Output Section Description

You’ve just learned about the input channels and how the signals get in and out. The signals come in via MIC

[1]and LINE [2] input jacks, are manipulated by the channels, and then sent to the output (master) section. Things get a little more complicated, so put on your thinking caps, take a deep cleansing breath, take this manual, get on a bycycle, ride down to the canal, ponder your life and all its unique experiences, then read this section.

39

38 37

37. MAIN MIX FADER

This fader controls the levels of signals sent to the MAIN OUT [14] jacks and TAPE OUTPUT [11] RCA jacks. All channels and STEREO RETURNs that are assigned to the main mix, not muted and not turned fully down will appear at the MAIN OUTs. Before the main mix gets to this fader, the signals pass through the MAIN INSERT [13].

The main mix signals are off with the fader fully down, the “U” marking is unity gain, and fully up provides 10 dB additional gain. This additional gain will typically never be needed, but once again, it’s nice to know it’s there. The fader itself is a stereo version of the channel and subgroup faders — same supersmooth custom taper, same dead silence when turned fully down. This is the fader to pull down at the end of the song when you want “The Great Fade-Out.”

38. SUBGROUP FADERS

As you might expect, these faders control the levels of signals sent to the SUB OUTS [8]. All channels that are assigned to subgroups with the ASSIGN [26] switches, not muted and not turned fully down will appear at the SUB OUTS. Unlike the MAIN OUT [14], the subgroup signals do not pass through an insert jack on their way to the subgroup faders. That’s no problem — should you want to send these signals through a serial effects pro- cessor, simply patch from the SUB OUTS to the effect’s input, and from the effect’s output to whatever the final destination is, usually a multitrack recorder.

The subgroup signal is off when its fader is fully down, the “U” marking is unity gain, and fully up provides 10 dB additional gain. Remember that if you’re treating two subgroups as a stereo pair, subgroup 1 and 2 for example, make sure that both subgroup faders “ride” together, to maintain the left/right balance.

39. ASSIGN TO MAIN MIX

One popular use of the subgroups is to use them as master faders for a group of channels on their way to the main mix. Let’s say you’ve got a drum kit hogging up seven channels and you’re going to want to fade them out at a different rate than the other channels. You don’t want to try that with seven hands or seven fingers, so just un-assign these channels from L–R, reassign them to subgroup 1–2, engage the ASSIGN TO MAIN MIX, LEFT on subgroup 1 and the ASSIGN TO MAIN MIX, RIGHT on subgroup 2. Now you can ride the entire stereo drum mix with two faders — 1 and 2.

If you engage just one ASSIGN TO MAIN MIX switch per subgroup (LEFT or RIGHT), the signal sent to the main mix will be the same level as the SUB OUTS [8].

Manual Owner’s

Owner’s Manual

19