•If you cannot obtain a satisfactory setting, e.g. the gain
control is right at th e extreme low en d of the scale on
Microphone Input, try using the Line Input instead .
•Listen carefully for the characteristic soun d of ‘feedback’.
If you cannot achieve satisfactory i nput level setting
without feedback, check microphone and speaker
placement and repeat the exercise.
You are n ow r ead y to s tar t b u ild ing th e m ix an d th is sh ou ld
be don e pr og r e ss iv ely , list en ing car e fu lly fo r ea ch com pon ent
in the mix and watching th e meters for any hint of overload.
If this occurs, back off the appropriate Chann el Fader slightly
until the level is out of the red segments, or adjust the Master
Fader .
Note: The level of any s our ce signa l in the final ou tpu t is
affected by ma ny facto rs, pr incipa lly the G ain con trol,
Channel Fader and Output Faders. You should try to use only
as much microphone gain as required to achieve a good
balance between signals, with the faders set as described
above. If the input gain is set too high, the channel fader will
need to be pu lled down too far in compen sation to leave
enough travel for successful mixing and there is a greater risk
of feedback because small fader m ovem ents w ill have a v ery
significant effect on output level. If the gain is set too low,
you will not find enough gain on the faders to bring the signal
up to an adequate level.
Micropho ne Place me nt
Careful microphone placement and the choice of a suitable
type of microphone for the job is one of the essentials of
successful sound r einforcemen t. The aim sho uld be to place
the microphone as close as physically possible to the source,
to cut out unw anted surr oun d ing soun ds, allow a lower gain
setting on the mixer and avoid feedback. Also a well-chosen
and well-placed m icrophone shou ld not need a n y a p p reciable
equalisation.
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