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

TAPE

 

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

L

P

 

 

 

 

 

 

 

R

 

 

 

 

E

 

 

 

 

12

 

 

 

 

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

 

 

 

 

 

 

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

 

 

 

 

 

 

 

 

 

 

 

CTRL ROOM/PHONES

 

 

30

30

 

30

30

U

 

U

 

U

 

U

 

 

 

U

 

U

 

 

U

 

U

 

 

 

 

 

 

SOURCE

 

0dB=0dBu

40

 

40

40

40

 

 

 

 

 

 

 

 

 

 

20

20

 

20

20

 

 

 

 

 

 

 

 

 

 

 

 

 

 

21U

GAIN

 

 

GAIN

 

GAIN

 

GAIN

 

GAIN

 

GAIN

 

GAIN

 

GAIN

 

 

 

 

L

R

60

U

 

60

U

60

U

60

-20dB

 

-20dB

 

-20dB

 

-20dB +20dB 23

 

 

 

 

20

CLIP

-20dB

+40dB

-20dB

+40dB

-20dB

+40dB

-20dB

+40dB

+20dB

+20dB

+20dB

 

MAIN MIX

 

15

 

SEND

 

SEND

 

SEND

SEND

SEND

 

SEND

 

SEND

 

SEND

INPUT

 

 

 

 

10

 

22

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PRE

 

 

PRE

 

PRE

 

PRE

 

PRE

 

PRE

 

PRE

 

 

 

 

 

 

6

 

 

POST

 

 

POST

 

POST

 

POST

 

POST

 

POST

 

POST

 

 

 

 

 

 

 

U

EQ

 

U

EQ

U

EQ

U

EQ

U

EQ

U

EQ

U

EQ

U

LINE

 

TAPE

 

3

 

 

FW 1-2

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

24

HIGH

 

 

HIGH

 

HIGH

 

HIGH

 

HIGH

 

HIGH

 

HIGH

 

HIGH

 

 

 

 

0

 

 

 

 

 

 

 

 

 

 

FW 1-2

ALT 3-4

2

 

12kHz

-15

 

12kHz

-15

12kHz

-15

12kHz

 

12kHz

 

12kHz

 

12kHz

 

12kHz

 

LEVEL

-15

+15

 

+15

+15

+15

-15

+15

-15

+15

-15

+15

-15

+15

 

 

 

 

 

 

 

 

 

 

4

SET

1k

1k

 

1k

1k

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

25

FREQ

 

 

FREQ

 

FREQ

 

FREQ

 

27

 

 

 

 

 

 

 

 

 

 

7

 

 

 

 

 

U

U

 

U

 

U

 

 

ASSIGN TO

 

10

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

100

8k

100

 

8k

100

8k

100

8k

 

 

 

 

 

 

 

 

MAIN MIX

 

20

 

 

 

MID

 

MID

 

MID

 

MID

 

 

 

 

 

U

 

 

U

 

U

 

U

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

26

 

 

 

 

 

 

 

 

 

2.5kHz

 

2.5kHz

 

2.5kHz

 

2.5kHz

 

 

 

 

30

 

MID

 

 

MID

 

MID

 

MID

-15

+15

-15

+15

-15

+15

-15

+15

OO

 

OO

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

-15

+15

-15

 

+15

-15

+15

-15

+15

 

 

 

 

 

 

 

 

 

MAX

 

MAX

RUDE

 

 

 

 

 

 

 

 

 

CONTROL

PHONES

U

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

 

 

 

 

 

 

 

 

SOLO

28

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ROOM

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LOW

 

 

LOW

 

LOW

 

LOW

 

LOW

 

LOW

 

LOW

 

LOW

 

 

 

 

 

 

80Hz

 

 

80Hz

 

80Hz

 

80Hz

 

80Hz

 

80Hz

 

80Hz

 

80Hz

 

 

AUX MASTER

 

-15

+15

-15

 

+15

-15

+15

-15

+15

-15

+15

-15

+15

-15

+15

-15

+15

 

 

 

18. HI-Z SWITCH (Ch. 1 and 2 only)

Engage this switch if you want to connect guitars directly to the 1/4" line inputs of channels 1 or 2.

Without this switch, you need to use a DI box first, before connecting guitars. If these switches are not pressed in, guitars will not sound good, particularly the high frequency response.

Plugging a guitar into a lower-impedance

line-level input can result in the loss of high

frequencies, causing an unnatural and dull sound. Normally, you must use a direct box between a guitar and a mixer’s input, which serves to

convert the impedance of the guitar from high to low. The hi-z inputs on channels 1 and 2 make the need for a direct box unnecessary. However: The hi-z inputs are unbalanced (when the switch is in), so if you’re doing a live show and running a long cord between the instrument and the mixer (say over 25 or 30 feet), it is best to use a direct box with a balanced output to avoid picking up noise over the length of the cord.

19. LOW CUT (Ch.1–4 only)

The mono channels each have a low-cut switch (often referred to as a high-pass filter) that cuts bass frequencies below 75 Hz at a rate of 18 dB per octave.

The low cut switch affects both the mic and line inputs.

We recommend that you use low-cut on every microphone application except kick drum, bass guitar, or bassy synth patches. These aside, there isn’t much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve amplifier power.

Another way to consider low-cut’s function

is that it actually adds flexibility during live

performances. With the addition of low-cut, you can safely use low equalization on vocals.

Many times, bass shelving EQ can really benefit voices. Trouble is, adding low EQ also boosts stage rumble, mic handling clunks and breath pops from way-down low.

Applying low-cut removes all those problems, so you can add low EQ without blowing your subwoofers.

Owner's Manual 17