9. STEREO AUX RETURNS

Patch the outputs of external parallel effects devices (reverb, delay, etc.) to these inputs.

When connecting a mono device (just one cord), always use the LEFT (MONO) input and plug nothing into the RIGHT input. A trick called “jack normalling” will cause the signal to appear on both sides.

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

10. AUX SENDS

With aux sends in “pre” mode, patch these jacks into stage monitor amplifier inputs. With aux sends in “post” mode, patch these jacks into the inputs of an effects device. See AUX (26) and PRE (27) for more information.

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

11. CONTROL ROOM OUT

These line-level jacks are used to feed amplifier inputs in a control room situation, typically found in a recording studio.

The stereo signal at these jacks is the same as the MAIN OUTS (12) (16), except when any SOLO (39) (47) (52) (57) or the TAPE RETURN TO PHONES/C-R (69) is engaged. Its level is independently controlled by PHONES/ C-R LEVEL (70).

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

12.MAIN OUTS (TRS) and16.MAIN OUT (XLR)

Available in two types, XLR and TRS, the main output represents the end of the signal path, just after the MAIN MIX FADER (72), where the fully mixed stereo signal enters the real world.

The XLR balanced outputs will add 6dB when connected to balanced inputs, thereby elevating signal from the noise floor by that amount.

The TRS balanced outputs offer the advantage of having no 6dB level change to deal with, while still providing extraneous noise re- jection. These accept 1/4” TRS balanced or 1/4” TS unbalanced plugs, see page 14 for wiring details.

13. MAIN INSERTS

With nothing plugged into these jacks, the main mix goes straight through the MAIN MIX FADER (72) to the MAIN OUTS (12) (16). With an effects device plugged into these jacks, the main mix leaves the mixer, goes through the effects device and back into the mixer’s main mix faders.

Use these jacks to send the main mix

through a compressor, graphic equalizer or similar device. Since the insert is before the main mix fader, moving the fader will not alter the level sent to a compressor, thereby preserving the signal’s characteristics.

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

14. MONO MAIN OUT

The signal sent out of this XLR jack is a sum of the left and right signals at the MAIN OUTS

(12)(16). It can be used to feed a mono sound system or a mono recording device. See OUT- PUT LEVEL (15) for more information.

This XLR balanced output will add 6dB when connected to a balanced input, thereby elevating signal from the noise floor by that amount.

Accepts XLR balanced plugs, see page 14.

15. OUTPUT LEVEL

Use this knob to independently set the level of the MONO MAIN OUT (14). The level is also dependent on the level set by the MAIN MIX FADER (72). Unity gain is at 3 o’clock, and there is 6dB additional gain available when turned fully up.

To feed a microphone input, like that found on a camcorder, turn this knob down to the 9:00 range. Use the device’s input meters to assure a good level.

17. TALKBACK MIC

Connect a balanced dynamic microphone to this XLR jack to utilize the mixer’s talkback feature (66) (67) (68). This input does not provide phantom power, so it cannot accept condenser microphones.

Accepts XLR balanced plugs, see page 14.

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