7. FW OUT

These switches affect how the program channels send their discrete signals to the internal FireWire interface.

In the post-EQ position (out), the channel sends its signal to the internal FireWire interface after it has passed through the EQ section. Its level will be affected by the settings of the channel source [30] selector, input level [29], and EQ controls. Use this position to record via FireWire from a channel, as you can adjust the level and EQ for optimum recording.

In the line/phono position (in), the channel signal to the FireWire card comes directly from the phono or line input, whichever is selected by the line/phono [5] switch. The FireWire signals are taken after the phono preamplifier, but before the channel’s source selector, input level controls, EQ, or channel fader [38]. FireWire sends audio to your computer, independent of the position of the program source switch. In this way, you are not tying up extra channels; you can send a signal out to your computer, process it with your software, and have it come back in on the same channel as an ordinary input.

Use the line/phono position if you are using

timecode vinyl (see page 27). You can then

set up a virtual turntable on your computer, that is controlled by the actual turntable.

Drop any music tracks onto the virtual turntable and scratch away like it was a record. The output can then come back into the same program channel, and play in the main mix.

8. AUX SEND

These 1/4" TRS jacks provide a balanced line-level output signal from the stereo aux send bus. Typically, you would use these outputs to connect to the inputs of an external effects processor. You can also use an unbalanced 1/4" TS cable to make this connection.

9. AUX RETURN

These 1/4" TRS jacks accept a balanced line-level signal from an external effects processor. They will also accept an unbalanced 1/4" TS connector.

If you are using a stereo effects processor, connect its left and right outputs to the corresponding left and right Aux return jacks. If it is a mono effects processor, connect its output signal to the left aux return jack, and it will appear on both the left and right main mix bus.

10. BOOTH Outputs

These 1/4" TRS jacks provide a balanced line-level signal from the main mix bus, prior to the rotary main level control [55] or pan [56].

Use these to connect to a pair of powered monitors in

Owner’s

puts and push in the booth stereo/mono [53] switch.

the booth (or to the inputs of an amplifier powering pas-

 

 

sive monitors). Use the booth level [52] control on the

 

 

top panel to adjust the level.

 

 

If you only have one monitor, just use one of the out-

Manual

11. ZONE Outputs

 

 

These 1/4" TRS jacks provide a balanced line-level

 

 

signal from the main mix bus, prior to the rotary main

 

 

level [55] control or pan [56]. Use these to connect to a

 

 

pair of powered monitors in a second zone. Use the zone

 

 

level [54] control to adjust the level.

 

 

The zone and booth outputs are the same, except the

 

 

zone does not have a stereo/mono switch, and its level is

 

 

set by the zone level control.

 

 

12. XLR MAIN OUTs

 

 

These male XLR connectors are the outputs of the

 

 

main mix. They provide a balanced microphone-level or

 

 

line-level signal from the main level [55] control. The

 

 

line/mic [13] switch determines if it is a mic-level or

 

 

line-level output. If they are set to line-level, connect

 

 

these to the balanced inputs of your active speakers, or

 

 

power amplifier(s) powering your main speakers. If they

 

 

are set to microphone-level, you can connect them to a

 

 

mixer’s microphone inputs.

 

 

If you are connecting the d.4 Pro main output to an

 

 

unbalanced input, use the RCA main outs [14] instead.

 

 

Balanced connections offer better immunity

 

 

to external noise (specifically, hum and buzz)

 

 

than unbalanced connections. Because of

 

 

this, it is the preferred interconnect method,

 

 

especially in cases where very long lengths of cable are

 

 

being used. A long unbalanced cable carries with it more

 

 

opportunity for noise to get into the system — having

 

 

balanced cables means very little noise will enter the

 

 

system. If you must use an unbalanced connection, keep

 

 

the cable length to 10 feet or less (3 meters).

 

 

13. LINE/MIC

 

 

If you are connecting the XLR main outs [12] to line-

 

 

level inputs like a power amplifier’s inputs, leave this

 

 

switch out, in the line position.

 

 

If you are using the d.4 Pro as a submixer and con-

 

 

necting the XLR main outs to the mic inputs of another

 

 

mixer, push this switch in to the Mic position. This

 

 

reduces the output signal to a microphone level, and

 

 

allows you to connect the d.4 Pro output directly to a

 

 

snake and mixer without the need for direct boxes.

 

 

 

 

 

 

 

 

Owner’s Manual

11