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The CONTROL ROOM LEVEL pot P86 sets the level to the control room monitors. This is sourced post the
main main mix stereo fader setting: otherwise you wouldnt be able to hear your fades. There is also a similar
STUDIO volume pot (P82).
+Owners of MIDI production suites might like to drive a second pair of control room speakers
from the studio output, but take care when using the TALKBACK mic: no -20 dB offset is
applied to the studio output!
We would like to recommend you to use half-a-dozen sets of speakers on an external switching matrix,
including studio monitors, ghettoblaster, club system, car stereo and overblown 2" speakers loosely screwed
into a less-than-airtight cardboard box.
+If you are using the STUDIO output to drive a pair of monitors actually in the studio, do not
ever leave P82 turned up during a take. Howls and howlround may well be the result.
Lastly, there is a MONO button (S86), useful for checking the phase correlation and/or coherence of a stereo
signal. Again, this does not affect the main mix output.

6.4 Headphones

Both HEADPHONES 1 & 2 masters are identical.
Fig. 6.5: Phones
A SOURCING matrix picks up any or all of MIX-B (S76), CONTROL ROOM (as chosen in monitor section,
S77), AUX 3/4 (S78), AUX 5/6 (S79) and EXTERNAL (S80). In addition to the sources which are directly
selectable from the headphones masters, aux returns 3 to 6 may be force-fed into HP1 & HP2 from the aux
returns masters (S55, S56, etc.).
The headphone mix level is controlled by a master volume pot (P75), and the gain is sufficient to drive
headphones directly. This is fine for a MIDI suite with overdub booth, but for the bigger studios headphone
network wed recommend using a separate headphones distribution amplifier like our BEHRINGER
POWERPLAYPRO HA4400. This can offer the added advantage of independent headphones level control
for every performer.
A SOLO button (S81), with its own LED, enables monitoring of the headphones amplifiers output signal.
This way the engineer can monitor whats going on in the cans on the control room monitors, though in our
experience this does not give as true a picture as auditioning the cue feed from a set of headphones identical
to those worn by the performer(s).