Line Input

	channel path (see section 9) the insert is after that sec-
	tion, allowing equalisation of both the insert send and
	return. The signal from the channel appears on the TIP
	of the plug and is returned on the RING. The insert
	point allows limiters, compressors and other signal
	processing units to be added as required to particular
	input channels.

4.	LINE INPUT
	The LINE Input is a 1⁄4" 3 pole ‘A’gauge jack socket, to
	accept balanced or unbalanced line level sources when
	the LINE switch(5) is pressed. Unlike the low imped-
	ance Microphone input, this stage presents a high
	impedance(>10kΩ) to the input signal, enabling many
	types of instruments to be plugged straight in without
	D.I. boxes or external preamplifiers.
	Line inputs will be useful as extra Effects Returns,
	where additional post-effect equalisation is required.

5.	LINE SELECT
	The LINE switch selects Line input when pressed, and
	Microphone input when released. When Line is se-
	lected the Gain range is reduced by 20dB(see 6 below).

6.	GAIN CONTROL
	When the Microphone input is selected this control acts
	as a SENSITIVITY control covering a 50dB range. Chan-
	nel signal level increases as the control is turned
	clockwise. When the Line input is selected it serves as
	a GAIN control, with the scaling reduced by -20dB from
	the printed scale. There is a line-up mark at the Line in-
	put unity gain point.	Some audio	equipment,
	particularly that intended for domestic use, operates at
	a nominal -10dBV level and an increased Gain setting
	will be required.

7.	CHANNEL/MONITOR INPUT REVERSE
	Normally the input to the	Channel is	the Mic/Line

source, while the input to the Monitor path is the tape return. The CHANMNTR INPUT REV switch swaps over these inputs, allowing the tape return signal to be brought down the full facilities of the Channel path dur-

Page 11

LINE SELECT

GAIN CONTROL

CHANNEL/MONITOR INPUT REVERSE