3. INSERT Stereo phone jack with breaker function. The low impedance output is assigned to the tip (send)
and the high impedance input (return) is assigned to the ring (body). This jack allows the connection
of external compressors, limiters, EQs, de-noisers, etc. into the corresponding channel’s signal
path. The insertion point is post gain controls, Lo-Cut filters, and voicing stage and pre sound
shaping section and faders. You have to use a stereo phone plug – according to the following
diagram – in case you intend to use this jack as a true insert bus.
If you want to use this socket as a DIRECT OUT (Pre EQ), the stereo phone plug’s tip and ring
have to be short circuited, so that the audio signal is not interrupted. If you are using a monaural
phone plug instead, you will get a DIRECT OUT with breaker function – the signal flow within the
channel is interrupted.
4. GAIN Rotary control to adjust the MIC/LINE inputs’ sensitivity. These controls let you optimally adjust
the incoming signals to the mixer’s internal operation level. Cautious adjusting offers the benefits
of an improved S/N-ration and provides you with the full bandwidth of the PowerMate’s outstanding
sound capabilities. On the XLR-type connectors an amplification of +10dB is achieved when the
control is set all the way to the left and +60dB when the control is set all the way to the right.
Especially when dealing with very low input levels, like they occur during vocal recordings or when
the sound source is located in a distance, the high gain is extremely profitable. Using the
LINE-input, the signal is generally attenuated by –20 dB. The total adjustment range of 50dB stays
the same. The LINE-input’s unity gain – no amplification (0 dB) – is achieved at the 20dB mark.
The following is meant as a short note for your assistance on how to determine the right input
level:
Note on how to adjust the input level:
1. Set the gain control and the corresponding channel fader to their lowest setting.
2.Connect the desired sound source (microphone, musical instrument, etc.) to the MIC or
LINE input.
3.Play the sound source at its highest volume – respectively sing or speak as loud as possible
directly into the microphone.
4.While you are playing the sound source or singing into the microphone, adjust the input level
using the gain control, so that during the loudest passages the PEAK LED is just not lit, but
the SIGNAL - LED lights constantly.
This is the basic channel setting, leaving you with at least 6dB of headroom. Which means, you
have at least a range of 6dB before signal clipping. In case you intend to make further adjustments
to the channel’s EQ setting, you should perform the steps 3. and 4. again afterwards, since changes
in the sound shaping section also influence the channel’s overall level.
5. LO CUT 80 HzWhen the LO CUT switch is engaged, fre-
quencies below 80 Hz are attenuated (18dB
octave). In most cases using the LO CUT
filter with microphone channels is a good
advice, since it efficiently surpresses pop-
ping sounds and rumbling noise. The only
exceptions are kick drum and acoustic bass.
INSERT
DIRECT OUT
INPUT/MONO
33