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es the polarity of the output of the
Even when there is only one microphone being recorded, it may be useful to try the “Reverse” position of the Phase control. Although there is supposed to be standardization in polarity throughout the professional audio equipment industry, it is possible that a wiring error or the use of vintage equipment built before standardization may reverse the polarity in the recording/monitoring chain. The effect of reversed absolute polarity is subtle, but signif- icant with some sounds. If the “Reverse” position sounds better, use it.
With more than one microphone on the same sound source (or picking up leakage from another sound source), the Phase switch may have a profound effect on the audio quality. Whichever position sounds best is correct. A check of monaural compatibility (by summing the various mics) should also be performed.
For a vocalist monitoring his or her voice in the headphones, the position of the Phase switch will drastically alter the performer’s perception of their own voice. If there is no other reason not to, try both positions of the Phase switch to see which is preferred.
6.Mic/Inst switch: Switches between the rear panel input connector (for mic or line input) and the front panel 1/4” Inst jack.
7.Preamp Gain: Adjusts the input level, mic, instrument, or line.
Compressor Controls
Threshold The Threshold control adjusts the point where compression begins. With the con- trol all the way down, there is no compression and the
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Gain Whenever compression is applied, the signal is reduced in level by the amount of gain reduction. The Gain control allows you to make up the lost gain as necessary. At the full
Attack This control adjusts the time it takes the
Release The Release control adjusts how long it takes for the gain to return to normal after a sound ceases (or drops in level). Fast release times add more energy to the sound, but can
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