RCA LINE INPUTS These RCA (phono) inputs are unbalanced line
level inputs for stereo (L/R) signals. They are connected in parallel with the
Stereo 1/4" Line Inputs.
LEFT
INPUT
20
RIGHT
INPUT
6
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34
35
Master Section
36
21
42
37
38
39
43
40
22
23
44
41
24
25
26
45
46
27
28
29
30
31
32
33
47
48
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Aux Sends
21. LEVEL
This control sets the output level of the various Aux mixes and is adjustable from no
output (– ∞) to +10 dB.
22. MUTE SWITCH & MUTE/CLIP LED
This switch mutes the output signal from the respective Aux
Send. Illumination of the corresponding red LED signifies this status. When the Mute switch is
disengaged, the LED functions as a clip (PK) indicator that will illuminate at 2 dB below clipping.
23. AFL SWITCH & AFL/SIGNAL LED
This switch directs the post-fader (AFL) signal to the
Headphone Output, and activates the AFL/PFL LED display. An adjacent LED illuminates to signify
this selection. If AFL is not selected, the LED will blink as an indication of signal presence (-20 dBu).
Selecting AFL allows monitoring of Aux Sends with the full AFL/PFL Level Display, as well as allowing
the operator to hear the output.
Compressors
The compressors on the AAM 2443/3243 function similarly to automatic volume controls. In other
words, they put signals into a more controllable dynamic range. For example, suppose a singer sings
too softly and gets buried in the mix on certain parts of a song, yet sings real loudly on other parts.
To control this problem, the operator must “ride gain” (turn the volume up and down to achieve a
constant level), but these dynamic changes may be hard to anticipate. Using a compressor
eliminates this problem. The compressors are factory set at a ratio of 4 to 1, meaning that for every
4dB of change in input signal, the output changes 1 dB. Compression takes place once the level
determined by the Threshold control is reached. A high setting, rotating the control clockwise, will
result in only the louder notes being compressed; a low setting, rotating the control
counterclockwise, will compress a broader range of notes.
24. COMPRESSOR I/O This switch determines if the compressor will be used on the Sub mix or will
be patched to another channel or external location. The corresponding yellow LED illuminates when
the compressor is being patched externally. This switch can also be used to perform the bypass
function. When the compressor is assigned to the Sub group, the Input/Output jack on the rear
panel is bypassed. Similarly, when the compressor is being patched externally, the Sub group is
bypassed. Engaging the I/O switch allows the operator to hear the difference between the
compressed and noncompressed signal when the compressor is being used on the Sub group.
25. GAIN This control sets the output level of the compressor and allows recovery of gain lost by
compression. The amount of gain being lost will be represented on the Gain Reduction LEDs, and a
similar setting on the Gain control will approximate pre-compression levels.
26. LINK This switch allows the compressor in Sub group 1 (or 3) to be linked with the compressor
in Sub group 2 (or 4). This is useful if the two Sub groups are being used to create a stereo image.
When they are linked, the RMS detector voltages are summed together for an accurate
representation of the two levels. This locks the compressors together to maintain the stereo image
during compression. While linked, the controls in the first of the two linked groups affect both
channels. The compressor controls in the second group are disabled. The gain reduction meter for
the first group is accurate for both groups and should be used to monitor compressor activity. When
the link is enabled the yellow LED will illuminate.
NOTE:
While linked, the gain reduction meter in the second group may show gain reduction,
although it is not a true representation of the compressor activity.
27. GAIN REDUCTION LEDs
compression (-1 to -12 dB).
These LEDs graphically show the amount of gain being reduced through
28. THRESHOLD This control sets the level at which compression activates and is variable from
-30 dBu to no compression in the OFF position. The adjacent LED (0 dBu) will illuminate when
enough signal is present for compression to function properly.
Sub Groups
29. LEVEL LEDs
This display indicates the amount of signal present in the Sub group mix. Signal is
sampled at the summing amp and post-master faders to monitor clipping throughout the Sub group.
The Clip indicator will illuminate when signal approaches clipping (-2 dB). For example, the Sub
fader may be at an acceptable setting, yet the channel signals assigned to the Sub may be
approaching clipping. If this is occurring, the channel fader and gain settings may need to be
assessed and setting corrections made.
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NOTE:
The CLIP LED can illuminate before the rest of the array indicating the summing amp is
clipping.
30. LEFT, RIGHT, MONO (OUTPUT ASSIGN)
These switches determine where the Sub mix signal is
being sent. For example, if each individual drum mic is assigned to Sub 1, depressing the Left button
will send the drum Sub mix to the Left Out on the rear panel.
31. MUTE/MUTE LED
This switch mutes all output from the corresponding Sub group. Illumination
of the adjacent red LED occurs when the Mute button is depressed.
32. AFL/AFL LED
This switch directs the post-fader signal from the respective Sub group to the
Headphone Output and to the AFL/PFL Level Display.
33. SUB FADER
This control determines how much signal is present at the selected output. As with
channel faders, optimum setting is at unity gain (0). If the output level is too quiet or too loud at
unity gain, the gain and fader settings on the channels assigned to the Sub mix should be checked.
If two Sub mixes, Sub 1 and Sub 2 for example, are intended to be in stereo, adjust both Faders
equally and simultaneously to preserve balance.
Returns
34. POWER LED
unit is on.
This green LED will illuminate when power is applied to the console, indicating the
35. LOW CUT This switch activates the low-cut (150 Hz -18 dB/per octave) filter. With this feature
engaged, input frequencies below 150 Hz will be rejected. Especially when using reverb, the low-cut
filter is useful in reducing “low-end rumble” and making resultant sounds less “muddy.”
36. AUX 1 & AUX 2 These controls determine the level of the signal returned to the respective Aux
bus, allowing musicians/singers to hear external effects.
NOTE: Do not use AUX SENDS 1 or 2 as the path to external equipment that is to be sent back to the
corresponding AUX mix (1 or 2) due to the creation of an electronic feedback loop.
37. 1/2, 3/4, L/R, MONO (ASSIGN) Like the channel assign switches, these buttons determine the
bus assignment of the input signal. They determine where the return signal is being sent.
38 BAL/PAN This control determines the placement of the signal in its assigned bus. Rotating the
control counterclockwise (L) sends more signal to the Left output and odd-numbered Subs; rotating
clockwise (R) sends more signal to the Right output and even-numbered Subs. The C position sends
equal amounts to each.
39. LEVEL This control determines the level of the signal being sent to its assigned bus(es). It
functions similarly to the channel faders.
40. MUTE SWITCH & MUTE/CLIP LED Like the other mutes on the console, this switch interrupts
the input signal being sent to the bus(es). Red LED illumination indicates activation. When Mute is
not engaged, the LED functions as a clip (PK) indicator that illuminates at 2 dB below clipping.
41. AFL SWITCH & AFL/SIGNAL LED
This switch directs the post-fader (AFL) signal to the
Headphone Output, and to the AFL/PFL Level Display. An adjacent LED illuminates to signify this
selection. If AFL is not selected, the LED will blink as an indication of signal presence (-20 dBu).
42. PHANTOM POWER
These switches apply power (+48 V DC) to the Mic (XLR) inputs on channels
1–16 and 17–24 respectively (1–24 and 25–32 on the AAM 3243). This feature provides power to
microphones that need an external power source. These switches are recessed into the console and
require a small “tool” to activate. If Phantom Power is used, do not connect unbalanced dynamic
microphones or other devices that cannot handle this voltage to the XLR inputs. (Some wireless
receivers may be damaged. Consult their manuals.) A regular low-impedance mic will not be
harmed. The Line inputs are not connected to the +48 V supply and are safe for balanced or
unbalanced inputs. An adjacent LED will illuminate when Phantom Power is activated on its
respective channels.
43. HEADPHONE OUTPUT
This stereo output jack (TRS) provides the signal to drive headphones.
Signal to this output is L/R unless AFL or PFL is activated.
44. HEADPHONE LEVEL This control adjusts the volume of the signal being sent to the Headphone
Output.
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45. LEFT/RIGHT LEVEL DISPLAYS
These indicators graphically display the signal level being sent to
the Left or Right outputs (L, R). Signal is sampled at the summing amp and post-master faders to
monitor clipping throughout the Left/Right and Mono Master section. The Clip indicator will
illuminate when signal approaches clipping (-2 dB).
46. MONO — AFL/PFL LEVEL DISPLAY
This indicator graphically displays the signal level being sent
to the Mono output. When any AFL/PFL switch on the mixer is activated, this display indicates the
signal level being sent to the AFL/PFL bus. The AFL/PFL indicator flashes if either mode (AFL or PFL)
is selected.
NOTE:
Clip LED can illuminate before the rest of the array indicating the summing amp is clipping.
47. MONO MASTER FADER
This control determines the level of the output signal sent to the Mono
output. An adjacent switch allows a post-fader signal to be sent to the Headphone Output and the
AFL/PFL Level Display. A yellow LED above the switch indicates AFL (post-fader) engagement.
48. L & R MASTER FADERS
These controls determine the level of the signal sent to the Left and
Right outputs respectively. As with all faders, the optimum setting is at unity gain (0).
52
MONO
RIGHT
LEFT
RETURN 1 COMP4 COMP3 COMP2 COMP1 3
I/O
I/O
I/O
I/O
Rear Panel
53
INSERT
(TRS)
INSERT
(TRS)
INSERT
(TRS)
RIGHT
MONO/
LEFT
L
49
50
T=IN
T=IN
T=IN
T=IN
R=OUT
R=OUT
R=OUT
R=OUT
(UNBAL)
(UNBAL)
(UNBAL)
(UNBAL)
(UNBAL)
(UNBAL)
(UNBAL)
RIGHT
MONO/
LEFT
R
M
MONO
OUT
RIGHT
OUT
LEFT
OUT
54
55
SUB 4 SUB 3 SUB 2 SUB 1
OUT OUT OUT OUT
RETURN 2
(UNBAL)
(UNBAL)
(UNBAL)
(UNBAL)
(UNBAL)
(UNBAL)
51
AUX 6 AUX 5
OUT
AUX 4 AUX 3
OUT OUT
AUX 2 AUX 1
OUT OUT
(BAL)
(BAL)
(BAL)
OUT
57
58
POWER
(BAL)
(BAL)
(BAL)
(BAL)
56
100V -240V
50/60 Hz 70 WATTS
49. L, R, MONO INSERT These 1/4" stereo (TRS) jacks, provided on the Left, Right, and Mono
channels, allow an external device to be inserted into the signal path, pre-master fader. The tip
carries the signal being sent and the ring is the signal return. A switch in the jack connects the send
to the return if no plug is inserted. The signal must be returned to this jack when this feature is
used. Failure to return the signal will result in no output.
50. L, R, MONO UNBAL (UNBALANCED OUTPUT) These 1/4" jacks allow output of an unbalanced
signal and are provided for the Left, Right, and Mono channels.
51. L, R, MONO BAL (BALANCED OUTPUT)
These XLR connectors allow output of a balanced signal
and are also provided for the Left, Right, and Mono channels. The unbalanced and balanced outputs
can be used simultaneously, but both output levels are controlled by the corresponding Master
fader.
52. RETURN INPUTS
These 1/4" balanced (TRS) high-impedance inputs can be used as stereo or
individual returns. Designed for effects return, they can also be used as additional stereo inputs. The
Mono/Left input provides signal to both inputs if no connector is attached to the Right jack. The tip
is the positive input for both balanced and unbalanced use.
53. COMPRESSOR I/O (INPUT/OUTPUT)
These 1/4" stereo (TRS) jacks allow the internal
compressors for each Sub group to be patched to an input channel or to an external device. The tip
carries the input (return) signal to the compressor and the ring carries the output (send).
54. SUB OUT These 1/4" (TRS) unbalanced outputs provide signal from the Sub groups.
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55. AUX 1 - 6 OUT (UNBALANCED)
These 1/4" (TS) jacks provide signal from the Aux buses.
56. AUX 1 - 4 OUT (BALANCED)
These XLR connectors are provided on Aux 1–4 and provide output
from those buses. These can be used simultaneously with the unbalanced jacks, but both levels will
be determined by the Aux Send level.
57. REMOVABLE POWER CORD
This receptacle is for the IEC line cord (included) that provides AC
power to the unit. Connect the line cord to this connector and to a properly grounded AC supply.
Damage to the equipment may occur if an improper line voltage is used (see voltage marking on
unit). Never remove or cut the ground pin of the line cord plug. The console is supplied with a
properly rated line cord. If lost or damaged, replace this cord with one of the proper rating.
NOTE: FOR UK ONLY
If the colors of the wires in the mains lead of this unit do not correspond with the colored markings
identifying terminals in your plug, proceed as follows: (1) The wire that is colored green and yellow
must be connected to the terminal marked by the letter E, or by the earth symbol, or colored green
or green and yellow. (2) The wire that is colored blue must be connected to the terminal that is
marked with the letter N, or colored black. (3) The wire that is colored brown must be connected to
the terminal that is marked with the letter L or colored red.
58. POWER SWITCH Place this switch in the “|” position to apply power to the console. Return it to
the “O” position to turn the unit off. It is recommended that the unit be turned off while patching
and/or applying power to external equipment to be used in conjunction with the mixer. The Power
LED will illuminate when power has been applied and the unit is on.
If you require assistance with your new mixer, you can get help from several sources. There are many
technical documents, white papers, and application notes on our website. There are also brochures,
data sheets, and our bi-monthly newsletter, Audio Interactive. Also on our website are message
board forums that include questions and answers on all audio topics. This forum is a great way to
learn more about audio, Peavey products and system design from other audio professionals around
the world. You can also get help by sending us an e-mail or posting a request on the message board.
Finally, if you still cannot get the information you need, don’t hesitate to call us. Peavey has an
extensive service department that provides tech support, parts, repair and extensive phone support
services. They will be happy to assist you. The contact information for the Architectural Acoustics
division is shown below:
Technical Support
Peavey Electronics Corp.
Architectural Acoustics Division
711 A St. • Meridian, MS 39301 • USA
Phone: 601-483-5376 • Fax: 601-486-1678
Please take a few minutes and fill out the warranty registration card for your mixer. Although your
warranty is valid without the registration, the information you provide with the form is crucial to our
support group. It enables us to provide better service and customer support, and to keep you
informed of new product updates. Refer to the warranty statement in the rear of this manual for
details about what your warranty includes and what the limitations are.
Warranty
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™
BUSES -
The signal paths through the mixer from the channels to the various outputs. The AAM
Glossary
2443/3243 mixer contains 13 different buses: L, R, MONO, SUBS 1-4, AUX 1-6.
SUB groups -
The buses used to group channels together. This allows one fader to control a submix
of many channels.
AUX sends -
The buses used to route signals to effects and monitors from each channel. PRE means
AUX level is not affected by fader setting; POST means AUX level is affected by fader setting.
PFL -
PRE-FADER LISTEN. PFLs send signals to the headphone output before master fader setting
and are not affected by the fader setting.
AFL -
AFTER-FADER LISTEN. AFLs send signals to the headphone output after master fader setting
and are affected by the fader setting.
LOW CUT -
(channel low cut). These adjust the frequency in the channel where the low frequencies
begin to roll off, and are variable by frequency from OFF (inaudible) to 300 Hz.
1/2, 3/4, L/R, MONO -
These buttons route the channels to their respective output buses. BAL/PAN
determines 1/2, 3/4 or L/R.
INSERTS -
These jacks allow the signal to be taken from and returned to the channel, allowing
outboard equipment to be inserted into the signal chain.
MID FREQ - This control selects the frequency adjusted by the MID control in the EQ section.
COMPRESSORS - These reduce levels at a ratio of 4 to 1 when the THRESHOLD is reached.
THRESHOLD - This control sets the level at which compression activates.
GAIN - This control sets the output level from the compressor. This is really a makeup gain, allowing
the user to recover gain lost by compression.
LINK - When these buttons are depressed, the input to compressor 1 activates compressors 1 and 2,
and the input to compressor 3 activates compressors 3 and 4.
SUBGROUP/EXTERNAL - This button routes the compressor signal to the compressor output jack
(LED indicates external jack). This jack is wired reverse of an insert jack, allowing the compressor to
be patched with a 1/4" TRS cable.
PHANTOM POWER - Provides +48 Volt power to microphones that need it.
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Block Diagram
AAM™ 2443/3243
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Input Specifications
Function
Min. Input Z Input Gain Settings
Input Levels
Min.* Nominal** Max.
Bal./Unbal.
Bal.
Connector
Specifications
AAM™ 2443/3243
Microphone
(150 Ohms)
2 k Ohms
Max. 58 dB
Min. 10 dB
-74 dBu -54 dBu -38 dBu
-24 dBu -6 dBu +12 dBu
XLR: Pin 1 Gnd.
Pin 2 (+) Pin 3 (-)
Line Input
10 k Ohms
Max. 38 dB
Min. -10 dB
-54 dBu -34 dBu -18 dBu
-6 dBu +14 dBu +32 dBu
Bal.
1/4" TRS: Tip (+)
(10 k Ohms)
Ring (-) Sleeve Gnd.
Insert Return
22 k Ohms
N/A 0 dB
-16 dBu +4 dBu +22 dBu
Unbal.
1/4" TRS: Tip Send
Ring Return
Sleeve Gnd.
Stereo Line Input
(RCAs)
20 k Ohms
22 k Ohms
Max. 20 dB
Min. 0 dB (detent)
N/A 0 dB
-29 dBu -9 dBu +4 dBu
- 16 dBu +4 dBu +18 dBu
24 dBu +4 dBu +22 dBu
Unbal.
Bal.
1/4" Phone: Sleeve Gnd.
Aux. Return
1/4" TRS: Tip (+)
Ring (-) Sleeve Gnd.
* Minimum input level (sensitivity) is the smallest signal that will produce nominal output (+4 dBu) with sub and master
controls set for maximum gain.
**Nominal settings are defined as all controls set at 0 dB (or 50% rotation for rotary pots) except the gain adjustment pot,
which is as specified.
Output Specifications
Function
Main L/R
Mono
Min. Load
600 Ohms
600 Ohms
Output Level
Min. Max.
Bal./Unbal.
Bal./Unbal.
Bal./Unbal.
Connector(s)
+4 dBu +22 dBu
+4 dBu +22 dBu
1/4" Phone (Unbal.)
XLR: Pin 1 Gnd., Pin 2 (+), Pin 3 (-)
1/4" Phone (Unbal.)
XLR: Pin 1 Gnd., Pin 2 (+), Pin 3 (-)
Sub Master
Aux Send
600 Ohms
600 Ohms
+4 dBu +22 dBu
+4 dBu +22 dBu
Unbal
1/4" Phone
Bal./Unbal. 1/4"
Phone (Unbal.)
XLR: Pin 1 Gnd., Pin 2 (+), Pin 3 (-)
Ch. Insert Send 600 Ohms
Headphone 8 Ohms
+4 dBu +22 dBu
Unbal.
Unbal.
1/4" TRS: Tip Send, Ring Return, Sleeve Gnd.
1/4" TRS: Tip Left, Ring Right, Sleeve Gnd.
+4 dBu +22 dBu
(No Load)
0 dBu = 0.775 V RMS
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Hum & Noise
Output
Residual Noise(Ref. 0 dBu)
S/N Ratio(Ref. +4 dBu)
Test Conditions
Master L/R
Mono
-105 dBu
90 dBu
109 dB
94 dB
All faders down
Master fader nominal, Channel faders down
All channels assigned
Submaster
-98 dBu
-88 dBu
102 dB
92 dB
All faders down
Submaster fader nominal, Channel faders
down, All channels assigned
(Hum & Noise measurements: 22 Hz to 22 kHz BW)
Gain
Mic input gain adjustment range:
Mic input to sub output:
Mic input longest path:
10 dB to 58 dB
78 dB (max. gain)
88 dB (max. gain)
Line input gain adjustment range:
Line input to sub output:
Line input to longest path:
-10 dB to 38 dB
58 dB (max. gain)
68 dB (max. gain)
Stereo line input gain adjustment range: -60 dB to 10 dB
Stereo line input to sub output:
Stereo line input longest path:
30 dB (max. gain)
40 dB (max. gain)
Aux. return to sub output:
Aux return longest path:
28 dB (max. gain)
38 dB (max. gain)
Frequency Response
Mic input to L/R output:
Stereo input to L/R output:
20 Hz to 50 kHz (+0 dB / -1 dB)
20 Hz to 30 kHz (+0 dB / -1 dB)
Total Harmonic Distortion (THD)
Mic to L/R output at nominal level
Less than 0.007%, 20 Hz to 20 kHz (20 Hz to 80 kHz BW)
Equivalent Input Noise (EIN)
-128 dBu (input terminated with 150 Ohms)
Crosstalk
Less than 90 dB adjacent input channels (20 Hz to 20 kHz)
Less than 70 dB left to right outputs (20 Hz to 20 kHz)
Common Mode Rejection Ratio (mic input)
50 dB min. (20 Hz to 20 kHz)
70 dB typ. @ 1 kHz
Meters
12-segment peak reading (0 dB = +4 dBu)
Signal/Overload Indicators
Red LED illuminates 2 dB below clipping
Lamp Power
12 VDC @ 350 mA per connector (12 VDC @ 700 mA total max. load)
Power Requirements
100 VAC - 240 VAC 50/60 Hz
70 W nominal, 24 chan.
80 W nominal, 32 chan.
Dimensions ( H x W x D)
AAM 2443:
AAM 3243:
8.9” x 36.6” x 19.5” (22.6 cm x 92.9 cm x 49.5 cm)
8.9” x 44.6” x 19.5” (22.6 cm x 113.3 cm x 49.5 cm)
Weight
AAM 2443:
AAM 3243:
36 lbs. (16.4 kg)
48 lbs. (21.8 kg)
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WARRANTY
Architectural Acoustics®
PEAVEY ELECTRONICS CORPORATION LIMITED WARRANTY
Effective Date: July 1, 1998
What This Warranty Covers
Your Peavey Warranty covers defects in material and workmanship in Peavey products purchased and serviced in the U.S.A. and
Canada.
What This Warranty Does Not Cover
The Warranty does not cover: (1) damage caused by accident, misuse, abuse, improper installation or operation, rental, product
modification or neglect; (2) damage occurring during shipment; (3) damage caused by repair or service performed by persons
not authorized by Peavey; (4) products on which the serial number has been altered, defaced or removed; (5) products not pur-
chased from an Authorized Peavey Dealer.
Who This Warranty Protects
This Warranty protects only the original retail purchaser of the product.
How Long This Warranty Lasts
The Warranty begins on the date of purchase by the original retail purchaser. The duration of the Warranty is as follows:
Product Category
Duration
MediaMatrix® DPU (Excluding Frames), Cinema Processors,
Power Amplifiers, Pre-Amplifiers, Mixers,
Electronic Crossovers and Equalizers
5 years
5 years
2 years
1 year
Loudspeakers
Microphones
Frames
Speaker Components (incl. speakers, baskets, drivers,
diaphragm replacement kits and passive crossovers)
and all Accessories
1 year
What Peavey Will Do
We will repair or replace (at Peavey's discretion) products covered by warranty at no charge for labor or materials. If the prod-
uct or component must be shipped to Peavey for warranty service, the consumer must pay initial shipping charges. If the
repairs are covered by warranty, Peavey will pay the return shipping charges.
How To Get Warranty Service
(1) Take the defective item and your sales receipt or other proof of date of purchase to your Authorized Peavey Dealer or
Authorized Peavey Service Center.
OR
(2) Ship the defective item, prepaid, to Peavey Electronics Corporation, International Service Center, 412 Highway 11 & 80 East,
Meridian, MS 39301 or Peavey Canada Ltd., 95 Shields Court, Markham, Ontario, Canada L3R 9T5. Include a detailed descrip-
tion of the problem, together with a copy of your sales receipt or other proof of date of purchase as evidence of warranty cover-
age. Also provide a complete return address.
OR
(3) All MediaMatrix® Frames needing repair, should be shipped prepaid to Peavey Electronics Corporation, International Service
Center, 412 Highway 11 & 80 East, Meridian, MS 39301
Limitation of Implied Warranties
ANY IMPLIED WARRANTIES, INCLUDING WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO THE LENGTH OF THIS WARRANTY.
Some states do not allow limitations on how long an implied warranty lasts, so the above limitation may not apply to you.
Exclusions of Damages
PEAVEY'S LIABILITY FOR ANY DEFECTIVE PRODUCT IS LIMITED TO THE REPAIR OR REPLACEMENT OF THE PRODUCT, AT
PEAVEY'S OPTION. IF WE ELECT TO REPLACE THE PRODUCT, THE REPLACEMENT MAY BE A RECONDITIONED UNIT. PEAVEY
SHALL NOT BE LIABLE FOR DAMAGES BASED ON INCONVENIENCE, LOSS OF USE, LOST PROFITS, LOST SAVINGS, DAMAGE TO
ANY OTHER EQUIPMENT OR OTHER ITEMS AT THE SITE OF USE, OR ANY OTHER DAMAGES WHETHER INCIDENTAL, CONSEQUEN-
TIAL OR OTHERWISE, EVEN IF PEAVEY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
Some states do not allow the exclusion or limitation of incidental or consequential damages, so the above limitation or exclu-
sion may not apply to you.
This Warranty gives you specific legal rights, and you may also have other rights which vary from state to state.
If you have any questions about this warranty or service received or if you need assistance in locating an Authorized Service
Center, please contact the Peavey International Service Center at (601) 483-5365 / Peavey Canada Ltd. at (905) 475-2578.
Features and specifications subject to change without notice.
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Notes
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Notes
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Notes
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80304868
Peavey Electronics Corporation • 711 A Street • Meridian, MS 39301
©2002
Printed in U.S.A. 2/02
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