YX

N

O

 

9

1

MIC PRE

 

 

 

2

 

 

 

3

 

YX

M

 

 

YX

M

 

 

IC

PR

 

IC

PR

N

 

N

 

O

 

 

E

O

 

 

E

 

YX

N

O

 

MIC

4

CTRL - RM OUT

 

MAIN OUT

ALT 3-4 OUT

15 TAPE

16

 

BAL/UNBAL

 

 

BAL/UNBAL

BAL/UNBAL

 

L

 

P

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

R

 

 

 

 

 

 

 

 

E

12

 

 

13

14

 

 

 

 

 

 

 

IN

OUT

 

 

 

 

 

 

 

 

L

R

L

R

L/3

R/4

R

 

 

LINE IN 5-6

LINE IN 7-8

 

LINE IN 9-10

LINE IN 11-12

 

 

 

10

1

2

3

4

 

L

L

L

L

17

LINE

LINE

LINE

LINE

11

(MONO)

(MONO)

(MONO)

(MONO)

 

18

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

 

LINE

LINE

 

 

 

 

 

 

 

HI-Z

HI-Z

75Hz

75Hz

 

R

R

R

R

 

 

 

18dB/OCT

18dB/OCT

 

 

 

 

 

 

 

 

 

 

19

48V 20

48V

48V

48V

 

 

 

 

 

PREMIUM ANALOG MIXER w/ PERKINS EQ & FIREWIRE

 

 

 

 

 

 

Insert jacks continued...

 

ring

 

SEND to processor

tip

(TRS plug)

“tip”

sleeve

 

This plug connects to one of the

“ring”

mixer’s Channel Insert jacks.

RETURN from processor

Insert jacks can be used as channel direct outputs; post-gain, and pre-EQ. See the connector section on page 29 (figure G) showing three ways to use inserts.

Connection Section

This is where you plug in things such as: microphones, line-level instruments, guitars, effects, a recorder, PA system, powered monitors, powered subwoofer, etc. Check out the hookup diagrams for some connection ideas. See Appendix B (page 28) for further details and some rather lovely drawings of the connectors you can use with your mixer.

9. MIC INPUTS

This is a female XLR connector, that accepts a balanced microphone input from almost any type of microphone. The microphone preamps feature our Onyx design, with higher fidelity and headroom rivaling any standalone mic preamp on the market today.

The XLR inputs are wired as follows:

Pin 1 = Shield or ground

Pin 2 = Positive (+ or hot)

Pin 3 = Negative (– or cold)

We use phantom-powered, balanced microphone inputs just like the big studio mega-consoles, for exactly the same reason: This kind of circuit is excellent at rejecting hum and noise. You can plug in almost any kind of mic that has a standard XLR-type male mic connector.

Professional ribbon, dynamic, and condenser mics all sound excellent through these inputs. The mic inputs will handle any kind of mic level you can toss at them, without overloading.

Microphone-level signals are passed through the mixer's splendid microphone preamplifiers to become line-level signals.

PHANTOM POWER

Most modern professional condenser mics require 48V phantom power, which lets the mixer send low- current DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro condenser mics often have batteries to accomplish the same thing.) “Phantom” owes its name to an ability to be “unseen” by dynamic mics (Shure SM57/SM58, for instance), which don’t need external power and aren’t affected by it anyway.

Phantom power for each channel can be selected using that channel's phantom [20] switch.

Never plug single-ended (unbalanced)

microphones, or ribbon mics into the mic input jacks if phantom power is on. Do not

plug instrument outputs into the mic XLR input jacks with phantom power on, unless you are certain it is safe.

10. MONO LINE INPUTS (Ch. 1-4)

These 1/4" jacks share circuitry (but not phantom power) with the mic preamps, and can be driven by balanced or unbalanced sources.

To connect balanced lines to these inputs, use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, wired as follows:

Tip = Positive (+ or hot) Ring = Negative (– or cold) Sleeve = Shield or ground

Owner's Manual 13