35. THIS OL’ LED

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. -20 LED

This LED represents a good thing: This LED will flicker in time with a channel’s signal when its level peaks at -20dB or higher. Also known as a “signal present indicator,” it confirms an adequate signal level.

37. PAN

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 L-R (41) and 1-2 & 3-4 (40) assignment settings.

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.

39. SOLO

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. 1-2 & 3-4

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 L-R (41) switch.

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 multi-track recorder.

See PAN (37), L/R ASSIGN (59) and SUBGROUP FADER (60) for more in- formation.

41. L-R

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 1-2 and 3-4 (40) switches.

See PAN (37) and MAIN MIX FADER (72) for more information.

Mono Stereo channels channels

 

-10

d

 

 

 

 

BV

TRIM

U

TRIM

 

MIC

AIN

 

G

 

 

U

 

 

20

 

21

 

 

 

 

 

 

 

 

 

22

060

+15dB -45dB

-20

+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

-15

+15

U

 

U

 

 

MID

 

HI

 

 

MID

 

 

 

3k

-15

+15

-15

+15

600U

150

1.5k FREQ

 

LOW

 

MID

 

 

 

800Hz

100

8k

-15

+15

 

U

 

U

 

LOW

 

LOW

 

80Hz

 

80Hz

-15

+15

-15

+15

LOW CUT

75Hz

18dB/OCT

 

 

OL

 

 

OL

L

R

-20

L

R

-20

 

 

 

PAN

 

 

PAN

 

 

20

 

21 22

MUTE

 

MUTE

 

 

 

MUTE/

 

 

MUTE/

 

 

SOLO

 

 

SOLO

dB

 

 

dB

 

 

10

 

SOLO

10

 

SOLO

38. MUTE

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 pre-fader aux sends, typically used for stage monitors, follow this mute switch. To effectively mute the signal sent to the main mix without muting monitor feeds, use that channel’s fader instead of the mute switch.

42. CHANNEL FADER

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 -20dB and 0dB (U).

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

1-2

U

1-2

5

3-4

5

3-4

 

 

10

 

10

 

20

L-R

20

L-R

30

 

30

 

40

 

40

 

50

 

50

 

60

 

60

 

OO

 

OO

 

21