MAIN OUTS

AUX SENDS

 

 

STEREO AUX RETURNS

 

SUB OUTS

SUB INSERTS

23

21

20

19

18

17

16

15

14

(BAL OR UNBAL)

(BAL OR UNBAL)

 

 

(BAL OR UNBAL)

 

(BAL OR UNBAL)

(BAL OR UNBAL)

 

1

4

R

L

1

5

1

 

 

 

 

 

 

 

 

 

 

 

 

 

1

 

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 

 

L

 

L

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MONO

 

MONO

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

 

2

5

R

L

2

6

2

 

 

INSERT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2

 

 

 

 

 

 

 

 

 

 

 

 

R

 

 

 

 

 

 

 

R

 

R

 

 

 

 

 

 

 

3

6

R

3

3

7

3

24

22

LINE IN

LINE IN

LINE IN

LINE IN

LINE IN

LINE IN

LINE IN

 

L

 

 

(BAL OR UNBAL)

(BAL OR UNBAL)

(BAL OR UNBAL)

(BAL OR UNBAL)

(BAL OR UNBAL)

(BAL OR UNBAL)

(BAL OR UNBAL)

L

 

 

 

 

MIC 20

 

 

 

 

DR MIC P

RE

 

 

 

 

L

X

 

 

 

 

L

 

R

(BAL OR UNBAL)

L R

L 4

8 4

 

 

 

 

 

4

 

 

 

R

 

 

 

R

R

 

MAIN INSERTS

CONTROL ROOM OUT

 

(MONO)

TAPE IN

TAPE OUT

 

 

 

 

 

 

 

POWER

PHANTOM

 

TALK BACK

 

 

ON

ON

PHONES

MIC

 

 

 

 

 

PHONES

 

FUSE INSIDE

 

 

 

1

2

 

 

 

 

 

 

 

CAUTION:TO REDUCE

 

 

 

 

 

 

THE RISK OF FIRE, REPLACE

 

 

 

 

 

 

WITH THE SAME TYPE FUSE

 

 

 

 

 

 

AND RATING

 

OFF

OFF

 

 

 

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

DR MIC P

RE

DR MIC P

RE

DR MIC P

RE

DR MIC P

RE

DR MIC P

RE

DR MIC P

RE

X

X

X

X

X

X

RIGHT

LEFT

 

MONO

MAIN OUT

MAIN OUT

 

MAIN OUT

 

OUTPUT

 

 

LEVEL

 

 

 

 

MAIN

 

 

 

BALANCED

 

 

 

OUTPUTS

 

 

+6

PIN 2 = HOT

 

OO

PIN 3 = COLD

5. TAPE OUT

Use these stereo jacks to capture the entire performance to tape. The signal at these jacks is the main mix, post-MAIN INSERTS (13) and post-MAIN MIX FADER (72). Signals at these jacks will depend on the levels set by the main mix fader.

alter the level sent to a compressor, thereby preserving the original signal’s characteristics.

These unbalanced insert jacks are wired exactly the same as shown for INSERT (3) on page 15.

SLEEVE TIP SLEEVE TIP

RCA unbalanced wiring:

Tip = hot, sleeve = shield

6. TAPE IN

Patch the outputs of an intermission entertainment device here. Any line level mono or stereo device can be used: tape, CD player, television audio, etc. See TAPE RETURN TO PHONES/C-R (69) and TAPE RETURN TO MAIN MIX (71) for more information.

When connecting a mono device (just one cord), use a “Y-splitter” RCA adapter. It turns a mono cord into two cords; so both the left and right tape input jacks can be patched. This adapter is widely available.

7. SUB INSERTS

With nothing plugged into these jacks, the subgroup mix goes straight through the SUBGROUP FADER (60) to the SUB OUTS (8).

With an effects device plugged into these jacks, the subgroup mix leaves the mixer, goes through the effects device and back into the mixer’s subgroup faders.

Use these jacks to send a subgroup mix through a compressor, graphic equalizer or similar device. Since the insert is before the subgroup faders, moving the fader will not

8. SUB OUTS

In live sound applications, these jacks can be patched into secondary amplifiers, allowing levels to be controlled, independently of the main mix, via the SUBGROUP FADERs (60).

Alternatively, the MAIN OUTS (12) (16) could feed the amplifiers while the subgroups feed a recorder.

In studio applications, these outputs can be used as four separate paths to feed four or more tracks of a multi-track recorder.

See 1-2 & 3-4 (40) and L/R ASSIGN (59) for more information.

Accepts 1/4” TRS balanced or 1/4” TS unbalanced plugs, see page 14 for wiring details.

DOUBLE BUSSING

Although this is a “four-buss mixer,” meaning there are four separate subgroups available, it can be used to feed all eight tracks of a multi-track recorder, thanks to a trick called Double Bussing.

SUB OUTS 1 and 5 carry the same signal,

and so do 2 and 6, 3 and 7, 4 and 8. Patch these outputs into the corresponding inputs of your multi-track recorder.

To record onto track 1, for example, put track 1 in record mode, but leave track 5 in safe mode. To record onto track 5, put track 5 in record and put track 1 in safe mode.

16