with pre-programmed channel mapping is to use two adjacent monaural input channels, leaving
you the option to place the sound in the final mix via PAN controls.
One more tip, in case you desperately need another input and all channels of the PowerMate are
already in use:
The microphone input and the phone plug-type inputs are electrically totally separated from each
other. Each input is equipped with its own gain control – respectively trim control, providing you
with the possibility to connect a LINE level sound source in addition to a microphone. Of course,
the two sources share all other controls. Consequently, separate adjustments are not possible.
Hence to that fact, this option is only meant as a subsidiary function and should only be used when
there is absolutely no other alternative.
18. EQ SECTION
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within
miscellaneous frequency bands. Turning one of the EQ level controls to the right enhances/am-
plifies the corresponding frequency range while turning them to the left lowers/attenuates the signal
of the specific frequency band. Before you begin to alter the sound, all EQ controls should be set
to their neutral position; that is: their marker points straight up (locked in place). Do not set the EQ
controls to extreme positions. Usually, minor changes are totally sufficient and produce the best
results in the overall sound. You should use the natural reproduction as an orientation mark and
rely on your musically trained ear, being the perfect instrument to judge the sound quality. The
moderate use of the MID control 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 HI and LO controls of the STEREO channels’ EQ section 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. With most microphones this is the critical range, where a
slight attenuation offers excellent results.
19. AUX/FX
These controls determine the amount of the summed L/R signal that is send to the AUX/FX bus.
The signal split is POST FADER. For more details on the functioning of these controls, please
refer to the INPUT/MONO section of this owner’s manual.
20. AUX3
These controls determine the amount of the summed L/R signal that is send to the AUX3 bus.
Depending on the setting of the AUX3 POST switch within the PowerMate’s master section you
can choose if the signal gets split PRE or POST FADER.
INPUT/STEREO
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