The MIC/LINE switch (9) is located way up amongst the channel jacks. It selects whether the MIC jack (pin 2=hot[+], pin 3=cold[–], pin 1=shield) or the LINE jack (balanced 1/4" phone… tip=hot, ring=cold, sleeve=shield) is connected to the input amplifier.
THE FLIP SWITCH: MIC/LINE OR TAPEThe switch labeled FLIP
(10) selects the input that
is actually fed into the
channel fader (and the
MIX-B control; see below). As the label indicates, the MIC/LINE input (after Mic/Line preamp) is fed to the channel fader when the FLIP switch is in the up posi- tion. This is the normal mode for tracking and overdubbing. In the down position, the TAPE return (the output signal from the corresponding track of your recorder) is fed to the channel fader. This is the normal position for mixdown.
To recap - when the FLIP is up, the Mic/Line feeds channel and Tape return feeds MIX-B. When the FLIP is down, the channel is Tape and MIX-B is MIC/LINE. FLIP... FLOP. OK?
For live PA, leave the FLIP switch up.
MIX-B / MONITOREach channel strip has a
dual signal path (Enter
Mix-B!) with extremely
flexible switching. This al-
lows either the mic/line inputs or tape return inputs to be routed through either the channel fader path or Mix-B with separate EQ and monitoring. Both of the signal paths can be combined into the main mix by depressing the Mix-B to L/R Switch in the master section. OK, now we jump down the channel again to the MIX-B/ Monitor section. This handy and very simple feature is also called “in-line monitoring” and is found on quite a few consoles. So we’re not claiming that it’s anything new… we just added some extra features for more flexibility. MIX-B/ Monitor routing options can get a bit compli- cated, so pay attention. Also, we did add something that other in-line monitoring systems don’t have. So double pay attention.
The MIX-B buses are a stereo pair, independent of the 8-plus-2 recording buses we’ve talked about so far. There are three sources available to MIX-B: MIC/LINE or TAPE (via the FLIP switch) and the pre-fader output of the channel strip (via the SOURCE switch). A fourth source, post-fader output of the channel
strip (via the source switch), can be achieved by modifying the channels. See Appendix C: Modifications on page 52.
1.When the Mix-B SOURCE switch (11) is up, MIX-B receives its input from the FLIP switch. Remember, the FLIP switch alter- nates MIC/LINE or TAPE to the channel strip and to MIX-B. With TAPE as an input (SOURCE up to select the FLIP switch, and FLIP in the up position), the MIX-B section functions as a tape monitor submix, allowing you to listen to the inputs and outputs of your multi-track recorder as you record. This is the most common use of the MIX-B section, during tracking and overdubbing.
2.With MIC/LINE as an input (SOURCE up to select the FLIP switch, and FLIP in the down position), MIX-B becomes an additional input to add tracks or effects during a mixdown. Simply plug the additional signal into the MIC or LINE connector. Although they are nor- mally separate, a button (MIX-B TO L/R MIX) in the Output Panel (see below) can add the output of the MIX-B buses to the L/R Mix buses. Voilà! Double your mix inputs!
3.With CHANNEL as an input (SOURCE down in CHANNEL position), MIX-B taps its signal from the channel strip, just before the channel fader. MIX-B is separately pan-able, EQ-able and can be used as an alternative stereo mix, a stereo auxiliary send, a “mix-minus” bus, a quadraphonic or surround feed, you name it. Mix B can also have its own aux send (see Aux sends 3-6).
Check out Section 3: General Info and the Block Diagram for more information on MIX-B routing.
MIX-B PANThe PAN control (12) routes the channel’s MIX-B signal across the left and right MIX-B buses.
MIX-B LEVELThe LEVEL control (13) sets the level of
the channel sent to the MIX-B buses. The gain structure of this circuit (like the AUX send 1–6 circuits, below) includes extra amplifica- tion. What this means to you is that you will always have plenty of gonadotropic gain available for the MIX-B buses. Full left on the LEVEL control is off; the midpoint of travel is “U”, or unity gain; full right is 15dB of boost.
SOLO
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