(5) CHANNEL PEAK LED
The Peak LED illuminates when a channel input is overloading. It detects the peak level after the Equalizer Controls (7) and will light just before clipping to warn that the signal is approaching overload. You do not want the Peak LED to light except very intermittently. If it lights persistently, reduce the Trim Control (4).
(6) LOW CUT FILTER
Use this Low-Cut (high-pass) filter (18 dB/octave, -3 dB at 75Hz) for reducing floor rumble, popping, breathing noises, woolly bottom end, and to tighten up channels in a mix, etc. It is most effective when used carefully in conjunction with the Equalizer Controls (7).
(7) EQUALIZER CONTROLS
All channels are fitted with a three-band EQ — High, Mid and Low controls. The Mid control has a parametric Mid Freq control with a 250Hz-6KHz range. All three bands have up to 15 dB of cut and boost, with a center detent for OFF. The frequency response is flat when all three EQ knobs are in the center detent position. The High and Low shelving controls have their frequencies fixed at 12 KHz and 80Hz respectively. The Mid control has a parametric Frequency Control. This control can be used to locate the frequency of the midrange tones that you want to accentuate or cut. The channel EQ is a valuable feature of the mixer as it allows the user to control the tonal characteristics of each channel separately. For example, boosting the Low can fatten the sound, add bass to vocals, or extra punch to bass, drums and synths. The Mid control, with the Mid Freq set to higher frequencies, can be used to define percussive instruments or bring out the edge of vocals; when set to lower frequencies the Mid can boost low midrange frequencies to fatten up guitars, toms, or bring warmth to vocals. 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 sibilance, hiss, cymbals, or high frequency feedback, while attenuating the Mid or Low can also eliminate feedback or clear up a muddy sounding mix. The Mid Freq control can also be used to reduce any feedback from 250Hz to 6Khz. Cutting the High and Low, then pushing up the Channel Fader (13) is equivalent to mid range boost!
[Note: Always reset a channel’s input Trim Control (4) (or external device’s output level) after altering the amount of equalization.]
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.
(8) AUX 1 CONTROL (PRE-FADER)
The channel Aux 1 control is mono, post-EQ, and pre-fader meaning the signal level sent to the Aux Send 1 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
monitor in recording applications, such as for a headphone cue system.
(9) AUX 2 / EFFECT CONTROL (POST-FADER)
This control adjusts the level of signal sent to the Aux Send 2 or the internal DSP Echo Effects.
The channel Aux 2 control is mono, post-EQ, and post-fader meaning the signal level sent to the Aux 2 bus will be affected by the channel fader setting. For almost all effects send purposes, 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. You can also use this Aux 2 send to feed inputs of 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).
The Aux 2 Effect Send controls also adjust the level sent by each channel to the internal DSP (Digital Sound Processor) Echo Effects. Either the Aux Send 2 or internal Echo Effects can be selected with the Aux 2 / Eff Enable Button (15).
(10) PAN
The channel Pan positions the output of the channel in the left/right stereo field of the Master mix and also pans between 1 and 2 in the Group mix. Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned, center-stage, or somewhere in-between.
(11) L-R SELECT SWITCH
When the L-R switch is selected (button depressed), the post fader channel signal is fed to the Master Stereo Volume Faders (24).
(12) GROUP SELECT SWITCH
When the G1-2 switch is selected (button depressed), the channel signal is fed to the G1-2 bus, controlled by the Group 1- 2 Volume Faders (22). This signal is post channel fader and the stereo placement is adjusted by the Pan control. The Group bus offers you a second stereo submix with its own stereo G1-2 submaster faders. This submix can be sent to the Master Stereo Volume Faders (24) by enabling the Group To Main Switch (23). The Group Mix 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 mix together a vocal quartet and then control their combined level in the Master Mix, or to route separately to multi-track recorders. The Group Select Switch can also be used to monitor the channel signal in the headphones, without sending the signal to the main outputs, with the L-R Select Switch (11) off.
(13) CHANNEL FADER
The channel faders determine the output signal level to the Master Mix or Group 1-2 buses. They offer a smooth logarithmic taper more often associated with much more expensive consoles for optimum control of the signal.
