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| (8) | MID FREQ |
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| This control determines the center frequency of the MID control. | |
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| Center frequency for the bandpass filter can be set from 200 Hz | ||
| 4 | 5 | 6 | GAIN |
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| (9) | LOW |
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| This active tone control is a | |
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| (Hz) | 5 |
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| 20 |
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| response by | ||
| OFF |
| 300 |
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| 3 | 0 | 3 | HI |
| (10) | AUX 1– 4 |
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| 6 | (dB) | 6 | ||
EQUALIZATION | 9 |
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| These controls adjust the level of the channel’s | |
12 |
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15 |
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| is sent to the auxiliary mix. Gain is variable from minus infinity (– ∞) | |
3 | 0 | 3 | MID |
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| 6 | (dB) | 7 |
| to +10 dB. Unity gain is at the center detent position. | |
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12 |
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| auxiliaries are typically used to send signal to stage monitors, but | |
15 |
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700 |
| 1K | FREQ. |
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| can also be used to generate an independent recording mix. | |
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| (Hz) | 8 |
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300 |
| 2.5K |
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| 200 |
| 6K |
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| NOTE: AUX SENDS |
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| be modified (internally) to deliver signal | ||
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| 6 | (dB) | 9 |
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| Electronics Service Dept. for information. AUX SENDS | |
| 12 |
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| 15 |
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| 3 | 0 |
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| 6 |
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| (11) | AUX 5 – 6 | |
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| 15 |
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| 40 |
| 10 dB |
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| These controls adjust the level of the channel’s | |
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| that is sent to the auxiliary mix. Gain is variable from minus infinity | ||
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| 15 |
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| (– ∞) to +10 dB. Unity gain is at the center detent position. | ||
PRE | 40 |
| 10 dB | 10 |
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3 | 0 |
| AUX | (12) | PAN | ||
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| 15 |
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| This control determines the signal’s position with respect to L/R and | |
| 40 |
| 10 dB |
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| SUB 1– 4 outputs. Rotating the control counterclockwise increases | ||
| 3 | 0 | 3 | AUX |
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| 6 |
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| the amount of signal sent to L and |
| 15 |
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| 40 |
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| clockwise increases the amount sent to R and | ||
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| 3 | 0 | 3 | AUX |
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| SUBs. For example, with the channel ASSIGN switch (13) in the | |
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POST | 15 |
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40 |
| 10 dB |
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| 1/2 position, rotating the control counterclockwise increases the | ||
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3 | 0 | 3 | AUX |
| amount of signal sent to SUB 1, while rotating clockwise increases | ||
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| 15 |
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| the amount sent to SUB 2. The C position sends equal amounts |
| 40 |
| 10 dB |
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| to each. | ||
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| PAN |
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| 12 | (13) | 1/2, 3/4, L/R, MONO (ASSIGN) |
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| R |
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| 1/2 |
| 3/4 | 13 |
| signal is being sent. For example, to send a signal to SUBs 1 & 2, | |
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| depress the 1/2 button. The PAN control (12) determines how much | |
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| L/R | MONO |
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| signal is sent to each SUB group. | ||
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| CHANNEL |
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| (14) | MUTE | ||
| 1 | MUTE/ | 14 | ||||
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| PK |
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| This switch mutes all AUX, SUB, L/R and MONO sends from the |
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| 10 | SIG/ | 15 |
| corresponding channel. This switch is equipped with a red LED that |
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| PFL |
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| will illuminate when the channel is muted. When the MUTE switch is |
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| disengaged, the LED functions as a clip (PK) indicator that will | |
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| illuminate at 2 dB below clipping. Muting the channel does not |
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| 12 |
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| prevent the PFL signal from being sent to the PFL mix when the |
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| 20 |
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| PFL switch (15) is engaged. |
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| 30 |
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| (15) | PFL |
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| 16 |
| This switch connects the channel’s |
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| With this feature engaged, the channel’s signal can be monitored |
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| through the headphones and/or on the AFL/PFL display. A yellow |
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