This LED represents a bad thing: If a channel’s OL LED lights up, its signal is too hot, and subsequent circuitry may overload (clip). To correct this, perform the SET THE LEVELS procedure on page 8.
36.This LED represents a good thing: This LED will flicker in time with a channel’s signal when its level peaks at
PAN adjusts the amount of channel signal sent, left versus right, to the MAIN OUTS (12)
(16)and SUB OUTS (8). On mono channels, the knob places the signal somewhere between hard left and hard right. On stereo channels, it works as a balance control, by attenuating one side or the other.
With the PAN knob hard left, the signal will feed LEFT MAIN, SUB 1 or SUB 3, depending on the channel’s
With the PAN knob hard right, the signal will feed RIGHT MAIN, SUB 2 or SUB 4, also depending on the channel assignment settings.
With the PAN knob set somewhere in be- tween, the signal will be shared across both sides of the mix(es).
The PAN circuits employ a design called “constant loudness.” As the knob is rotated from left to center to right, the sound will remain at the same apparent volume. To attain this, both sides of the signal must dip down about 4 dB when panned center, to account for the “doubling” of the signal.
Engaging this switch isolates the associated channel’s signal and sends it to the control room, phones and meters. See RUDE SOLO LIGHT (61) and MODE (63) for more information.
Note: A muted channel can be soloed (set MODE (63) to PFL).
40.Used in conjunction with the PAN
(37)knob, these switches allow a channel signal to be sent to the sub- groups in stereo pairs. Typically, if a channel signal is routed to the sub- groups, it will not be directly assigned to the main mix via the
For live sound, subgroups allow a group of channels to be controlled by one or two subgroup faders. For multi- track recording, subgroups can be used to route groups of channels to specific tracks of a
See PAN (37), L/R ASSIGN (59) and SUBGROUP FADER (60) for more in- formation.
41.Used in conjunction with the PAN
(37)knob, this switch allows a channel signal to be sent directly to the stereo main mix. Typically, an active channel will always have this switch engaged, unless its signal is being sent to a sub- group, via the
See PAN (37) and MAIN MIX FADER (72) for more information.
Mono Stereo channels channels
| d |
|
|
| |
| BV | TRIM | U | TRIM | |
| MIC | AIN | |||
| G |
|
| ||
U |
|
| 20 |
| 21 |
|
|
|
| ||
|
|
|
|
| 22 |
060
+15dB | +20 | ||
U | AUX | U | AUX |
| 1 |
| 1 |
| PRE |
| PRE |
OO | +15 | OO | +15 |
U |
| U |
|
| 2 |
| 2 |
| PRE |
| PRE |
OO | +15 | OO | +15 |
U |
| U |
|
| 3 |
| 3 |
OO | +15 | OO | +15 |
U |
| U |
|
| 4 |
| 4 |
OO | +15 | OO | +15 |
U | PRE | U | PRE |
| 5 |
| 5 |
| POST |
| POST |
OO | +15 | OO | +15 |
U |
| U |
|
| 6 |
| 6 |
| POST |
| POST |
OO | +15 | OO | +15 |
U | EQ | U | EQ |
| HI |
| HI |
| 12k |
| 12k |
+15 | +15 | ||
U |
| U |
|
| MID |
| HI |
|
| MID | |
|
|
| 3k |
+15 | +15 |
600U
150 | 1.5k FREQ |
| LOW |
| MID | ||
|
|
| 800Hz |
100 | 8k | +15 | |
| U |
| U |
| LOW |
| LOW |
| 80Hz |
| 80Hz |
+15 | +15 |
LOW CUT
75Hz
18dB/OCT
|
| OL |
|
| OL |
L | R | L | R | ||
|
| ||||
| PAN |
|
| PAN |
|
| 20 |
| 21 22 | ||
MUTE |
| MUTE |
| ||
|
| MUTE/ |
|
| MUTE/ |
|
| SOLO |
|
| SOLO |
dB |
|
| dB |
|
|
10 |
| SOLO | 10 |
| SOLO |
Engaging a channel’s mute switch severs its signal from subsequent outputs. Additionally, the adjacent MUTE/SOLO LED will glow.
Note: A muted channel can still be soloed (set MODE (63) to PFL).
Note: The mixer’s
The fader is the master level control for the channel’s signal output. If the TRIM (25) is set correctly, the fader position will be best positioned somewhere between
If a fader is set all the way up, thereby adding 10dB of gain, that’s a sign that the TRIM (25) is set too low. Conversely, if the fader is set way down, the TRIM may be set too high.
5 |
| 5 |
|
U | U | ||
5 | 5 | ||
|
| ||
10 |
| 10 |
|
20 | 20 | ||
30 |
| 30 |
|
40 |
| 40 |
|
50 |
| 50 |
|
60 |
| 60 |
|
OO |
| OO |
|
21