INPUT STEREO
18. LINE TRIM
Control for matching incoming line level signals to the mixer’s operating level. The total adjustment range is 30dB. Unity gain – no amplification (0 dB) – is achieved at the 0dB mark. The control offers level reduction of
If your sound source is a keyboard connected to one of the stereo inputs, make sure that no split zones or layers with channel separation are activated. Otherwise, the stereo channel mapping will appear like it is set on the keyboard – the lower layer in the left and the top layer in the right channel – and you will not have the opportunity to
One more tip, in case you desperately need another input and all channels of the CMS are already in use: The microphone input and the phone
This option is only meant as a subsidiary function and should only be used when there is absolutely no other alternative.
19. EQ SECTION |
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The mixer’s EQ section allows very comprehensive and effective 20 |
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shaping of the incoming audio signal within miscellaneous frequency | 15 |
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bands. Turning one of the EQ level controls to the right enhances/ 10 |
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amplifies the corresponding frequency range while turning it to the left | 5 |
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lowers/attenuates the signal of that specific frequency band. Before |
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you begin to alter the sound, all EQ controls should be set to their | 0 |
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neutral position, i.e. their marker points straight up (locked in place). Do |
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not set the EQ controls to extreme positions. Usually, minor changes |
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are totally sufficient and produce the best results in the overall sound. |
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You should use the natural reproduction as an orientation mark and |
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rely on your musically trained ear. The moderate use of the MID control |
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20 | 100 |
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is the best remedy to avoid acoustical feedback. Especially in this frequency range you should try to avoid excessive enhancement. Lowering the level more or less in this band will provide you with high amplification rates without feedback.
The STEREO channels’ EQ section is designed in a way that HI and LO controls provide a degree of control that is equally adequate for LINE level inputs and microphones. The MID control is active in a comparably wide frequency band around 2.4 kHz. Especially with microphone applications this range turned out to be critical, so that slightly attenuating the mids offers excellent results.
20. AUX / FX 1/2
These controls determine the amount of the summed L and R signals that are sent
21. AUX3/4
These controls determine the amount of the summed L and R signals that are sent to the AUX3 or AUX4 summing bus. Depending on the setting of the AUX PRE/POST switch in the master section, you can choose whether the signal gets split PRE or POST FADER. For more details on the functioning of these controls, please refer to the INPUT/MONO section of this owner’s manual.
22. BAL
The function of the stereo channels’ BAL control is comparable to the PAN control’s function of monaural channels. For example, turning the rotary control all the way to the right outputs the right signal via the right output while muting the signal of the left channel. When the control is set to its center position, the L and R signals are present with equal intensity on the corresponding outputs. Whenever stereo sound sources are connected to a stereo input, you should leave the BAL control at the center position or make only minor adjustments in either direction. In case a microphone or another monaural sound source is connected, the BAL controls function absolutely identical to the PAN controls in the monaural input channels.
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