Nady Systems MXE-1212 C O N T R O L S A N D C O N N E C T I O N S, control 4 or PAD, 5 PAD, 9 PAN

C O N T R O L S A N D C O N N E C T I O N S

				nates when a channel is
				going into overload. It
	(7)			detects the peak level
				after the EQ and will light
				at approximately 5dB
				before clipping to warn
				that the signal is
		(8)		approaching overload.
				You do not want the
				Peak LED to light except
				very intermittently during
				a take or a mix. If it does
				light persistently, reduce
			(9)	input gain with the TRIM
				control (4) or PAD (5).
				(5) PAD
(10)				This control attenuates
				the input signal -20dB

when set to the IN (but- ton depressed) position.

(6) EQUALIZER CON-

TROLS

All input channels are fit- ted with a three-band EQ. All three bands have up to 15 dB of cut and boost, with a center detent for “off”. The fre- quency response is flat when all three EQ knobs

(11) are in the center detent position. The upper and

lower shelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively. The midrange control has a peaking response at 2.5KHz (Q fixed at 1 octave). The channel EQ is a valuable feature of the mixer as it allows the user to control the tonal characteristics of each instrument separately.

For example, boosting the LOW can fatten the sound and add punch to the bass or drums; the MID control can be used to define the midrange or bring out the vocals; and adjusting the HIGH control can provide a crisp sounding high end. Another very important, yet often overlooked technique is to use the EQ to subtract from the mix. Cutting the HIGH control can reduce unwanted hiss during multi-track recording, while

attenuating the MID or LOW can eliminate feedback in a live performance or clear up a muddy sounding mix. Cutting away the top and bottom, then pushing up the Gain is equivalent to mid range boost!

[Note: Always reset a channel’s input Gain (or external device’s output level) after altering the amount of mixer equal- ization cut or boost applied.]

The key to successful equalization is to avoid excess. Too much equalization on the input channels will result in a mix 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.

(7) AUX ( POST ) SEND CONTROLS

The Aux send controls are mono and post-EQ and pre-fader and the signal level sent to the AUX bus will be unaffected by the channel fader setting. This configuration is ideal for almost all monitoring purposes: for example, for a separate stage monitor mix in live performances or a studio room mon- itor in recording applications, such as for a headphone cue system.

(8) EFF (EFFECTS) CONTROLS

The EFF controls are mono, post-EQ and pre-fader and the signal level sent to the EFFECTS bus will be unaffected by the channel fader setting. These controls adjust the level sent by each channel to the internal DSP (Digital Sound Processor). (See also Digital Echo Effects Functions and Operation)

(9) PAN

The Channel Pan positions the output of the channel in the stereo field of the main mix. Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned, center-stage, or somewhere in-between.

(10) PFL SELECT SWITCH

The PFL (pre-fader listen) switch enables monitoring the sig- nal of any channel(s) selected (button depressed) at nominal levels through the headphone output. The signal is post EQ and independent of channel fader position. Selecting the PFL never interrupts the main stereo out or the AUX sends.

(11) CHANNEL FADER

The channel faders determine the output signal level to the Master Mix Left, Right busses. They offer a smooth logarith- mic taper for optimum control of the signal, more often asso- ciated with much more expensive consoles.

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