60. SUBGROUP FADERS

These faders provide 10dB of gain fully up, unity gain at the “U” label and are effectively muted fully down. Each fader is the master level control for a subgroup’s signal, affecting both the SUB OUTS (8) and the main mix, via L/R ASSIGN (59).

SOLO: (61 through 65)61. RUDE SOLO LIGHT

Engaging any SOLO switch (39),(47),(52) or (57) has this result: The CONTROL ROOM OUT (11), PHONES (18) and METERS (54), which ordinarily receive the main mix signals, will instead receive the solo signal. The MAIN OUTS (12) (16) and MONO MAIN OUT (14) are not affected by a solo condition.

Additionally, an LED associated with the solo switch and the RUDE SOLO LIGHT will blink obnoxiously.

The solo signal will be mono in PFL or stereo in AFL, as determined via the MODE (63) switch. Any number of solo switches may be simultaneously engaged.

62. LEVEL

This is the master level control for all solo signals, regardless of MODE (63). It can be set as desired, as it only affects the CONTROL ROOM OUT (11) and PHONES (18). It does not affect the solo levels sent to the METERS (54).

63. MODE

With this switch down, solo signals are PFL (pre-fader listen). With this switch up, solo signals are AFL (after-fader listen).

In PFL mode, the solo signal is tapped before a circuit’s associated level control (except aux return SOLO (52)). PFL is popular for live sound applications; providing quick inspections of individual or multiple channels, even if their level controls are turned fully down.

Note: In PFL mode, when engaging a solo switch whose associated level control is set well below “U” (unity gain), turn down solo LEVEL (62) to compensate for the difference.

In AFL mode, the solo signal is tapped after a circuit’s associated controls (trim, EQ, pan, fader, mute, etc.). It’s the equivalent of muting all the other channels. AFL is popular for studio recording applications; providing the actual outputs of individual or multiple channels.

64. AUX LED

Along with the RUDE SOLO LIGHT (61), this LED blinks when any aux send master SOLO (47) or the global aux return SOLO (52) is engaged.

65. SUB LED

Along with the RUDE SOLO LIGHT (61), this LED blinks when any subgroup SOLO (57) is engaged.

TALKBACK: (66 through 68)66. LEVEL

Having entered through the TALKBACK MIC (17) jacks, talkback level is controlled by this knob, and then sent to the MAIN MIX (67) and AUX 1-2 (68) switches. It can be set as desired by the engineer.

67. MAIN MIX

Engaging this switch sends the talkback signal to the main mix, allowing the user to speak to the audience (live sound), or to slate a song’s start (studio recording).

To prevent the possibility of feedback, engaging this switch will attenuate control room output levels by 20dB.

68. AUX 1-2

Engaging this switch sends the talkback signal to aux sends 1 and 2, allowing the user to speak to the talent, providing that they are using those aux sends for monitoring.

To prevent the possibility of feedback, engaging this switch will attenuate control room output levels by 20dB.

69. TAPE RETURN TO PHONES/C-R

Ordinarily, the main mix (or solo) stereo signal is sent to the control room and phones. Engaging this switch will replace that with stereo signal from the TAPE IN (6) jacks, via the TAPE RETURN (53) level control.

It’s typically used for studio recording, to patch a mixdown deck’s outputs directly to the control room and phones; thereby always listening to the mixdown deck, whether it’s in playback or input mode.

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