MONAURAL INPUT CHANNEL
MONAURAL INPUT CHANNEL
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14. +48V PHANTOM POWER
Switches +48V DC to the channel input XLR for powering condenser
microphones or DI boxes that need phantom power. When pressed, the red
LED indicator lights up, indicating the c48V is active.
CAUTIONS:
Do not connect unbalanced sources or
cables to the XLR input when +48V PHANTOM power is
selected. To avoid loud thumps, always turn the channel
off by pressing MUTE when swi48V PHANTOM
on or off, and when plugging or unplugging
microphones.
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75Hz
HIGH PASS FILTER (HPF) – (15.)
Switches in the channel high pass filter. This attenuates frequencies below
75Hz by 12dB per octave. Engage the HPF to reduce low frequency noise such
as microphone popping, stage noise, and microphone handling rumble. Also
known as “low cut”.
16. Ø POLARITY
Reverses the polarity (+ and - connections) of the input source. Useful when
using the “above/below” microphones technique, for example when miking a
snare drum with two microphones, or for correcting microphone placement and
cable wiring errors.
17. LINE/PAD
Press this switch to select the channel ¼” TRS jack LINE IN. Release the switch
to select the XLR MIC IN. The XLR normals through the ¼” TRS socket. With
nothing plugged into LINE IN, the switch therefore becomes a PAD for XLR IN.
It attenuates the input signal by 20dB for connection to high level microphone or
line sources.
18. GAIN
Adjusts the input sensitivity of microphone preamp (C.R.I.S.T.A.L.® Audiophile
PreAmps) to match the connected source to the internal 0dBu operating level of
the channel. Provides a variable 54dB range from +6dB to +60dB microphone
(MIC IN) gain, or -14dB to +40dB (LINE/PAD pressed). The gain should be set
so that the meters average “0” with loudest moment lighting “+6”. Reduce gain if
the red peak (PK!) indicator lights.
NOTES:
Setting channel levels. Use PFL to set the
GAIN controls for correct signal level through each
channel. The MAIN L/R VU meters provide a high
resolution display of the channel signal level. Use the
faders to balance each signal in the mix. To ensure
optimum gain structure, we do not recommend the
practice of setting faders to “0” and mixing using GAIN
controls.
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