IMPACT 8.4 / 12.4 / 16.4 / 24.

4
IMPACT 8.4X / 12.4X / 16.4X / 24.4X
Mixing Console

IMPACT 8.4X

ENGLISH User’s Manual

 IMPORTANT SAFETY INSTRUCTIONS

The apparatus shall not be exposed to dripping or splashing and that no objects filled with liquids, such as vases,
shall be placed on the apparatus. The MAINS plug is used as the disconnect device, the disconnect device shall
remain readily operable.

Warning: the user shall not place this apparatus in the confined area during the operation so that the mains switch
can be easily accessible.

1. Read these instructions before operating this

apparatus. CAUTION
2. Keep these instructions for future reference. RISK OF ELECTRIC SHOCK
DO NOT OPEN
3. Heed all warnings to ensure safe operation.

4. Follow all instructions provided in this document. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK)
5. Do not use this apparatus near water or in locations NO USER SERVICEABLE PARTS INSIDE
where condensation may occur. REFER SERVICING TO QUALIFIED PERSONNEL

6. Clean only with dry cloth. Do not use aerosol or liquid

cleaners. Unplug this apparatus before cleaning. The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
7. Do not block any of the ventilation openings. Install
presence of uninsulated “dangerous voltage” within the
in accordance with the manufacturer’s instructions.
product’s enclosure that may be of sufficient
8. Do not install near any heat sources such as radiators, magnitude to constitute a risk of electric shock to persons.
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
The exclamation point within an equilateral triangle is in-
9. Do not defeat the safety purpose of the polarized or tended to alert the user to the presence of important operat-
grounding-type plug. A polarized plug has two blades ing and maintenance (servicing) instructions in the literature
with one wider than the other. A grounding type plug accompanying the appliance.
has two blades and a third grounding prong. The wide
blade or the third prong is provided for your safety. If WARNING: To reduce the risk of fire or electric shock, do
the provided plug does not fit into your outlet, consult not expose this apparatus to rain or moisture.
an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or CAUTION: Use of controls or adjustments or performance
pinched particularly at plug, convenience receptacles, of procedures other than those specified may result in
and the point where they exit from the apparatus. hazardous radiation exposure.
11. Only use attachments/accessories specified by the
manufacturer.
12. 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.

13. Unplug this apparatus during lighting

storms or when unused for long
periods of time.
14. 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.
IMPACT 8.4 / 12.4 / 16.4 / 24.4
IMPACT 8.4X / 12.4X / 16.4X / 24.4X
Mixing Console

TABLE OF CONTENTS

INTRODUCTION......................................................................................................4

FEATURES...............................................................................................................4

BASIC SETUP..........................................................................................................5
Getting Started..................................................................................................5
Channel Setup...................................................................................................5

MAKING CONNECTIONS........................................................................................6
Connecting Panel..............................................................................................6
Rear Panel........................................................................................................7
Main Mixing Panel.............................................................................................7

CONTROLS AND SETTINGS..................................................................................8

Rear Panel.........................................................................................................8
Channel Controls...............................................................................................8
Digital Effect Engine..........................................................................................9
Tape In Section................................................................................................10
Master Control Section....................................................................................10
DIGITAL EFFECT TABLE.......................................................................................13

APPLICATION........................................................................................................14

SPECIFICATIONS..................................................................................................16

DIMENSIONS.........................................................................................................18

BLOCK DIAGRAM..................................................................................................19

Phonic reserves the right to improve or alter any information suppied within this document without prior notice.
V1.2 JUL 05, 2006
INTRODUCTION FEATURES
Thank you for choosing one of Phonic’s many quality
• Audiophile-Quality & ultra low noise
compact mixers. The Impact mixing consoles - designed
by the same talented engineers that have created a • Mono channels with inserts and phantom
variety of mixers fantastic in style and performance in power
the past - display similar proficiency that previous Phonic
• 2 stereo channels with 4-band EQ
products have shown; with more than a few refinements,
of course. • 10, 14, 18, 26 mic preamps on Impact 8.4/8.4X,
With a total of 8 models in the Impact series, the Impact 12.4/12.4X, 16.4/16.4X, 24.4/24.4X
8.4, Impact 12.4, Impact 16.4, Impact 24.4, Impact 8.4 • 3-band EQ with swept mid-range plus low cut
X, Impact 12.4 X, Impact 16.4 X, and Impact 24.4 X,
on each mono channel
all with varying inputs yet displaying the same efficacy,
you have no doubt purchased a mixer that will not only • 18dB/oct, 75Hz low cut filter on each mono
proove ideal for your application, but will outlast many channels
others.
• 4 aux sends, aux 1 & 2 with XLR and 1/4" output
We know how eager you are to get started - wanting jacks
to get the mixer out and hook it all up is probably your
number one priority right now - but before you do, we • 2 stereo aux returns, each with effect to moni-
strongly urge you to take a look through this manual. tor
Inside, you will find important facts and figures on the
• Pad on mono channels to handle difficult sig-
set up, use and applications of your brand new mixer. If
you do happen to be one of the many people who flatly nals
refuse to read user manuals, then we just urge you to at • Main Stereo and Mono output with XLR and
least glance at the Instant Setup section. After reading
through the manual, please store it in a place that is easy
1/4" jacks
for you to find, because chances are there is something • Mono output with variable low pass filter for
you missed the first time around. subwoofer speaker
• Tape input can be routed to aux 1 and aux 2
• Handy mini-stereo I/O for MD, MP3 player/re-
corder
• Built-in switching power supply with universal
connector, 100-240VAC, 50/60Hz
• Optional Rack-mounting kit for Impact 8.4 and
Impact 8.4 X only, model name ER8IM
• Impact X models further feature 32-bit DSP dig-
ital multi-effect processor with 99 programs

 IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X
 BASIC SETUP
Getting Started Channel Setup
1. Ensure all power is turned off on the Impact Mixer. 1. To ensure the correct audio levels of each input
To totally ensure this, the AC cable should not be channel is selected, every channel should first be
connected to the unit. switched off and all faders set to 0.
2. All faders and level controls should be set at the 2. Choose the channel that you wish to set the level of
lowest level and all channels switched off to ensure and ensure that channel has a signal sent to it similar
no sound is inadvertently sent through the outputs to the signal that will be sent when in common use.
when the device is switched on. All levels should For example, if the channel is using a microphone,
be altered to acceptable degrees after the device is then you should speak or sing at the same level the
turned on. performer normally would during a performance. If
3. Plug all necessary instruments and equipment into a guitar is plugged into that channel, then the guitar
the device's various inputs as required. This may should also be used as it normally would be.
include line signal devices, as well as microphones 3. Press the PFL button of the channel, allowing you to
and/or guitars, keyboards, etc. see the audio properties in the level meter.
4. PTurn the gain of the selected channel to a degree 4. Turn the gain of the selected channel to a degree
that allows the audio level shown in the level meter that allows the audio level shown in the level meter
to sit around 0 dB, ensuring it never reaches 7 dB.. to sit around 0 dB, ensuring it never reaches 7 dB.
5. Plug the supplied AC cable into the AC inlet on the 5. This channel is now ready to be used; you can stop
back of the device ensuring the local voltage level is making the audio signal and disengage the PFL
identical to that required on your device. button.
6. Plug the supplied AC cable into a power outlet of a 6. You should now select the next channel to set and go
suitable voltage. back to follow steps 1 through 6.
7. Turn the power switch on.

IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X 
MAKING CONNECTIONS
Connecting Panel
1. XLR Jacks 5. Stereo Returns
These jacks accept XLR inputs for balanced signals. The 1/4” TS Stereo Return inputs are for the return of
They can be used in conjunction with microphones audio to the Impact mixer, processed by an external
such as professional condenser, dynamic or ribbon signal processor. If really needed, they can also
microphones - with standard XLR male connectors. be used as additional stereo inputs. The feed from
With low noise preamplifiers, these inputs serve for these inputs can be adjusted using the Stereo Return
crystal clear sound replication. controls on the face of the mixer. When connecting
NB. When using an unbalanced microphone, please ensure phantom a monaural device to the AUX Return inputs, simply
power is switched off. However, when using condenser microphones plug a 1/4" phone jack into the left (mono) input, and
the phantom power should be activated.
the signal will appear in the right as well.
2. Line In Jacks
These balanced inputs accept 1/4" TRS and 1/4" 6. Auxiliary (AUX) 1 and 2 Outputs
TS line inputs for the addition of various music These balanced XLR jacks and unbalanced 1/4" TS
instruments – such as keyboards, drum machines, phone jacks are the final output of line-level signal
electric guitars, as well as a variety of other electric fed from the corresponding auxiliary send mixing
instruments. buses, and are best suited for use with external effect
processors or stage monitors. Feeding the output
from the Auxiliary outs to an amplifier - and possibly
3. Insert Jacks
an equalizer - and then to a floor monitor speaker
The primary use for these
allows artists to monitor their own instruments or
TRS phone jacks is for
vocals whilst performing.
the addition of external
devices, such as dynamic 7. EFX (Effect) Sends
processors or equalizers, These 1/4” TS outputs are the final output from the
to the corresponding EFX send mixing bus. This feed may be used to con-
mono input channel. This nect to an external digital effect processor or even
will require a Y cord that can send and receive signals to an amplifier and speakers, depending on your de-
of the mixer to and from an external processor. The sired settings.
tip of the TRS jack will send the signal from the input
channel, and the ring will return the signal back to the
mixer (the sleeve is the grounding).

4. Stereo Channels
The two stereo channels on the Impact mixers
include XLR Mic inputs and 1/4” TS phone jacks.
They can be used in conjunction with various stereo
devices, such as synthesizers and keyboards. Also,
by connecting a mono signal to the left phone jack,
the Impact automatically doubles the signal over to
the right channel. This is known as jack normalizing.

 IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X
 8

Rear Panel
8. Foot Switch Jacks (Impact X only) 13. Power Connector
This port is for the inclusion of a foot switch (non- This is for the addition of an AC
latchable), used to remotely adjust properties of the power cable, allowing power to be
Impact X’s built-in Digital Effects Engine. Using a supplied to the mixer. Please use
footswitch with this jack will allow users to mute and the power cable that is included
un-mute the Digital Effects. with this mixer only. The Fuse
holder, located below the AC
9. Control Room / Phones
Power connector, is, of course,
These two 1/4" Phone Jack outputs feed the signal for the Impact’s fuse. If the fuse
altered by the Control Room level control on the face happens to blow, open the holder
of the mixer. This output has extensive use, as it can cover, and replace the fuse with a
be used to feed the signal from the mixer to an active suitable replacement (as indicated
monitor, for the monitoring of the audio signal from underneath the power connector).
within a booth, among many other possible uses.

10. Mono / Subwoofer Output Main Mixing Panel

14. Tape Inputs
This male XLR and 1/4" TS output feeds a monaural The first of these
signal of the Main L-R signals combined, as adjusted inputs accommo-
by the accompanying level control. This is ideal for dates RCA cables
use with a mono sound system, or for the addition from such devices
of a subwoofer to your set of speakers, adding more as tape and CD
punch to low frequency sounds. players. In addi-
11. Main Outputs tion to these inputs,
however, Phonic has incorporated a mini stereo port
These outputs will output the final stereo line level for the inclusion of mini disc (MD), portable CD, and
signal sent from the main mixing bus. The primary MP3 players (such as the Apple iPod), as well as lap-
purpose of the two male XLR jacks and 1/4" phone top computers. The line from this feed is directed to
jacks is to send the main left and right output signal to the Tape In mixing bus, which users are able to feed
external devices, which may include power amplifiers to the Control Room, AUX 1 and 2 or Main L/R mix-
(and in-turn, a pair of speakers), other mixers, as well ing buses.
as a wide range of other possible signal processors
(equalizers, crossovers, etcetera). 15. Record Outputs
As with the Tape In ports, these outputs will accom-
12. 12V Lamp modate RCA cables, able to be fed to a variety of re-
This XLR socket allows you to attach a 12 Volt (7 cording devices. Also included are mini stereo ports
Watt) gooseneck lamp, allowing better visability in for the addition of recording devices such as MD
areas with poor light. players and laptop computers.
16. Headphones Output
This output port is best suited for use
with headphones, allowing monitoring
of the mix. The audio level of this
output is controlled using the Control
Room / Phones control on the front
panel’s master section.

IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X 
CONTROLS AND SETTINGS
Rear Panel
17. Power Switch
This switch is used to turn the mixer
on and off. Ensure you turn all level
controls down before activating.

Channel Controls
18. Low Cut Filter (75 Hz)
This button, located on all mono
channels, will active a high-pass
filter that reduces all frequencies
below 75 Hz at 18 dB per octave,
helping to remove any unwanted
ground noise or stage rumble.

19. PAD Button (Stereo Channels Only)

This button, located on channels the final 4 mono
channsl of all Impact mixers, attenuates the input
signal of the Mic or Line inputs by 20 dB. This gives
a greater dynamic range to the input, allowing inputs
with higher-level signals to be used without the
possibility of clipping.

20. Gain Control

This controls the sensitivity of the input signal of the
Line/Microphone input of mono channels. The gain
should be adjusted to a level that allows the maximum
use of the audio, while still maintaining the quality of
the feed. This can be accomplished by adjusting it to
a level that will allow the peak indicator occasionally
illuminate or slightly lower than this.

21. High Frequency Control

This control is used to give a shelving boost or cut
of ±15 dB to high frequency (12 kHz) sounds. This
will adjust the amount of treble included in the audio
of the channel, adding strength and crispness to
sounds such as guitars, cymbals, and synthesizers. 23. Low Frequency Control
This control is used to give a shelving boost or cut
22. Middle Frequency Control of ±15 dB to low frequency (80 Hz) sounds. This will
This control is used to provide a peaking style of adjust the amount of bass included in the audio of the
boost and cut to the level of middle frequency sounds channel, and bring more warmth and punch to drums
at a range of ±15 dB. The Impact mixer also provides and bass guitars.
a sweep control, allowing you to select a center
24. AUX Controls
frequency between 100 Hz and 8 kHz. Changing
These two AUX controls alters the signal level that
middle frequencies of an audio feed can be rather
is being sent to the auxiliary 1 and 2 mixing buses,
difficult when used in a professional audio mix, as
the signal of which is suitable for connecting stage
it is usually more desirable to cut middle frequency
monitors, allowing artists to listen to the music
sounds rather than boost them, soothing overly harsh
that is being played, or to fed to an external effect
vocal and instrument sounds in the audio.
processors.
Stereo channels differ slightly, in that they feature a
High Mid and Low Mid control for adjusting Middle 25. EFX 1 and 2
Frequency sounds with set frequencies of 3 kHz and These two controls adjust the level of audio sent
800 Hz. from the channel to the EFX 1 and 2 mixing buses.
The EFX 2 signal is also sent to the built-in digital
effects processor, allowing users to apply effects to
the signal.

 IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X
 26. Pan/Balance Controls Digital Effect Engine
This alternates the degree or level of audio that the
The following refers to Impact X models only.
left and right side of the main mix should receive. On
mono channels, the PAN control will adjust the level
that the left and right should receive (pan), where as 32. Digital Effect Display
on a stereo channel, adjusting the BAL control will This 2-digital numeric display shows the program
attenuate the left or right audio signals accordingly number that is currently applied to your EFX audio
(balance). signal. When you rotate the Program control, you can
scroll through different program numbers; however
27. Mute Button the display will revert back to the original program if
This button mutes the channel, effectively stopping a new program is not selected within a few seconds.
all audio fed into the inputs from being send to the For a list of available effects, please observe the
Main L/R mixing bus, as well as the AUX 1, AUX 2, Digital Effect Table.
EFX 1 and EFX 2 mixing buses. This indicated just
below the button (labeled Peak) will be illuminated 33. Sig and Clip Indicators
when the channel is muted. Located within the Digital Effect Display are Clip
and Sig LEDs. The Sig LED will light up when any
28. Peak Indicator signal is received by the effect processor, and the
This LED indicator (which doubles as a mute Clip LED will light up shortly before excessive signals
indicator) will illuminate when the channel hits high are dynamically clipped. If the Clip LED lights up too
peaks, 6 dB before overload occurs. It is best to often, it may be advisable to turn down one or all EFX
adjust the channel level control so as to allow the controls on input channels to ensure the signal level
PEAK indicator to light up on regular intervals only. is not too high.
This will ensure a greater dynamic range of audio.
This indicator also doubles as a Mute indicator, when 34. Program Control
the channel's mute button is engaged. This control is used to scroll through the various
effects. Turning the control clockwise will allow users
29. Sig Indicator to ascend into higher program numbers, and turning
This LED indicator shows when the input level it counter-clockwise will allow users to descend
reaches -20 dBu, basically showing when a signal is into lower program numbers. Pushing this control
received by the corresponding channel. will apply the new effect. When a tap-delay effect
is selected, pressing this control will allow users to
30. PFL Button select the tap-delay time.
The PFL - or Pre-Fader Listen - button is pushed to
allow the signal of a channel to be sent to the CTRL By pushing the button several times, the effect
RM/PHONES mix (pre-fader, post-EQ), for use with processor interprets the time between last two
either headphones or studio monitors. This allows pushes and remembers this as the delay time, until
easier setting of the input gain and tracking of audio the button is pushed again (this is kept, even after
by sound engineers. The Sig LED above the button the power is turned off). When the tap delay effect
will illuminate when PFL is activated. is selected, a small LED will flash within the digital
effect display window at the selected intervals.
31. Channel Level Control
This 60 mm fader will alter the signal level that is
sent from the corresponding channel to the Main L/R
mixing bus.

IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X 
35. To Aux 1 and 2 Controls 41. To AUX 1 and 2 Controls
These controls allow users to adjust the signal level
These controls allow
of the Tape In that is sent to the auxiliary 1 and 2
users to adjust the
mixing buses.
signal level that is
being sent from the
Effects Engine to Master Control Section
the auxiliary 1 and
42. Stereo Return To AUX 1 and 2 Controls
2 mixing buses,
These controls adjust the pre-fader level of the signal
the signal of which
from the Stereo Return controls to the corresponding
is suitable for
AUX mixing buses for effect-to-monitor sends.
connecting stage
monitors, allowing
43. Stereo Return Level Controls
artists or engineers
to listen to the music These rotary control will alter the signal level that is
that is being played. sent from the Stereo Retuns to the Main L/R mix.

36. Mute Button 44. Stereo Return PFL Buttons

This button mutes The PFL - or Pre-Fader Listen - buttons are pushed
the EFX channel, to allow the Stereo Return signals to be sent to the
effectively stopping Control Room / Phones mix (pre-fader, post-EQ), for
the signal processed use with either headphones or studio monitors. This
by the built-in Effects allows easier tracking of audio by sound engineers.
Engine from being
sent to the Main L/R 45. AUX 1 and 2 Master Controls
mixing bus. These 60 mm fader will alter the signal level that is
37. PFL Button sent from the AUX 1 and 2 to their corresponding
outputs. Both faders are accompanied by AFL (or
The PFL – or Pre-Fader Listen – button is pushed After-Fader Listen) buttons, allowing users to send
to allow the signal of the Effects Engine to be sent the post-fader signal to the Control Room / Phones
to the CTRL RM / PHONES mix. This allows easier mixing bus.
tracking of audio by sound engineers.
38. DSP Effects Fader
This 60mm fader will alter the signal level that is sent
from the Effects Engine to the Main L/R mix.

Tape In Section
39. Level Control
This controls the level of the signal received through
the Tape In mixing bus, to be sent to the Control
Room / Phones and/or Main L/R mixing buses, as
selected by the user.

40. CTRL RM and MAIN Buttons

These buttons allow users to send the Tape In signal
to these particular mixes. Sending the Tape In
signal to the Control Room mixing bus is useful in
monitoring of the signal, whereas sending it to the
Main L/R allows users to combine the Tape In signal
with the main mix.To avoid any unwanted feedback,
don’t press the MAIN button down when the Record
Out signal is returned to the Mixer through the Tape
Inputs.

10 IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X
 46. Phantom Power Button and Indicator 48. Mono Channel Controls
When this button is pushed in, +48V
The 60 mm faders is the final level control for the
of Phantom Power is activated for all
Mono mixing bus, the signal of which is sent to the
microphone inputs, allowing condenser
Mono / Subwoofer output on the rear of the Impact.
microphones (well, the ones that don’t use
The included AFL button allows users to send the
batteries) to be used on these channels.
post-fader Mono signal to the Control Room mixing
Activating Phantom Power will be
bus.
accompanied by an illuminated LED above
the button. Before turning Phantom Power A Low Pass Filter has been included to cut unwanted
on, turn all level controls to a minimum to avoid high frequency sounds of the mono output at a rate
the possibility of a ghastly popping sound from the of 12 dB per octave, for a clearer bass sound when
speakers. using subwoofers. The switch turns the Low Pass
NB. Phantom Power should be used in conjunction with balanced Filter on and off, whereas the accompanying control
microphones. When Phantom Power is engaged, single ended adjusts the cut-off frequency between 60 and 160
(unbalanced) microphones and instruments should not be used Hz.
on the Mic inputs. Phantom Power will not cause damage to most
dynamic microphones, however if unsure, the microphone’s user
manual should be consulted. 49. Control Room / Phones Control
This control is used to adjust the audio level
of the Control Room and Phones feeds, for
use in the monitoring and tracking of audio.
The signal is then sent to the Control Room
outputs on the rear of the Impact mixer, as
well as the Phones jack on the face of the
mixer.
Typically, the signal sent to the Control Room and
Phones mixing buses will be the Main L and R signal,
however if any AFL (After-fader listen) buttons are
pushed, they will take precedent over the Main L
and R signal. If, however, a PFL (Pre-fader listen) is
pushed, that will be the signal heard instead of either
the AFL or Main L and R signals (as shown in the
table below).

Priority Signal
High From PFL
Medium From AFL

Low Main L/R

47. EFX Send 1 and 2 Master Controls

These rotary controls adjust the final level of the EFX
1 and 2 signals (as taken from the EFX controls on
each channel strip), the audio of which is sent to the
corresponding EFX sends. Also accompanying the
EFX Send controls is an AFL button, allowing users
to send the post-fader signal to the Control Room /
Phones mixing bus. The EFX 2 master control also
determines the final level of the audio sent to the
built-in Effects processor of the Impact X mixer.

IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X 11
50. Level Meter
These 12 segment level meters give an accurate
indication the level of the Main left and right audio
signals. The 0 dB indicator illuminates is approximately
equal to an output level of +4 dBu (balanced), and the
PEAK indicator illuminates about 1.5 dB before the
signal is dynamically clipped. To make the maximum
use of audio, set the various level controls so that it
sits steadily around 0 dB to make full use of audio,
while still maintaining fantastic clarity.
If any PFL or AFL buttons are activated, the Main L/R
Level Meter will display the properties of the Control
Room / Phones signal instead.

51. PFL/AFL Indicator

The PFL/AFL indicator on the top of this meter is bi-
colored, and illuminates green when a PFL switch is
active and red for an AFL. Due to the fact that any
PFL has priority over any AFL (see section 54), if
both an AFL and PFL are activated, only the green
PFL indicator will illuminated and processed by the
CTRL RM/PHONES control area.
52. Power Indicator
The Power Indicator will light up when the power of
the mixer is on; in case you weren’t too sure.
53. Main L/R Faders
These fader are the final level control for the Main
Left and Right audio feeds, sent to the Main Left and
Right outputs on the rear of the device. When pushed
all the way up, the Main L/R fader provides 10 dB of
gain to the signal, and when set all the way down, the
signal is effectively muted.

12 IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X
 DIGITAL EFFECT TABLE
NO PROGRAM NAME PARAMETER SETTING NO PROGRAM NAME PARAMETER SETTING
ROOM REV-TIME EARLY LEVEL PAN SPEED TYPE
00 COMPACT ROOM 1 0.05 100 56 SLOW PAN 0.1 R-->L
01 COMPACT ROOM 2 0.4 0 57 SLOW PAN 1 0.1 R<-->L
02 SMALL ROOM 1 0.45 100 58 SLOW PAN 2 0.4 R-->L
03 SMALL ROOM 2 0.6 90 59 MID SHIFT 0.8 R<-->L
04 MID ROOM 1 0.9 100 60 MID SHIFT 1 1.2 L-->R
05 MID ROOM 2 1 50 61 MID SHIFT 2 1.8 L-->R
06 BIG ROOM 1 1.2 100 62 MID SHIFT 3 1.8 R-->L
07 TUNNEL 3.85 100 63 FAST MOVE 3.4 R<-->L
HALL REV-TIME EARLY LEVEL TREMOLO SPEED MODE-TYPE
08 JAZZ CLUB 0.9 90 64 LAZY TREMOLO 0.8 TRG
09 SMALL HALL 1 1.5 72 65 VINTAGE TREMOLO 1.5 TRG
10 SMALL HALL 2 1.75 85 66 WARM TREMOLO 2.8 TRG
11 SPRING HALL 1.9 98 67 WARM TREMOLO 1 4.6 TRG
12 MID HALL 1 2.3 100 68 HOT TREMOLO 6.8 TRG
13 MID HALL 2 2.45 80 69 HOT TREMOLO 1 9.6 TRG
14 RECITAL HALL 2.7 96 70 CRAZY TREMOLO 1 15 TRG
15 BIG HALL 2 3.3 88 71 CRAZY TREMOLO 2 20 TRG
PLATE REV-TIME HPF DELAY+REV REV DELAY-1
16 SMALL PLATE 0.9 0 72 DELAY+REV 1 1 1
17 TAIL PLATE 1.2 20 73 DELAY+REV 2 2 2
18 MID PLATE 1 1.3 0 74 DELAY+REV 3 3 3
19 MID PLATE 2 2.2 0 75 DELAY+REV 4 4 4
20 REVERSE PLATE 2.25 42 76 DELAY+REV 5 5 5
21 LONG PLATE 1 2.6 80 77 DELAY+REV 6 6 6
22 LONG PLATE 2 3 625 78 DELAY+REV 7 7 7
23 LONG PLATE 3 4.2 0 79 DELAY+REV 8 8 8
DELAY-1(stereo) DELAY AVERG. R-LEVEL CHORUS+REV REV CHORUS
24 SHORT DELAY 1 0.07 60 80 CHORUS+REV 1 1 1
25 SHORT DELAY 2 0.14 60 81 CHORUS+REV 2 2 2
26 PING PONG DELAY 0.11 55 82 CHORUS+REV 3 3 3
27 MID DELAY 1 0.15 55 83 CHORUS+REV 4 4 4
28 MID DELAY 1 0.3 60 84 CHORUS+REV 5 5 5
29 SHORT DELAY 1 (MONO) 0.06 100 85 CHORUS+REV 6 6 6
30 MID DELAY 1 (MONO) 0.13 100 86 CHORUS+REV 7 7 7
31 LONG DELAY 1 (MONO) 0.18 100 87 CHORUS+REV 8 8 8
CHORUS LFO DEPTH FLANGER+REV REV FLANGER
32 SOFT CHORUS 0.2 56 88 FLANGER+REV 1 1 1
33 SOFT CHORUS 2 0.5 70 89 FLANGER+REV 2 2 2
34 SOFT CHORUS 3 0.8 75 90 FLANGER+REV 3 3 3
35 WARM CHORUS 1.8 85 91 FLANGER+REV 4 4 4
36 WARMER CHORUS 1 3.2 80 92 FLANGER+REV 5 5 5
37 WARMER CHORUS 2 5.2 45 93 FLANGER+REV 6 6 6
38 WARMER CHORUS 3 7.8 52 94 FLANGER+REV 7 7 7
39 HEAVY CHORUS 9.6 48 95 FLANGER+REV 8 8 8
FLANGER LFO DEPTH GATED-REV RELEASE REV
40 CLASSIC FLANGER 1 0.1 44 96 GATED-REV-1 9 0.02 TAIL PLATE
41 CLASSIC FLANGER 2 0.3 63 97 GATED-REV-2 10 0.2 TAIL PLATE
42 GENTLE FLANGER 0.6 45 98 GATED-REV-1 9 0.02 REVERSE PLATE
43 WARM FLANGER 1.6 60 99 GATED-REV-2 10 0.5 REVERSE PLATE
44 MODERN FALANGER 1 2 85 TAP DELAY FB LEVEL RANGE
45 MODERN FALANGER 2 2.8 80 A0 TAP DELAY 0 100mS - 2.7S
46 DEEP FALANGER 1 4.6 75 A1 TAP DELAY 10 100mS - 2.7S
47 DEEP FALANGER 2 10 60 A2 TAP DELAY 20 100mS - 2.7S
PHASER LFO DELAY A3 TAP DELAY 30 100mS - 2.7S
48 CLASSIC PHASER 1 0.1 3.6 A4 TAP DELAY 40 100mS - 2.7S
49 CLASSIC PHASER 2 0.4 2.6 A5 TAP DELAY 50 100mS - 2.7S
50 COOL PHASER 1.4 0.7 A6 TAP DELAY 60 100mS - 2.7S
51 WARM PHASER 3.2 0.3 A7 TAP DELAY 70 100mS - 2.7S
52 HEAVY PHASER 1 5 1.2 A8 TAP DELAY 80 100mS - 2.7S
53 HEAVY PHASER 2 6 2.8 TEST TONE FREQUENCY SHAPE
54 WILD PHASER 1 7.4 0.8 T0 LOW FREQUENCY 100Hz SINEWAVE
55 WILD PHASER 2 9.6 4.8 T1 MID FREQUENCY 1kHz SINEWAVE
T2 HIGH FREQUENCY 10kHz SINEWAVE
PN PINK NOISE 20Hz~20kHz

IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X 13
APPLICATION

PA OR LIVE EVENT SETUP

14 IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X
 CHURCH SETUP

IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X 15
SPECIFICATIONS

IMPACT 8.4(X) IMPACT 12.4(X) IMPACT 16.4(X) IMPACT 24.4(X)

Inputs
Balanced Mic / Line channel 8 12 16 24
Stereo channel with mic
2 2 2 2
preamp
Stereo Aux Returns 2 2 2 2
2T Input Mini stereo and stereo RCA
Outputs
Main L/R Stereo 2 x 1/4” TS, Unbal. & 2 x XLR
Main Mono 1 x 1/4” TS, Unbal. & 1 x XLR
Aux sends 4, 4x 1/4” TS Unbal & 2x XLR
Rec Out Mini stereo and stereo RCA
CTRL RM L/R 2 x 1/4” TS 2 x 1/4” TS 2 x 1/4” TS 2 x 1/4” TS
Phones 1 1 1 1
Channel Strips 10 14 18 26
Aux Sends 4 4 4 4
Pan/Balance Control Yes Yes Yes Yes
Channel On/Mute Yes Yes Yes Yes
Channel Solo(PFL) with
Yes Yes Yes Yes
metering
LED indicators Mute/Peak, Signal/PFL
Volume Controls 60mm fader 60mm fader 60mm fader 60mm fader
Master Section
Aux Send Masters 4 4 4 4
Master Aux Send Solo(AFL) 4 4 4 4
Stereo Aux Returns 2 2 2 2
Effects Return to Monitor 3 3 3 3
Faders (60 mm) Efx Rtn, Aux 1, Aux 2, Mono, Main L/R
Metering
Number of Channels 2 2 2 2
Segments 11 11 11 11
Phantom Power Supply +48V DC +48V DC +48V DC +48V DC
Switches Master Master Master Master
Effect Processor Impact X Models only: 100 effects with tap delay control
(32-bit DSP) 32/40-BIT DSP with test tone and foot switch(effect on/off)
Frequency Response (Mic input to any output)
20Hz ~ 60KHz +0/-1 dB +0/-1 dB +0/-1 dB +0/-1 dB
20Hz ~ 100KHz +0/-3 dB +0/-3 dB +0/-3 dB +0/-3 dB
Crosstalk (1KHz @ 0dBu, 20Hz to 20KHz bandwidth, channel in to main L/R outputs)
Channel fader down, other
<-90 dB <-90 dB <-90 dB <-90 dB
channels at unity
Noise (20Hz~20KHz; measured at main output, Channels 1-4 unit gain; EQ flat; all channels on main mix; chan-
nels 1/3 as far left as possible, channels 2/4 as far right as possible. Reference=+6dBu)
Master @ unity, channel fader
-86.5 dBu -86.5 dBu -86.5 dBu -86.5 dBu
down
Master @ unity, channel fader
-84 dBu -84 dBu -84 dBu -84 dBu
@ unity

16 IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X
 S/N ratio, ref to +4” not
>90 dB >90 dB >90 dB >90 dB
98145.451
Microphone Preamp E.I.N.
(150 ohms terminated, max <-129.5 dBm <-129.5 dBm <-129.5 dBm <-129.5 dBm
gain)
THD (Any output, 1KHz @
+14dBu, 20Hz to 20KHz, <0.005% <0.005% <0.005% <0.005%
channel inputs)
CMRR (1 KHz @ -60dBu,
80dB 80dB 80dB 80dB
Gain at maximum)
Maximum Level
Mic Preamp Input +10dBu +10dBu +10dBu +10dBu
All Other Input +22dBu +22dBu +22dBu +22dBu
Unbalanced Output +22dBu +22dBu +22dBu +22dBu
Balanced Output +28dBu +28dBu +28dBu +28dBu
Impedance
Mic Preamp Input 2 K ohms 2 K ohms 2 K ohms 2 K ohms
All Other Input (except insert) 10 K ohms 10 K ohms 10 K ohms 10 K ohms
All other output 100 ohms 100 ohms 100 ohms 100 ohms
RCA 2T Output 1.1 K ohms 1.1 K ohms 1.1 K ohms 1.1 K ohms
Equalization 3-band, +/-15dB 3-band, +/-15dB 3-band, +/-15dB 3-band, +/-15dB
Low EQ 80Hz 80Hz 80Hz 80Hz
100-8k Hz, 100-8k Hz, 100-8k Hz, 100-8k Hz,
Mid EQ (mono channel)
sweepable sweepable sweepable sweepable
Mid EQ (stereo channel) 800, 3k Hz 800, 3k Hz 800, 3k Hz 800, 3k Hz
Hi EQ 12 kHz 12 kHz 12 kHz 12 kHz
Low cut filter (on mono chan-
75 Hz (-18 dB/oct) 75 Hz (-18 dB/oct) 75 Hz (-18 dB/oct) 75 Hz (-18 dB/oct)
nel)
Low pass filter on main mono 60-160 Hz variable 60-160 Hz variable 60-160 Hz variable 60-160 Hz variable
output (-12 dB/oct) (-12 dB/oct) (-12 dB/oct) (-12 dB/oct)
Built-in Switching Power 100-240 VAC, 100-240 VAC, 100-240 VAC, 100-240 VAC,
Supply 50/60 Hz 50/60 Hz 50/60 Hz 50/60 Hz
Net Weight 7.2 kg (15.9 lbs) 8.7 kg (19.2 lbs) 10.5 kg (23.1 lbs) 13.5 kg (29.7 lbs)
510x112x437.2 642x112x437.2 774x112x437.2 1038x112x437.2
Dimensions (WxHxD) mm mm mm mm
(20”x4.4”x17.2”) (25.3”x4.4”x17.2”) (30.5”x4.4”x17.2”) (40.9”x4.4”x17.2”)

IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X 17
DIMENSIONS

measurements are shown in mm / inches

IMPACT 8.4(X) IMPACT 12.4(X) IMPACT 16.4(X) IMPACT 24.4(X)

X (mm/inches) 440/17.3 572 / 22.5 704 / 27.7 968 / 38.1
Y (mm/inches) 510/20 642 / 25.3 774 / 30.5 1038 / 40.9

18 IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X
 BLOCK DIAGRAMS

IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X 19
6103 Johns Road #7