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MX-1436/1836/2236(EX) Stereo Mixing Console

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Contents
Welcome
Warning.........................................................................................................................................1
Unpacking ......................................................................................................................................2
Short Form Instructions.....................................................................................................................2

Installation
Environment....................................................................................................................................3
Important Safety Instructions.............................................................................................................3

Description .......................................................................................................................................4
Features............................................................................................................................................4
Accessories.....................................................................................................................................4

Front Panel ......................................................................................................................................5

Rear Panel .....................................................................................................................................12
Connections ...................................................................................................................................14
Operation ......................................................................................................................................15
Applications ..................................................................................................................................20
Block Diagram ..............................................................................................................................21
Specifications ................................................................................................................................22
Service
Procedures....................................................................................................................................25
Schematic .....................................................................................................................................25
Parts List .......................................................................................................................................25

Variations and Options ...............................................................................................................25

Warranty .......................................................................................................................................25
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STEREO MIXING CONSOLE

Welcome
A personal welcome to you from the management and employees of Inter-M

All of the co-workers here at Inter-M are dedicated to providing excellent products with inherently good value,
and we are delighted you have purchased one of our products.

We sincerely trust this product will provide years of satisfactory service, but if anything is not to your complete
satisfaction, we will endeavor to make things right.

Welcome to Inter-M, and thank you for becoming part of our worldwide extended family!

This symbol is intended to alert the user to the

presence of uninsulated “dangerous voltage” within
CAUTION the product’s enclosure that may be of suf-ficient
RISK OF ELECTRIC SHOCK magnitude to constitute a risk of electric shock to
DO NOT OPEN
persons.

This symbol is intended to alert the user to the

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. presence of important operation and mainte-nance
(servicing) instructions in the literature accompanying
DO NOT REMOVE COVER (OR BACK).
the appliance.
NO USER-SERVICEABLE PARTS INSIDE.
Caution: To prevent electric shock do not use this (polarized) plug with
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. an extension cord, receptacle or other outlet unless the blades
can be fully inserted to prevent blade expo-sure.

Attentions: Pour prévenir les chocs électriques ne pas utiliser cette

WARNING fiche polarisée avec un prolongateur, une prise de courant
on une autre sortie de courant, sauf si les lames peuvent
étre insérées à fond sans en laisser aucune partie à
To prevent fire or shock hazard, do not
découvert.
expose the unit to rain or moisture.

*Do not install this equipment in a confined space such as a book case or similar unit.
*The apparatus shall not be exposed to dripping or splashing and no objects filled with liquids, such vases, shall be placed on the apparatus.
*Worded: “WARNING FOR YOUR PROTECTION PLEASE READ THE FOLLOWING-WATER AND MOISTURE: Unit should not be used
near water(e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool, etc). Care should be taken
so than objects do not fall and liquids are not spilled into the enclosure through openings.”

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STEREO MIXING CONSOLE

Unpacking
Please take a few minutes to read this manual to familiarize yourself with the important information regarding
installation, product features, and operation.

As with most electronic devices, ORIGINAL PACKAGING (OR EQUAL) IS REQUIRED in the unlikely event that
the product needs to be returned for servicing.

Short Form Instructions

Use only stereo headphones with the headphone out jack! When a mono 1/4” connector is plugged into the
stereo connector, it connects one output from the headphone amplifier to ground. In any professional audio
system, accidents can happen, so there are protection circuits to help assure that momentary shorts will not cause
failure, but this caution should be observed.

1. Do not connect the unit to the AC mains until some preliminary settings are completed. AC mains should only
be switched on later in this procedure. Ensure that the AC power and phantom power switches are in the OFF
position.

2. Move all faders down to the “∞” (minimum gain) position. Turn all level control knobs for TRIM, AUX1, AUX2,
EFX, including those marked AUX SEND, AUX RTN, MONO, TAPE IN, and CONTROL ROOM/PHONES to
the full counter-clockwise or “∞” position. All equalizer controls should be set to the “V” or “0” position.

3. Connect the appropriate OUTPUTS to the inputs of the device that follow the mixing console, or integrate it
with the complete sound/recording system.

4. Connect the INPUT of the mixing console channels to the source devices using the appropriate input channel
connectors (MIC, LINE, STEREO, TAPE).

5. Connect the AC mains to the mixing console and apply AC power by switching the console AC POWER
switch to the ON position. You may also switch on the PHANTOM POWER if you are using condenser
microphones that require phantom power.

6. After ensuring that the various signal sources are activated and providing normal signal levels, adjust the
input channel TRIM controls to prevent the PEAK indicators from steadily glowing.

7. Depress the L/R switch on one of the input channels having signal. SLOWLY increase the Main L R fader
position and the input channel fader until the desired level is reached. The fader position should rarely need
to be adjusted to a position higher than the “0” marking. Obviously, if there is distortion or feedback, reduce
the input signal level, or lower the position of the faders.

8. If step 7 was successful, depress the L/R button and SLOWLY increase the position of the faders of the
remaining input channels being used. Remember, unused channel faders should always be OFF (at “∞”). If
there was a problem at step 7 then some troubleshooting should occur before proceeding any further.

9. Incorporate the console’s remaining capabilities as desired.

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STEREO MIXING CONSOLE

Installation
Environment
Never place this product in an environment which could alter its performance or reduce its service life. Such
environments usually include high levels of heat, dust, moisture, and vibration.

Important Safety Instructions

1. Please read and follow these instructions.
2. Do not use this product near water.
3. Clean only with a damp cloth.
4. Do not block any of the ventilation openings.
5. Never place this product in an environment of high levels of heat, dust, moisture, or vibration.
6. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and
the point where they exit from the product.
7. Unplug this product during lightning storms or when unused for long periods of time.
8. Refer all servicing to qualified service personnel. Servicing is required when the
product 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 product, the product
has been exposed to rain or moisture, does not operate normally, or has been S3125A

dropped. S3125A

- AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND VIBRATION

Keep the unit away from locations where it is likely to be exposed to high temperatures or humidity-such as
near radiators, stoves, etc. Also avoid locations which are subject to excessive dust accumulation, or to
vibration that could cause mechanical damage.

- AVOID PHYSICAL SHOCKS

Strong physical shocks to the unit may cause damage. Handle the unit with care.

- DO NOT OPEN THE CASE OR ATTEMPT REPAIRS OR MODIFICATIONS YOURSELF

This product contains no user-serviceable parts. Refer all maintenance to qualified Inter-M service personnel.
Opening the case and/or tampering with internal circuitry voids the warranty.

- ALWAYS POWER OFF BEFORE MAKING CONNECTIONS

Always turn the AC mains OFF before connecting or disconnecting cables. This is important to prevent
damage to the unit itself as well as other connected equipment.

- HANDLE CABLES CAREFULLY

Always plug and unplug cables (including the AC mains power cord) by gripping the connector, not the cord.

- CLEAN WITH A SOFT DRY CLOTH

Never use solvents such as benzine or paint thinner to clean the unit. Wipe clean with a soft, dry cloth.

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Description
- MX-1436/1436EX
This product is a 14 input (6 mono, 4 stereo) mixer with 3 auxes, 4 sub groups, and separate Left/Right outputs.
The product is supplied with detachable Rack Ears.

- MX-1836/1836EX
This product is an 18 input (10 mono, 4 stereo) mixer with 3 auxes, 4 sub groups, and separate Left/Right
outputs.

- MX-2236/2236EX
This product is a 22 input (14 mono, 4 stereo) mixer with 3 auxes, 4 sub groups, and separate Left/Right
outputs.

Features
- Mono and stereo input channels (6, 10, or 14 mono inputs, all with 4 stereo inputs).
- 2 AUX Sends, 1 EFX Send.
- 4 Sub Groups output.
- Separate Left/Right Master faders.
- 3 band equalizer on each mono input channel.
- 4 band equalizer on each stereo input channel.
- SOLO/PFL function on each input channel.
- 9 Band Graphic Equalizer (Only MX-1436EX/1836EX/2236EX)
- 24 bit Digital Effects (Only MX-1436EX/1836EX/2236EX)
- +48V Phantom Power
- Detachable rack ears for mounting in a standard 19” rack enclosure (MX-1436(EX) model only)

Accessories
Detachable Rack Ears and mounting screws are included in the packing carton (MX-1436(EX) model only).

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Front Panel
1. MONO INPUT SECTION
1. MIC INPUT
Balanced low impedance microphone input via a 3-conductor
XLR-type connector.
1

3
4

8
2. LINE INPUT
Balanced or unbalanced line level input via a 1/4" TRS (Tip,
9 Ring, Sleeve) connector.

10

11

3. 80Hz HIGH PASS

12 Depressing this button will reduce the level of the input source
below 80Hz. This is used with microphones to reduce low
frequency noise.

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4. TRIM CONTROL
The Trim (or Input Gain) control knob is used to adjust the level of the input signal. The best balance of S/N
and dynamic range will be achieved if you adjust the TRIM control so that the PEAK indicator rarely
illuminates.

5. PEAK INDICATOR
The Peak indicator illuminates when the input signal reaches 3dB below the clipping point of the channels.
See TRIM CONTROL .

6. HIGH, MID, FREQ, and LOW CONTROLS

These knobs control the equalizer on each mono input. Each range (high, mid, or low) may be adjusted
independently. Mid frequencies are selected by turning the FREQ knob to the desired frequency. The center
“v” is the normal position (no boost or cut).

CONTROL MAX. BOOST/CUT FREQUENCY TYPE

HIGH ±15dB 12kHz Shelving
MID ±12dB 100~8kHz Peaking
LOW ±15dB 80Hz Shelving

7. AUX 1, AUX 2, EFX CONTROLS

Each of these knobs determines the level of the signal sent to the corresponding buses. The AUX 1 signal is
Pre fader, AUX 2 is selectable Pre or Post fader, and EFX is Post fader.

8. PRE/POST SWITCH
This button determines whether the AUX 2 signal is Pre or Post fader. Pre means not affected by the position
of the channel fader. Post means is affected by the position of the channel fader.

9. PAN CONTROL
The PAN control adjusts signal levels between the Left and Right and the odd and even groups. The “v”
position means that equal signal levels are available to all of the busses.

10. L/R, 1/2, 3/4 SWITCHES

Depressing each switch will enable the signal to be sent to the selected busses. L/R to the Left and Right
busses, 1/2 to groups 1 and 2, and 3/4 to groups 3 and 4. The PAN control adjusts the signal levels
between Left, 1, 3 and Right, 2, 4.

11. CHANNEL FADER

This fader adjusts the signal level that is sent from the input channel to the various mixing busses.

12. SOLO SWITCH

This switch allows the input channel signal to be heard in the headphone and “Control Room” outputs as
SOLO (post-fader) or PFL (pre-fader).

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2. STEREO INPUT SECTION

1. AUX RETURN 1, AUX RETURN 2 JACKS

These input connectors are for the signal returned from an
effect unit. If a plug is inserted only in L/MONO, the same
1 signal will be sent to both the L and R busses.

2. STEREO INPUT JACKS

2 Unbalanced Stereo input via two 1/4” type connectors. If a
connector is inserted only in L/MONO, the same signal will be
sent to both the L and R buses.
3
3. TRIM CONTROL
The Trim (or Gain) control knob is used to adjust the level of
the input signal. Adjust the TRIM control so that the PEAK
indicator flashes only occasionally.
4
4. PEAK INDICATOR
The Peak indicator illuminates when the input signal reaches
3dB below the clipping point of the channels. See TRIM
5 CONTROL .

5. HIGH, HI-MID, LOW-MID, and LOW CONTROLS

These knobs control the equalizer on each stereo input. Each
range may be adjusted independently. The center “v” is the
normal position (no boost or cut).

6
6. AUX 1, AUX 2, EFX CONTROLS
Each of these knobs determines the level of the signal sent to
7 the corresponding buses. The AUX 1 signal is Pre fader, AUX
2 is selectable Pre or Post fader, and EFX is Post fader.

8 7. PRE/POST SWITCH
This button determines whether the AUX 2 signal is Pre or Post
fader. Pre means the level is not affected by the position of the
channel fader. Post means the level is affected by the position
of the channel fader.
9
8. BAL CONTROL
The BAL adjusts the signal levels between Left and Right and
the odd and even groups. The “v” position means that equal
signal levels are available to all of the busses.
10 9. L/R, 1/2, 3/4 SWITCHES
Depressing each switch will enable the signal to be sent to the
11 selected busses. L/R to the Left and Right busses, 1/2 to
groups 1 and 2, and 3/4 to groups 3 and 4. The PAN control
will divide the signal between Left, 1, 3 and Right, 2, 4.

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10. CHANNEL FADER

This determines the level of the signal that is sent from the input channel to the various mixing busses.

11. SOLO SWITCH

This allows the input channel to be heard in the headphone and “Control Room” outputs as SOLO (post-fader)
or PFL (pre-fader).

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3. MASTER SECTION

1. MAIN OUT CONNECTORS

These connectors are the Main Left and Right
outputs. Their level is controlled by the MAIN MIX
Left/Right faders. They provide signal to the inputs
of various electronic devices such as recorders,
amplifiers, or signal processing.

2. INSERT L/R JACKS

These are used to insert electronic devices such as
effects or equalizers into the signal path of the
MAIN L R signal. INSERT jacks are special con-
nectors that function as both an output and an input
at the same time. Special Insert cables allow the
signal to leave (send) from the mixer, go into
8
another product, and come back (return) into the
mixer using the same jack.
9
3. CONTROL ROOM L/R JACKS
These Unbalanced 1/4” phone jacks have the same
signal and level as the MAIN L/R OUTPUTS. They
are usually used to provide line level signal to an
10
amplified speaker system so the sound operator can
hear the main output of the mixer. They may be
11
4 used instead as recording outputs.
12
4. AUX 1 and AUX 2 RETURN CONTROLS
13
These controls adjust the levels of the AUX 1 RTN
5 (Return) and AUX 2 RTN inputs which feed the
14
MAIN L R busses. The normal use is to send signal
from an AUX SEND to an effects device, and return
15
the signal to the console via an AUX RTN. Separate
Left and Right jacks are provided for each AUX
6 RTN. If only the L/MONO jack is used the signal
will be sent to both Left and Right channels.

5. AUX 1, AUX 2, EFX SEND CONTROLS

7
These controls adjust the signal level of the AUX 1
SEND, AUX 2 SEND, and the EFX outputs.

6. TO MIX SWITCHES
This switches the signal of each GROUP 1/2 and
GROUP 3/4 to the MIX L/R busses.

7. GROUP 1-4 FADERS

These determine the level of each of the Group
outputs.

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No. 8~12 are applied only to MX-1436EX/ 1836EX/2236EX.

8. GRAPHIC EQUALIZER
The MX-1436EX/1836EX/2236EX Series internal stereo graphic equalizer (GEQ) allows the fine response
shaping of the main program output.
This section has nine linear controls, corresponding to center frequencies of 63Hz, 125Hz, 250Hz, 500Hz,
1kHz, 2kHz, 4kHz, 8kHz, 16kHz.
Each control permits a maximum boost or cut of 12dB. When a control is set to the center or 0 position, the
response in the corresponding band is unaffected.

9. GRAPHIC EQ OUTPUT ON/OFF SWITCH

This switch turns the graphic equalizer on and off.

10. DSP ON/OFF SWITCH

This switch turns the internal digital effect on/off.

11. DSP PROGRAM SELECTION SWITCH

This is used to select internal digital effect types.
1. CHORUS-ROOM 1: ROOM 1 + Slow flange. Good for guitars, synthesizers, and pianos.
2. CHORUS-ROOM 2: Small ROOM 2 + Slow flange
3. VOCAL CANCEL
4. ROTARY SPEAKER: Provides speaker-rotating effects. Good for guitars, vocals, keyboard, and other
musical instruments.
5. HALL1: Provides Medium Concert Hall reverberation effects. Good for vocals and musical instruments
6. HALL2: Large Concert Hall reverberation effects. Good for drums, pianos, and other musical instruments.
7. DELAY1: Provides echo effect. Good for vocals and rhythm guitars
8. DELAY2: Good for SOLO musical instruments that do not need long reverberation (291 to 381ms)
9. CHORUS: Also called as Chorus/Doubler. Provides 6 mixed ensembles of short delay
10. FLANGE: Classic stereo flange (suitable for electric guitars)
11. ROOM1: Medium-sized hall reverberation. Good for vocals, drums, lead guitars and other musical
instruments
12. ROOM2: Medium-large sized hall reverberation. Good for drums percussion instruments, electric guitars
and other musical instruments.
13. ROOM3 Large-sized hall reverberation. Good for acoustic instruments
14. PLATE1: Soft plate reverb
15. PLATE2: Light plate effect
16. PLATE3: Short plate effect

12. DSP OUTPUT CONTROLS

These controls adjusts the level of the return signal which is sent from the internal digital effect to the mix L/R
bus or aux1/aux2 bus.

13. MONO CONTROL

This knob determines the signal level of the MONO output jack. The MONO signal is derived by combining
the Left and Right signals together.

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14. TAPE IN CONTROL

This adjusts the signal levels of the TAPE IN inputs which feed the MAIN L R busses. This is commonly used as
an extra input for a stereo source if all of the Stereo Inputs are in use.

15. CONTROL ROOM and HEADPHONES CONTROL

This adjusts the signal level of the CONTROL ROOM and the HEADPHONE outputs which are fed by the
TAPE IN, SOLO, PFL, GROUPS 1 through 4, or the MAIN MIX L R busses.

16. POWER INDICATOR

This indicator illuminates when the Power switch is turned on.

17. TAPE IN, MAIN, GROUP 1[2]/3[4] SELECTOR

18
These switches determine the source (TAPE IN, MAIN MIX L/R,
or GROUP 1[2]/3[4]) that will provide signals to the PHONES
16 19 jack, CONTROL ROOM jacks, and the OUTPUT LEVEL meters.

18. HEADPHONES OUTPUT JACK (1/4” TRS STEREO JACK)

This stereo headphone output jack can be used with stereo
headphones or headphone distribution system to monitor the
20 TAPE IN, SOLO, PFL, GROUPS 1 through 4, or the MAIN MIX
L R busses. Use only stereo headphones! Use of mono
headphones may cause damage!

21 19. PHANTOM INDICATOR

This indicator illuminates when the Phantom Power switch is
turned on.
17
20. OUTPUT LEVEL METER
Two vertical rows of LED indicators show the output levels of
the TAPE IN, GROUPS 1 through 4, or the MAIN MIX L R
busses as determined by the selector switches directly below
the meter. The “0” LED represents an output level of +4dB
22 (rated output level).

21. SOLO/PFL INDICATOR

These indicators illuminate to confirm whether SOLO or PFL
has been selected using the select button below the indicators.
SOLO is selected when the indicator is Red. PFL is selected
when the indicator is Orange.

22. MAIN MIX L/R FADER

This fader adjusts the output signal levels of the MAIN MIX L/R
outputs.

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Rear Panel

2 3 4 5 6 7 8

1. POWER SWITCH
This switch turns the AC mains ON/OFF. When in the ON position, the power indicator will illuminate.

2. PHANTOM POWER SWITCH

When this switch is in the ON position, +48V DC phantom power will be provided between pin 2 and pin 3
of the MIC INPUT XLR-type jack. If you do not use microphones that require phantom power, be sure this
switch is in the OFF position. When in the ON position, the Phantom Power indicator will illuminate. It is
recommended to turn the Phantom Power “on” with all faders in the “off” position.

3. MONO OUTPUT
This 3-conductor balanced XLR connector is the output for the MONO signal. The MONO signal is derived by
combining the Left and Right signals together.

4. GROUP 1-4 OUTPUT JACKS

These 2-conductor unbalanced 1/4” jacks are the outputs for each of the four groups.

5. AUX 1 SEND, AUX 2 SEND AND EFX SEND JACKS

These 3-conductor unbalanced “1/4” jacks are the AUX 1 and AUX 2 buss outputs.
Especially the EFX Send buss output is prepared for connecting with external effects.

6. REC OUT JACKS

These stereo output jacks send the MAIN MIX L/R buss signal to a tape deck or other recording device. This
signal is not affected by the MAIN MIX L/R faders.

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7. TAPE IN JACKS
This is an extra stereo input for a stereo source such as a tape deck or CD player. The signal is sent to the
MAIN MIX L/R buss and the level is determined by the TAPE IN knob located on the Master Section.

8. CHANNEL INSERT JACKS

These Jacks are used to add other electronic devices such as effects or equalizers to the corresponding input
channel. INSERT jacks are special connectors that function as both an output and an input at the same time.
Special Insert cables are required with INSERT jacks which allow the signal to leave (send) from the mixer, go
to the input of another product, and come back (return) into the mixer using the same jack.

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Operation
The following explanation will instruct the user on how to operate the controls and make adjustments. Experience
and patience are required in most cases to get the system to sound good and to fully appreciate the capabilities
of the mixing console.

Begin by reading the “Short Form” instructions. The short form section is provided for operators that do not
require extensive instructions. Novices will benefit from reading the Short Form instructions but will find the
Operation information most helpful. The Operation information provides the foundation for building operating
skills and techniques that can result in proficient console operation.

These instructions are written in operational order and do not necessarily follow the physical layout of the
console.

SWITCH THE AC MAINS POWER OFF

Connecting the Main outputs

The MAIN MIX L/R output connectors are used to connect the console (as a source) to an input of another
device. Your application (recording or live) and system configuration will determine the device the mixer is
connected to. Referring to the “Applications” section of this manual may be helpful in identifying your
application and configuration.

In a Live application (like the mono church system described later in the PAN explanation), the Left and Right
outputs (or just the Left) may feed an external equalizer. The Left output of the equalizer would then feed a
crossover or amplifier and then the amplified signal would feed the Main speaker. The Right output may be
connected to a tape recorder with a “y” cable to feed both the Left and Right inputs of the recorder. An equalizer
is not required between the console and the tape recorder. Other external electronic devices (such as
Compressor/Limiters) may also be added to this signal path. These should be connected according to their
instructions to the circuit between the console and the equalizer.

Connecting the source to the input of a channel:

One Mono source (or one output channel of a stereo source) may be connected to the appropriate input
connector of a Mono input channel. The 3-conductor XLR connector is labeled MIC but may be used for a Mic or
Line level input. The same is true for the 2-conductor 1/4” jack, but most microphones featuring 1/4” connectors
are non-professional and should be avoided. Some electronic sources have a selectable Mic/Line output, either
is acceptable. Connect a source to either connector on one of the input channels. Stereo inputs have two 1/4”
jack connectors, one for Left and one for Right. Connecting a Mono source to the Left (L/MONO) input will
apply the signal to both the Left and the Right channel however it will not be true stereo.

Lower the slide faders all the way down to the minimum position and switch the AC mains power ON.

Set the input gain using the TRIM control:

Make sure the various sources are providing signals (if the signal is from a microphone, have someone speak or
sing into it; if the signal is from a tape deck or CD player, make sure a tape or CD is playing). Turn the TRIM
knob (left or right) so that the PEAK indicator is not illuminated (or flashes only on occasion). What you have just

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done by adjusting the TRIM control, is to adapt the signal strength of your source to the mixing console input
normal signal level capability. Remember that condenser microphones require Phantom Power voltage to
operate. The console can provide this voltage by switching ON the Phantom Power switch located on the rear of
the console.

PAN (BAL on stereo inputs)

This knob will determine the signal level of the source in the Main Mix L R and Group outputs. To position the
source in the Left, Group 1, and Group 3 outputs only turn the knob completely counter-clockwise. To position
the source in the Right Group 2, and Group 4 outputs only turn the knob completely clockwise. To have equal
amounts of the source in the outputs adjust the knob so that it is centered between the Left and Right position. In
some live applications, like many church systems, the Main outputs drive mono systems. In this case, the Left
channel may be used to feed the speaker (L for loudspeaker) while the Right channel feeds the mono recording
(R for record). In this way the PAN offers separate signal level control for the main speaker system and the
recording device. For example: in a small room the volume coming directly from a piano can be heard by the
congregation without the assistance of the sound system. However, without the sound system the signal from the
piano has no way of being included in the recording. Place a microphone in or near the piano and turn the
PAN to R (for record). Now the microphone signal from the piano is in the recording but not the main speaker. If
you decide that a little sound from the piano in the main speaker is appropriate you may turn the PAN a little to
the Left (for loudspeaker) without affecting the recording (unless you turn it more than half way). If you are not
sure how this should be set for your system, turn it to the center so equal amounts are sent to the left and right
outputs.

FADER
All the way down is off, all the way up is too much signal, and the “0” position is optimum during normal
operation. Depress the L/R select button located next to a channel fader that has an input signal (a tape deck or
CD player is more appropriate than a microphone for initial setup). Then increase the level of the Main Mix L R
faders to the “0” position (no sound will be heard yet). Slowly increase the input channel. Stop increasing when
you have attained the desired level. Slowly repeat this process for the remaining input channel faders that have
signal. Faders for unused input channels should remain all the way down. By positioning each input channel
fader relative to the other input channel faders you are mixing the signals. Most applications require different
levels on each input. Adjust the faders so that the mixed signal sounds good (not so the position of the faders
look good). This would be a good time to go back and check the TRIM settings. Any channels that have the
faders near maximum (above “0”) could probably benefit from having the TRIM control adjusted slightly to
reduce the signal level. Make sure that the PEAK indicator does not illuminate excessively in this new position. If
the fader seems too sensitive and the operating position is near the bottom, try adjusting the TRIM control to
increase the fader’s range of motion. Keep in mind that adjusting the TRIM will affect all (pre and post) send
signals leaving the channel. Adjustments to the fader will only affect Post-fader sends.

Input channel faders determine the level of each input relative to other inputs. The Main Mix L R faders determine
the system level.

Your mixing console is operational at this point. Take some time to familiarize yourself with the basics that you
have just learned or continue reading if you are ready to learn more.

Control Room
This is most useful when the operator cannot hear the output of the mixer such as in a recording or broadcast

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application. Use these output connectors to feed powered monitor speakers (or an amplifier and speakers)
positioned near the operator. After making the connections set the levels using the CONTROL ROOM/HEAD
PHONES knob so that the volume from the speakers (or in the headphones) represents the system level. The four
switches below the OUTPUT LEVEL METERS determine the source of the CONTROL ROOM outputs and the
HEAD PHONE jack. The CONTROL ROOM feature normally is not used in a live application where the operator
can hear the main speaker system directly. Headphones may be used in either Live or Recording applications
but are more common in Live.

SOLO/PFL
Depressing this button (located on the channel) sends the channel signal to the CONTROL ROOM and
HEADPHONES outputs as well as the meters without interrupting any other setting or signal path. This is a
convenient way to isolate to a particular input from a mixed signal. More than one input can be in the
SOLO/PFL buss at one time. Remember, having everything in SOLO/PFL defeats the purpose of the SOLO/PFL
feature. The PFL/SOLO button (located near the meters) determines whether the signal is being monitored SOLO
(post-fader) or PFL (pre-fader) through the headphone outputs and “Control Room” outputs.

TAPE IN CONTROL
The TAPE IN input signal is routed directly to the MAIN MIX L R busses and the CONTROL ROOM output
without the option of Equalization, PAN, or routing to an AUX buss. This allows the Stereo and Mono input
channels to be reserved for inputs which can benefit from the features those channels provide.

Using Digital Effects

Musical and theatrical performances can often benefit from adding some form of special effects. If done
correctly, a small amount of special effects may make music vocals sound more professional or create the
perception of being in a larger environment (with room reverberation). Adding special effects on speech is not
recommended because it reduces speech intelligibility (the ability for words to be understood clearly).

How to add external digital effects.

By this time you will have your input sources (microphones, tape decks, etc.) connected to input channels.
Identify which of these channels that you would like to add effects to (beyond that which the console can provide)
such as equalization, effects, or compression. Route the source(s) to the EFX buss by turning the EFX knob to the
right on that channel. The EFX buss (signal) will exit the console via the EFX SEND connector. Remember that the
EFX level is controlled by the position of the EFX SEND control knob. An external device (such as effects) will
have its inputs connected to the EFX SEND (output) and its outputs connected to either AUX RTN (input). The level
of the returning signal will be controlled by the AUX RTN and sent directly to the MAIN MIX L R busses to join
the rest of the main mix.

Equalization
If it is determined that adjustments to an Equalizer are necessary, remember two important items: proper
equalization is achieved with minimal equalization; and it is better to cut than to boost (cut excessive frequencies
rather than boost weak frequencies).

Adjusting the Channel Equalizer

Mono inputs have a 3-band Equalizer while Stereo inputs have a 4-band equalizer. The primary function of the
channel Equalizer is to improve the tonal quality of the signal for the individual input channels. It’s best to leave
these at the “v” or center position during initial setup. After the entire system is operational you may make

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adjustments (if needed). Adjustments made on a stereo input channel will affect both the Left and Right channels
of the source.

AUX buss #1
AUX 1 is one of several busses of the console. The output of this buss can be used for a variety of different
applications including a performer’s stage monitor. This AUX buss is Pre-fader so changes to the main channel
fader position will not affect the level of this AUX.

AUX buss #2
AUX 2 is one of several busses of the console. The output of this buss can be used for a variety of different
applications including sending a signal to special effects devices. This AUX buss is selectable to either Pre-fader
or Post-fader for maximum flexibility. Some performers will object to the subsequent changes in their stage
monitor loudspeaker signal level resulting from a Post-fader signal so the Pre-fader setting is preferred by most
performers.

EFX buss
EFX is actually another AUX buss and is one of several busses of the console. The output of this buss is
particularly suited for use with effects devices. The EFX buss is Post-fader so changes to the main channel fader
position will also affect the level of the EFX output. The EFX output signal will typically leave the console and be
sent an external effects device. The output of the effects device will usually return to the console via on the AUX 1
or AUX 2 RTN (return) or possibly an unused input channel.

Inserts
“Insert” is a term used to describe a method of adding an external electronic device to the system. Inserting
refers to having a signal leave the console to go into the input of an external device, then out of that device and
returning back to the console that it originated from.

Proper use of an insert requires skill. An insert may require special cables and a clear understanding of signal
flow and system design. Using inserts incorrectly will result in the console having no output signal, or perhaps
distortion. If you are not familiar with the use of inserts or find signal flow and system design a little confusing,
you should avoid using Inserts until your system is working correctly. This will make troubleshooting Insert related
problems easier if you are confident that the system worked correctly before the Inserts were connected.

Inserting a device using SEND and RTN (return) connectors.

The output for each AUX buss is referred to as an AUX SEND. When the outputs are used to insert an external
device, the AUX SEND (output) will send signal to the device. The Output connector(s) of the same external
device will be connected to the AUX RTN input(s) that will route the signal directly to the Main Mix L R busses. Be
sure to SEND and RETURN using the same aux buss number to maintain Aux buss integrity. AUX and EFX terms
may be used interchangeably in the text above except that the EFX buss does not offer a RTN. EFX will frequently
return on an unused AUX RTN or an unused input channel.

Inserting a device using INSERT JACKS.

“Insert Jack” is the term used to describe a single 1/4” TRS connector that is wired to function as both the output
connector and the input connector for the purpose of inserting an external device. The objective is to accomplish
the same result as the separate SEND and RETURN function described earlier, with the only difference that the
both the SEND and RETURN connections are done within the same connector, the INSERT JACK. Although

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INSERT JACKS use a standard 3-conductor (TRS) 1/4” connector the connector itself is wired in a manner that
only works for use as an INSERT JACK. Cables must either be custom made or purchased especially for this
application. The special cables will be in a “Y” configuration (not all “Y” cables are insert cables) having a total
of three connectors. One connector will be labeled “Insert” and is intended for connection to the INSERT JACK
on the console. Another connector will be labeled “Insert” which will be connected to the input of the external
device. The remaining connector will be labeled “Insert” which will be connected to the output of the external
device. The console and the external device both have level controls that will provide signal level adjustments. It
may take some experimentation to make the adjustments necessary to achieve the desired effect.

Again, it is best to avoid using Inserts until the entire system is properly connected and operating normally.

Glossary

The word “Insert” has several meanings. In one meaning, it refers to the Input Connector (the point where an
external source enters the console). In another meaning it refers the Input Channel, the entire set of controls
affecting the routing, level, and EQ of a single input (or both inputs in the event of a stereo input channel).

The word “Source” refers to the external device (such as a microphone) that provides a signal to the mixing
console input. Items such as microphones, tape decks, electronic instruments, etc. are all potential sources.
Various types of sources (such as Mic level or Line level devices) will have differing electrical characteristics, as
well as different characteristics (such as Mono or Stereo). Consulting the owner’s manual of the device will help
determine each product’s electrical and output characteristics.

The word “Pre” means “before.” In a mixing console, it refers to a signal that is before an action or effect
occurs. For example, Aux 1 is a Pre-fader signal (the AUX 1 signal precedes the input channel fader, so a
change in the channel fader position does not change the signal level from the AUX 1 control). Therefore,
adjustments to a channel fader have no affect on the AUX 1 signal. An EQ can also be “Pre.” If a particular
signal (or output) is Pre-EQ, adjustments to the EQ will have no effect on that signal.

The word “Post” means “after.” In a mixing console, it refers to a signal that follows an action or effect. For
example, the Aux 2 signal is Post-fader (the AUX 2 signal follows the input channel fader, so a change in the
channel fader position changes the signal level from the AUX 2 control). Therefore, adjustments to a channel
fader will adjust the level of the AUX 2 signal.

The word “Buss” refers to the section of the circuit within the console where various source signals combine
together. Aux 1, 2, 3, 4 and Main Left, Right are all busses where various input channel signals will combine
together.

The word “Channel” typically means Input Channel, the entire set of controls affecting the path, level, and EQ of
a single input (or both inputs of a stereo input channel). Channel may also refer to the Left or Right portion (or
channel) of a stereo signal.

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Connections
Inter-M products are wired to reflect accepted wiring practices used throughout the world.

Balanced XLR connectors are wired as described:

Pin #1 Shield
Pin #2 Positive
Pin #3 Negative

Balanced 1/4” TRS connectors are wired as described:

Tip is Positive
Ring is Negative
Sleeve is Shield

Hot (positive)
2
Hot (positive)
Cold (negative) 3
Screen

Cold (negative) Sleeve 1

Balanced Input

Screen
Sleeve Ring
Return
Send
Insert Points

Tip
Sleeve Ring Tip

Line Input 3 Pole (Stereo) Jack

Hot (positive)
Cold (negative)
Screen

Sleeve Ring Tip

Headphones
Left Signal
Right Signal
Ground

Seeve Tip
Unbalanced
Input/Output 2 Pole (Mono) Jack

AUX Send Signal

Ground

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Applications
Stereo Live Sound

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Block Diagram

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Specifications..............................................................
Specifications 0dB=0.775Vrms

- ELECTRICAL
Maximum Output Level +24dB(MIX L/R, MONO, GROUP 1~4) @600Ω
(0.5% T.H.D at 1kHz) +20dB(AUX SEND 1~2, EFX) @600Ω
+20dB(INSERT) @10kΩ
+20dB(CTRL ROOM) @600Ω
Over 100mW(Headphone) @40Ω
Total Harmonic Distortion <0.1% @+14dB 20Hz~20kHz
(T.H.D) (MIX L/R, MONO, GROUP 1~4, AUX SEND 1~2, EFX, CTRL ROOM) @600Ω
Frequency Features 20Hz~20kHz, +1/-2dB
(MIX L/R, MONO, GROUP 1~4, AUX SEND 1~2, EFX, CTRL ROOM) @600Ω
Hum & Noise -127dB equivalent input noise
(Average, Rs=150Ω) -95dB residual noise(MIX L/R, MONO, GROUP 1~4, AUX SEND 1~2, EFX, CTRL ROOM)
-88dB(MIX L/R, MONO, GROUP 1~4, AUX SEND 1~2, EFX, CTRL ROOM)
* Master fader at nominal level and all channel assign switch OFF.
Maximum Voltage Gain 84dB MIC IN TO MIX L/R, GROUP 1~4
80dB MIC IN TO MONO
76dB MIC IN TO AUX 1
86dB MIC IN TO AUX 2(POST), EFX
90dB MIC IN TO CONTROL ROOM L/R
62.2dB MIC IN TO REC L/R
54dB LINE IN TO MIX L/R, GROUP1-4
50dB LINE IN TO MONO
46dB LINE IN TO AUX 1
56dB LINE IN TO AUX 2(POST), EFX
60dB LINE IN TO CONTROL ROOM L/R
44dB ST IN TO MIX L/R, GROUP 1~4
40dB ST IN TO MONO
16dB AUX RETURN IN TO MIX L/R
27.8dB TAPE IN TO MIX L/R
Interference(Crosstalk) -70dB between input channels
at 1kHz -70dB between output channels
Mono Input Channel Gain 44dB variable(-60dB ~ -16dB), (-30dB ~ +14dB)
Stereo Input Channel Gain 34dB variable(-20dB ~ +14dB)
Input Channel EQ HIGH : 12kHz shelving
MID : 100~8kHz(EQ for frequency variable) peaking
LOW : 80Hz shelving
* Turnover/roll-off frequency: located at 3dB below the maximum amplification and
attenuation point
Level Meter 10-segment LED x 2(+4dB output at 0dB)
MIX L/R, GROUP 1~4, AUX SEND 1~2, EFX, CTRL ROOM
Peak Indicator Input channel: turned on to 3dB before pre-fader signal clipping
Graphic Equalizer 9 bands (63, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz)
±12dB Maximum
Internal Digital Effect 16 programs
Phantom Power +48V DC

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- GENERAL

Power Source 110V–120VAC or 220–240VAC: 50/60Hz

(Supplied AC mains transformer depends on country requirements)
Power Consumption 50W
Weight MX-1436/1436EX : 7kg
MX-1836/1836EX : 8kg
MX-2236/2236EX : 10kg
Dimensions MX-1436/1436EX : 482(W) x 90(H) x 354(D)mm / 19(W) x 3.5(H) x 13.9(D)in
MX-1836/1836EX : 556(W) x 90(H) x 354(D)mm / 21.9(W) x 3.5(H) x 13.9(D)in
MX-2236/2236EX : 672(W) x 90(H) x 354(D)mm / 19(W) x 3.5(H) x 13.9(D)in

- INPUT

Input Connector Input Nominal Rated Input Connector Type

Impedance Impedance Level
Channel Microphone 4kΩ 50∼600Ω -60dB XLR 3-31 Type
Balanced
Channel Line 10kΩ 600Ω -20dB Phone Jack (TRS)
T = Hot
R = Cold
S = GND
Stereo Input 5kΩ 600Ω -20dB Unbalanced
Phone Jack
Auxiliary Input(AUX Return) 10kΩ 600Ω +4dB Unbalanced
Phone Jack
Mono Channel Insert Input 10kΩ 600Ω 0dB Phone Jack (TRS)
T = Out
R = In
S = GND
Main Stereo Insert Input 10kΩ 600Ω 0dB Phone Jack (TRS)
T = Out
R = In
S = GND
Tape Input(Tape In) 10kΩ 600Ω -10dBV RCA Pin Jack

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- OUTPUT

Output Connector Output Nominal Rated Input Connector Type

Impedance Impedance Level
MIX Out L/R, MONO 150Ω 600Ω +4dB XLR 3-32 Type
GROUP 1~4 150Ω 600Ω +4dB Unbalanced
Phone Jack
CTRL Room Out 75Ω 600Ω +4dB Unbalanced
Phone Jack
AUX Output (AUX Send) 75Ω 600Ω +4dB Unbalanced
Phone Jack
Mono Input Insert Output 600Ω 10kΩ 0dB Phone Jack (TRS)
T = Out
R = In
S = GND
Main Stereo Insert Output 10kΩ 600Ω 0dB Phone Jack (TRS)
T = Out
R = In
S = GND
Record Output L/R(REC Out) 600Ω 10kΩ -10dBV RCA Pin Jack
Headphone Output 100Ω 40Ω 3mW Stereo Phone Jack

* Specifications and design subject to change without notice.

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Service

Procedures
Ensure the problem is not related to operator error, or system devices that are external to this unit. Information
provided in the troubleshooting portion of this manual may help with this process. Once it is certain that the
problem is related to the product contact your warranty provider as described in the warranty section of this
manual.

Schematic
A Schematic is available by contacting your warranty provider.

Parts List
A Parts List is available by contacting your warranty provider.

Variations and Options

Variations
EX models have Digital Effects and a Graphic Equalizer not found on non-EX models.

Options
No optional items are available for this product. Rack mount adapters are included with the 14-input models
only.

Warranty

Warranty terms and conditions vary by country and may not be the same for all products. Terms and conditions
of warranty for a given product may be determined first by locating the appropriate country which the product
was purchased in, then by locating the product type.

To obtain specific warranty information and available service locations contact Inter-M directly(in Korea or the
USA) or the authorized Inter-M Distributor for your specific country or region.

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Inter-M, Ltd. (Korea) began operations in 1983.

Since then, Inter-M has grown to become one of the largest manufacturers
of professional audio and commercial sound electronics equipment in the world.

Inter-M has gained worldwide recognition for its own branded products,
as well as private label manufacturing of electronics sold under other names (OEM).

The company is no longer just a Korean company, but rather a global company
that is truly international in scope, with factories and offices in Korea and China,
and sales and marketing operations located in Japan, Europe, and the U.S.A.

With more than 850 employees around the globe,

Inter-M is well-poised for further growth and expansion.

INTER-M AMERICAS, INC.

1 EAST BEACON LIGHT LANE CHESTER, PA USA 19013-4409
TEL : 1-610-874-8870, FAX : 1-610-874-8890
Home Page : http://www.inter-m.net, E-mail : service@inter-m.net

INTER-M Corporation
SEOUL OFFICE:653-5 BANGHAK-DONG, DOBONG-KU, SEOUL, KOREA
TEL : 82-2-2289-8140~8, FAX : 82-2-2289-8149 MADE IN CHINA
Home Page : http://www.inter-m.com, E-mail : export@inter-m.com December 2005 9007300230 A