These same two channels from the computer can also be chosen as inputs to channels 7 and 8, allowing you to adjust the gain, EQ, level, and pan, as well as to solo, and add to aux send 1 and 2. This is routed using the FW/line input selector [22] on channels 7 and 8. This is useful for live performances, where those 2 channels might have, for example, a software synthesizer you are triggering from a MIDI keyboard, and you want to treat the softsynth as "just another instrument," with equal processing and routing options as the hardware keyboards coming into the other channels.

The FireWire interface works with both PC (using ASIO for Windows XP and Vista) and Mac (Core Audio for Mac OS 10.4.11 or higher).

4. LEFT/RIGHT XLR MAIN OUTPUTS

These male XLR connectors provide a balanced line- level signal that represents the end of the mixer chain, where your fully mixed stereo signal enters the real world. Connect these to the inputs of your main power amplifiers, powered speakers, or serial effects processor (like a graphic equalizer or compressor/ limiter). It provides a fully balanced signal that is the same level as the 1/4" TRS main out jacks [14] on the top panel.

5. MAIN OUTPUT LEVEL

When this switch is out (+4 dB), the XLR main outputs [4] provide a "+4 dBu" line-level signal. You can then connect these outputs to the line-level inputs of power amplifiers, powered loudspeakers, or serial processors.

When the switch is pushed in (mic), the XLR main outputs are attenuated to microphone level. You can then connect these outputs safely to the microphone inputs of another mixer, providing a submix for keyboards or drums, for example, in a live sound application. The main outputs can then be plugged directly into a stage snake, and appear back at the front of house console like any other microphone level source.

When mic is engaged, you can safely plug the XLR main output into a mixer's microphone input, even if it provides 48 V phantom power.

The switch is recessed, to reduce the chance of accidently turning it on or off when plugging things in.

6. CTRL-RM OUT

These 1/4" TRS jacks provide balanced left and right- line-level outputs to run a studio monitors in the control room. Connect these outputs to the inputs of an amplifier, powered speakers, or recording device.

The source that plays in the control room, headphones, and meters can be selected using the switches [38, 39] in the control room/phones source matrix:

•The main mix, if main mix is selected as the control room/phones source

•Tape outputs, if tape is selected

•Alt 3-4 outputs if alt 3-4 is selected

•A 2-track FireWire feed from your computer if FW 1-2 is selected

•A combination of all four above

Except for main mix, whatever is playing in these outputs can also be routed to the main mix if assign to main mix [40] is engaged. The main mix input to the control room is disconnected if assign to main mix is engaged.

The headphones and meters play the same program as the control room. The meters show the levels prior to the control room and phones level controls.

Control-room out is long for ctrl-rm out, which

translated from the ancient language of the

Pacific NorthWestern I-405 corridor people means "I'll have a double latté with chocolate

sprinkles, and a bagel with cream cheese, and I agree, it does look like it will start raining again, but it might stop in time for the Mariners game."

7. ALT 3–4 OUT

These 1/4" TRS jacks provide a balanced line-level signal that can provide an alternate stereo mix for recording or subgrouping. Connect these outputs to the inputs of an amplifier, powered speaker, or recording device.

Any channel whose mute switch [34] is engaged, is added to the alt 3-4 outputs.

The alt 3-4 output doesn’t have a master level

control. All channels assigned to the alt 3-4 bus are summed together (post-fader and

pan) and sent directly to the alt 3-4 out.

CTRL ROOM/PHONES

SOURCE

38

MAIN MIX

TAPE 39

FW 1-2

ALT 3-4

40

ASSIGN TO

MAIN MIX

OO

MAX

OO

MAX

 

 

CONTROL PHONES

ROOM

Owner's Manual 13