2-3-3. REVERB RETURN TO MAIN CONTROL. This control determines how much of the signal from the reverb system is added or returned to the main mix.
2-3-4. REVERB RETURN TO MONITOR CONTROL. Determines how much of the signal from the reverb system is added to the monitor mix. Many vocalists like to hear some reverb on their voices in the monitor system; be aware that reverb in the monitors increases the likelihood of feedback in the monitor system due to increased gain.
2-3-5. EFF./REV. SEND LEVEL CONTROL. The mix created by the settings of the channel EFF./REV. con- trols appears at the EFF. OUPUT jack, as well as being sent to the reverb system. The signal level at the EFF. OUTPUT jack is adjusted by the individual channel EFF./REV. controls, and the EFF./REV. SEND LEVEL master control.
2-3-6. AUX. LEVEL CONTROL. Signals patched into the AUX. INPUT jack and / or the TAPE INPUTS are sent to the Main buss via the AUX. LEVEL control. This control determines how much of the AUX. INPUT sig- nal appears in the main mix.
2-3-7. GRAPHIC EQUALIZER. The 9 band graphic equalizer consists of active band pass / band reject fil- ters spaced at octave intervals. The lowest frequency filter is centered at 63Hz while the highest frequency filter is centered at 16kHz. All others are centered on the frequencies indicated below their sliders. Moving the sliders up or down boosts or cuts the gain at the indicated frequencies. This allows the sound engineer to suppress feedback by compensating for room reso- nances encountered in live sound reinforcement appli- cations. The EQ controls are accurately scaled in dB to indicate the amount of cut or boost applied at each frequency.
NOTE: It is possible for distortion to occur in the Graphic Equalizer if excessive attenuation is used (slid- er well below center) while also trying to achieve sig- nificant level within the attenuated bands.
2-3-8. DIGITAL REVERB AND EFFECTS CONTROLS. The internal DSP (Digital Signal Processor) system pro- vides 126 different types of reverb and effects. These are selected by the two rotary switch controls located in the DIGITAL REVERB and EFFECTS section of the front pannel. These two controls work together to select and modify each reverb sound or effect algo- rithm. When the bottom switch chooses one of the fourteen reverb selections, the top switch chooses the reverb or delay time. When the bottom switch is in the SPECIAL EFFECTS setting, the top switch chooses the special effects algorithm. This is indicated by the pan- nel graphics, which show light and dark colored sec- tions.
2-3-9. PHANTOM POWER (Select Switch and Indicator LED). Engaging the switch applies 15 volts of phantom power to all the XLR microphone input con- nectors for powering electret condenser microphones.
When the LED is illuminated, the phantom power is on. The 15 volts used for phantom power will run nearly all condenser microphones.
PHANTOM POWER LED. The green LED is the “phan- tom power on” indicator.
2-3-10. DELTACOMPTM. The yellow DELTACOMPTM LED comes on when excessive signal levels are being sent to the power amp. It illuminates on signal peaks that cause clipping (distortion) with DELTACOMPTM not activated, or for signal peaks that cause DELTACOMPTM to reduce power amp input level (DELTACOMPTM active). If the limiter is on for a large percentage of the time, the dynamic range of the system is reduced and the overall sound suffers; for this reason, level controls should be adjusted so that the LIMIT light only flashes on occasional signal peaks.
DELTACOMPTM SWITCH. DELTACOMPTM is activated by engaging the DELTACOMPTM SWITCH.
2-3-11. POWER LED. The red POWER LED is the front panel “power on” indicator.
2-4. PATCH BAY.
2-4-1. MAIN OUTPUT. Signals from each of the channels are combined with AUX. and TAPE INPUTS and the REVERB RETURN TO MAIN signal to form the final main mix. The overall level of the mix is con- trolled by the MAIN MASTER control and this mix appears at the MAIN OUTPUT jack. The mix is also normally passed on to the GRAPHIC EQUALIZER and to the power amplifier (see Sections 2-4-5 and 2-4-9). Inserting a plug into the MAIN OUTPUT jack does not interrupt the normal signal flow. It can be used for inserting signal processing equipment into the signal path (see Section 4-5), using the MAIN OUTPUT as a send, and the GEQ INPUT as a return.
2-4-2. MONITOR OUTPUT. Signals present on the Monitor buss are combined in the monitor summing amplifier and sent to the MONITOR OUTPUT jack.
The signal level present at this output is determined by the MONITOR MASTER control.
2-4-3. EFF. OUTPUT / REVERB FOOTSWITCH. Signals present on the Effects/Reverb buss are mixed in the Effects/Reverb summing amplifier. This mix is sent both to the Reverb driver and to the EFF. OUTPUT jack. Thus the mix created by the settings of the EFF./REV. level controls on each of the preamp chan- nels is present at the EFF. OUTPUT jack. The overall level at this output is determined by the master mix section EFF./REV. SEND LEVEL control. This output may be used to drive external effects (echo units, phase shifters, flangers, digital delays, etc.). The return signal from the effect may be patched into the mixer through the AUX. INPUT jack, or by way of a preamp channel 1/4” input jack. Use of a preamp channel as a return gives you the ability to shape the frequency response of the signal; however, care must be taken to insure that the EFF./REV. control on that
