come on as a result of clipping. That’s pretty boring. So, to liven things up, this LED will glow steadily when that channel’s MUTE switch is engaged.
If you need a quick reference to these LEDs, write this on the back of your hand:
name | color | flickering | glowing |
green | signal is present | channel is soloed | |
OL (MUTE) | red | channel is clipping | channel is muted |
MUTE
Engaging a channel’s MUTE switch pro- vides the same results as turning the fader all the way down: Any channel assignment to 
will be silenced, as will the DIRECT OUT signals on channels 1 through
8. And of course, that 
, channel INSERT send 
and SOLO (in LEVEL SET (PFL) mode) will continue to function during MUTE.
Depending on the audio content in a chan- nel, engaging its MUTE switch may cause a slight popping sound. This is not a problem within the mixer, and it can be avoided: Sim- ply engage the LOW CUT switch 
on each channel (unless its low frequency content is vitally important, such as a kick drum or bass guitar). LOW CUT eliminates subsonic de- bris, which causes the pop, and its effect is usually transparent.
PAN
PAN adjusts the amount of channel signal sent to the left versus the right outputs. Pan de- termines the fate of the
Stereo Sources
Your life will be easier if you follow this standard convention: When patching stereo sound sources to a mixer, always plug the left signal into an “odd” channel (1, 3, 5, etc.) and the right signal into the adjacent “even” chan- nel (2, 4, 6, etc.). Then pan the odd channel hard left and the even channel hard right.
CONSTANT LOUDNESS ! ! !
The
controls employ a design
called “Constant Loudness.”
It has nothing to do with living next to a freeway. As you turn the PAN knob from left to right (thereby causing the sound to move from the left to the center to the right), the sound will appear to remain at the same volume (or loudness).
If you have a channel panned hard left (or right) and reading 0dB, it must dip down about 4dB on the left (or right) when panned center. To do otherwise, like those Brand X mixers, would make the sound appear much louder when panned center.
3-BAND MID-SWEEP EQ
The
The LOW EQ provides up to 15dB boost or cut at 80Hz. The circuit is flat (no boost or cut) at the center detent position. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers.
+15 |
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+10 |
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+5 |
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0 |
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20Hz | 100Hz | 1kHz | 10kHz 20kHz |
Used in conjunction with the LOW CUT switch 
, you can boost the LOW EQ without injecting a ton of subsonic debris into the mix. We recommend using the LOW CUT feature on all channels, except low frequency signals, like kick drums and bass guitars.
The MID EQ , or “midrange,” has a fixed bandwidth of 1.5 octaves. The MID knob sets the amount of boost or cut, up to 15dB, and is effectively bypassed at then center detent. The frequency knob sets the center frequency, sweepable from 100Hz to 8kHz.
TRIM |
| 1 |
IC GAI | ||
M |
| N |
U |
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10 |
| 60 |
+10dB |
| |
AUX | U |
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1 |
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OO |
| +15 |
| U |
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2 |
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OO |
| +15 |
PRE |
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| U |
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3 |
| 5 |
OO |
| +15 |
| U |
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4 |
| 6 |
OO |
| +15 |
5/6 |
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SHIFT |
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EQ | U | HI |
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| 12k |
| +15 | |
| U | MID |
| +15 | |
800 | ||
200 |
| 2k |
100 |
| 8k |
| U | LOW |
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| 80Hz |
| +15 | |
LOW CUT |
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75 Hz |
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18dB/OCT |
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PAN |
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L |
| R |
1 |
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MUTE |
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| OL |
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| SOLO |
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| L - R |
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| OO |
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