LAMP
| U |
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| 1 |
OO | +15 | SOLO |
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| U |
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| 2 |
OO | +15 | SOLO |
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| U |
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| 3 |
OO | +15 | SOLO |
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| U |
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| 4 |
OO | +15 | SOLO |
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| U |
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| 5 |
OO | +15 | SOLO |
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| U |
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| 6 |
OO | +15 | SOLO |
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AUX SEND
MASTERS
UU
11
OO | +20 | OO | +15 |
UU
| 2 | 2 |
OO | +20 | OO +15 |
| U |
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| TO AUX |
| 3 | SEND |
| - | |
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| 1 2 |
OO | +20 | (EFX TO MONITOR) |
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| U | U |
| 4 |
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OO | +20 | OO +20 |
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| TAPE |
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| RETURN |
ASSIGN |
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TO SUB | GLOBAL | |
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| AUX RETURN |
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SUB | SOLO | |
STEREO
AUX RETURNS
CLIP
28
10
7
4
2 
0 2 4 7 10 20 30 40
LEVEL SET | LEFT RIGHT |
| OPERATING LEVEL |
| 0dB = 0dBu |
RUDE | POWER |
SOLO |
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LIGHT |
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AIR is a high frequency peaking EQ centered at 16kHz. Turned fully up, these controls provide 10dB of boost and fully down effectively bypasses the circuit. Use AIR to provide a crystalline effect to subgroups, helping them stand out in the overall mix.
+15
+10
+5
0
AIR
20Hz | 100Hz | 1kHz | 10kHz | 100kHz |
Engaging this switch isolates the associated signal and sends it to the control room, phones
TRACK | TRACK | TRACK | TRACK |
| 1 |
| 2 |
| 3 |
| 4 |
| • |
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| • |
| 5 |
| 6 |
| 7 |
| 8 |
| 5 |
| 5 |
| 5 |
| 5 |
0 | +10 | 0 | +10 | 0 | +10 | 0 | +10 |
| AIR |
| AIR |
| AIR |
| AIR |
| 16kHz |
| 16kHz |
| 16kHz |
| 16kHz |
SOLO | SOLO | SOLO | SOLO | ||||
UMODE
OO +15 | PRE FADER |
LEVEL | IN PLACE AFL |
SOLO | AUX SUB |
OO MAX | MAIN MIX |
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LEVEL
AUX
TALKBACK
and meters. See RUDE SOLO LIGHT (61) and MODE (63) for more information.
Note: To solo a subgroup in AFL mode, L/R ASSIGN (59) must be engaged.
58. PANWhen a mono subgroup signal is assigned to the main mix via L/R ASSIGN (59), it effectively becomes another channel signal and can be panned from left to right. This knob then adjusts the amount of signal sent, left versus right, to the MAIN OUTS (12) (16).
L | R | L | R | L | R | L | R |
| PAN | PAN |
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| PAN |
| PAN |
L/R ASSIGN | L/R ASSIGN | L/R ASSIGN | L/R ASSIGN | ||||
| SUB | SUB |
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| SUB |
| SUB |
| 1 | 2 |
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| 3 |
| 4 |
dB |
| dB |
| dB |
| dB |
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10 |
| 10 |
| 10 |
| 10 |
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5 |
| 5 |
| 5 |
| 5 |
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U |
| U |
| U |
| U |
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5 |
| 5 |
| 5 |
| 5 |
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10 |
| 10 |
| 10 |
| 10 |
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20 |
| 20 |
| 20 |
| 20 |
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30 |
| 30 |
| 30 |
| 30 |
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40 |
| 40 |
| 40 |
| 40 |
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50 |
| 50 |
| 50 |
| 50 |
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60 |
| 60 |
| 60 |
| 60 |
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OO |
| OO |
| OO |
| OO |
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TAPE RETURN | OO | MAX |
TO PHONES / C R |
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PHONES /
LEVEL
MAIN MIX
TAPE RETURN | LEFT/RIGHT |
TO MAIN MIX |
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dB
10
5
U
5
10
20
30
40
50
60
OO
The mixer’s 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.
59. L/R ASSIGNThis switch allows a subgroup signal to be sent to the main mix. Engaging this switch will not interrupt signal at the SUB OUTS (8) jack.
For live sound, subgroups allow a group of channels to be controlled by one or two subgroup faders, and then sent to the main mix using this switch and its associated PAN (58) control.
For
24