11
4. MONO INPUT CHANNELS
Each MONO channel has a balanced line XLR MIC input and an unbalanced LINE 1/4”
jack input. The wide range gain circuitry used, from –50 dB to +10 dB, means that both
line and mic signals can be used without the need for switching. The
GAIN setting for the Mono channels is achieved by means of the MONO
IN GAIN slider (S 5). Phantom power is switchable to the XLR input
sockets with the PHANTOM 48V switch (PB 6) on the right of the control
panel and when activated lights the indicator LED (L 3). The 1/4” jack
input also acts as the Pre-Gain Channel Insert socket, being a TRS type (tip, ring, sleeve
type connection). See Section 6 – INSERTS.
4.1
INPUT LEVEL
The input level of each Mono channel is set by the MONO IN GAIN slider
control (S 5). The PRO PFL push button (PB 5) enables individual
monitoring of the signal, both on the Master LED bar meters and on the
system or in the headphones. The CLIP LED (L 1) indicates the use of the PFL function.
☞
To set the level, as opposed to normal listening, it is advisable to use the Pro PFL bus, as it is a Pre-
Fader / Post-Pan bus. The PRO PFL button
(PB 5)
does not interrupt the signal flow to the main
outputs or any of the AUX OUTs.
Oth er tha n the PRO PFL facility (PB
5), w
hich e nables both visual and a
udible
monitoring of the
chann el
sig nal, a furth
er vis ual in dication is provid
ed for
on ea ch cha nnel; the CL
IP LED
(L 1) in
dicate
s when the
cha
nnel is bein g over loaded . This indic ator s amples the Post –EQ, ena bling both PRE and POST EQ sig nals
to be mon itored for c lippin g, by using of the EQ On /Off p ush bu tton (PB 3). Ideally the led sho uld ne ver co me
‘On ’, oth
er tha
n some
inter
mitten
t flas
hing w
hich might o
ccur d
uring a mixing ses
sion. If this occu
rs
con
tinuou
sly, y ou sho uld lo wer th e inpu t gain with the MO NO IN GAIN s lider (S 5).
4.2
H.P. FILTER
This High Pass filter, very uncommon in mixers at this level, is very useful for
removing POP disturbance from microphones or wind noise when miking guitar amps
in outside locations. Control of the Cut-Off Frequency shift is obtained by the H.P.
FILTER slider (S 6) giving a bandpass over 75 Hz in the centre position, moving up to 300 Hz in the
maximum position. The total range of the Cut-Off frequency shift is from 20 Hz to 300 Hz. The term Cut-
Off means the point at which all the signals below this figure will be blocked off.
4.3
3-BAND EQUALIZER
All the Mono channels can be equalized by means of a 3-Band Equalizer in each of
these. Bass (S 7), Middle (S 8) and High (S 9) band equalizing are available at the
shelving frequencies of 80 Hz, 700 Hz and 10 kHz respectively. Each band can be cut
and boosted at the relative frequency by
±
15 dB with a centre detent giving the ‘flat’
position. An EQ ON/OFF push button (PB 3), enables the equalizing circuitry to be
bypassed giving a ‘one-touch’ flat response mode.
4.4
AUX SEND
Three AUX SENDS are available on each channel, and each is controlled by its own send
slider AUX 1 (S 10), AUX 2 (S 11) and AUX 3 (S 12). AUX 1 is Post Stereo while AUX 2/3
can be Pre/Post Fader, selected by means of the respective push buttons (PB 7 and PB
8) in the area above the Master section on the right of the control panel.
☞
Most Effects Send applications will use Post-Fader type Aux Sends, meaning that the
LEVEL slider (S 3) will effect the Reverb Send. A Pre-Fader send would mean that when the LEVEL
fader is closed, the reverb of that channel would still be audible. On the contrary, for cueing purposes,
Aux Sends will normally be set to Pre-Fader in order to be independent of the LEVEL slide (S 3).
Reverb units normally sum the two right and left inputs. If this is not the case, two Aux Sends can be
used to drive the unit in stereo or AUX 1, which is a Stereo Send, if not being used already.
