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This method is exactly
the same as the double-
busing feature found in
other mixers.
busing is nothing more than
C-R OUTS (CONTROL ROOM OUTPUTS)
These 1/4" jacks are usually patched to the inputs of your control room amplifier or a headphone distribution amplifier. To learn how signals are routed to these outputs: . To wire your own cables:
.
PHONES OUTPUT
The . If you’re wiring your own cable for the PHONES output, follow standard conventions:
RING SLEEVE SLEEVE RING TIP
TIP
RING
Tip = left channel | TIP |
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Ring = right channel | SLEEVE |
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Sleeve = common ground |
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ASSIGN TO MAIN MIX
LEFT LEFT LEFT LEFT
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1010
2020
3030
4040 50
50
60
60
OO | OO |
WARNING: When we say
the headphone amp is
loud, we’re not kidding. It
can cause permanent ear
damage. Even intermedi- ate levels may be painfully loud with some
earphones. BE CAREFUL!
Always turn the
TAPE OUTPUT
These unbalanced RCA jacks tap the MAIN MIX outputs to make simultaneous recording and PA work more convenient. Connect these to your .
Mono: If you want to feed a mono signal to your tape deck or other device, simply use the 1/4" MONO output jack . Alternatively, use an RCA
TAPE INPUT
These unbalanced RCA jacks are designed to work with semipro as well as pro recorders. Connect your . Use these jacks for convenient playback of your mixes. You’ll be able to review a mix, and
then rewind and try another pass without repatching or disturbing the mixer levels. You can also use these jacks with a portable tape or CD player to feed music to a PA system between sets .
WARNING: Pushing TAPE
TO MAIN MIX in the out-
put section can create a
feedback path between TAPE INPUT and TAPE
OUTPUT. Make sure your tape deck is not in record,
14