| | | | | | | (7) | [Note: Always reset a channel’s |
| | | | | | | input Gain (or external devices’ |
| | | | | | |
| | | | | | | | | | output level) after altering the |
| | | | | | (8) | amount of mixer equalization |
| |
| | | | | | | | | | cut or boost applied.] |
| | | | | | (9) | The key to successful equaliza- |
| | |
| | | | | | | | | | tion is to avoid excess. Too |
| | | (10) | much equalization on the input |
| | channels will result in a mix |
| | | | | | | | | |
| | | | | | | | (11) | that is smeared together with |
| | nothing specifically defined. |
|
During rehearsals, experiment with the equalizer controls on various instruments, vocals and combinations of these mixed together to become familiar with various equalizer settings.
(6) AUX SEND 1, 2 CON-
TROLS
Both Aux Sends are mono and post-EQ and control the level of the signals sent to the AUX buses.
(12)
• Aux Send 1 is pre-fader and the signal sent to the AUX 1 bus will be unaffect- ed by the channel fader setting.
• Aux Send 2 is post-fader and the signal level sent to the AUX 2 bus will be affected by the channel fader setting.
For almost all effects send pur- poses, you will want to use the post-fader AUX 2, so that when a fader level is adjusted, any
reverb send from that channel follows the fader. Otherwise, when the fader is pulled down, the reverb from that channel would still be audible. Most reverbs etc. internally sum the left and right inputs so that you can use AUX 2. You can also use this AUX 2 send to feed inputs to a multi-track recorder or any other unbalanced line level application. On the other hand, for cueing purposes and monitor amplifiers, use the pre-fader AUX 1 (i.e. independent of the channel fader)
(7) PAN CONTROL
The Channel Pan positions the output of the channel in the stereo field of the main mix if the L-R Select switch (10) is depressed. Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned, center- stage, or somewhere in-between. Channel Pan also deter-
mines the stereo position of any signal routed to the G1-2 bus, when G1-2 bus is selected with the G1-2 button (11).
(8) PEAK LED INDICATOR
The Peak LED illuminates when a channel is going into over- load. It detects the peak level after the EQ and will light at 3dB before clipping to warn that the signal is approaching overload. You do not want the Peak LED to light except very intermittently during a take or a mix. If it does light persistent- ly, reduce input gain with the TRIM control (4).
(9) PFL SELECT SWITCH
The PFL (pre-fader listen) switch enables monitoring the mono signal of any channel(s) selected (button depressed) at nominal levels though the headphone or control room monitor outputs. The signal is post EQ and independent of channel fader position. Selecting the PFL never interrupts the main stereo out or the AUX sends.
(10) L-R SELECT SWITCH
When the L-R switch is selected (button depressed), the post fader channel signal is fed to the master L-R faders.
(11) G1-2 (GROUP) SELECT SWITCH
The G1-2 switch enables selecting (button depressed) the channel for routing to the G1-2 stereo bus, controlled by the master G1-2 fader. This signal is post channel fader and the stereo placement is adjusted by the Pan control. The G1-2 Group bus offers you a second stereo submix with its own stereo G1-2 submaster fader. It can be used as a convenient mixing aid both live and in the studio; for example, to combine the outputs of all drum channels onto just 1 or 2 submaster faders, or to route to multi-track recorders. You can generate two mono subgroups in addition to the normal Main Mix stereo bus by patching the G1 and G2 OUT back into two mono channels, and use these as Subgroup masters
(Note: the subgroup return channels must not be routed to the G1-2 bus themselves, by depressing their G1-2 select switch, as that would result in a feedback loop).
(12) CHANNEL FADER
The channel faders determine the output signal level to the Master Mix or G1-2 buses. They offer a smooth logarithmic taper more often associated with much more expensive con- soles for optimum control of the signal.
