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LV8

OWNER’S MANUAL

LV8

OWNER’S MANUAL

BLUETOOTH

PAIRING, TROUBLESHOOTING

LED STATE AND BLUETOOTH STATUS

LED is Off - Bluetooth is off
LED is Blinking - Bluetooth is ready to pair
LED is solidly lit - Bluetooth is actively paired with a source device

If the pair LED is in an off state, press the LV8’s BLUETOOTH PAIR button to
initialize Bluetooth and activate pairing mode (the pair LED will start blinking).
Scan for available Bluetooth devices on your phone, tablet or PC. Locate and
select “Harbinger Mixer” to activate pairing. When actively paired, the LV8’s
pair LED will become solidly lit.

If another device is already actively paired press the PAIR button to clear the
active pairing.

Pressing and holding PAIR disables Bluetooth.

• On your Apple iOS device
1. Power off the LV8 and leave it off
2. Open Settings app, select Bluetooth
3. If “Harbinger Mixer” is listed under MY DEVICES, touch info button,

tap to Forget This Device

4. Turn off Bluetooth, wait 10 seconds, turn on Bluetooth

• On your Android device
1. Power off the LV8 and leave it off
2. Open Settings, select Bluetooth
3. If “Harbinger Mixer” is listed under Paired Devices, touch gear Icon,

and tap to Unpair

4. Turn off Bluetooth, wait 10 seconds, turn on Bluetooth

• Then power on your LV8 and press PAIR (the pair LED should flash)
• You should now be able to connect to LV8 via Bluetooth

LV8 REAR PANEL

DC POWER INPUT

Connect only the included power adapter to this input

POWER SWITCH

Switches power on/off to the mixer

MICROPHONE INPUT (MIC)

This XLR combo connector will accept virtually any professional microphone.
It is designed for microphone and line level signals on either XLR
or ¼” cables.

Some microphones, mostly condenser mics, need phantom power to operate.
Switch on 48V phantom power. If you’re unsure if your mic needs phantom
power, check the instructions or the manufacturer’s website for information.
Phantom power should not hurt most microphones, except for very old or
damaged ribbon microphones.

For live microphone use (where the microphone signal is amplified through a
PA system) engaging the HPF (high-pass filter) is recommended for reducing
“boominess” and maintaining clarity in the microphone signal.

Use the microphone preamp’s gain control (explained below) to bring the
microphone up to a high enough level to use with the mixer.

LINE INPUT (LINE)

This ¼” input is designed for line-level signals. It accepts either balanced
(TRS) or unbalanced (TS) cables. The level of this input is also controlled
by the gain control, explained below.

Do not use both the microphone and line inputs on the same channel.
The mixer will distort and the noise level will go up.

The line input is not designed to accept an instrument-level signal, such as
the output from an electric or acoustic guitar or bass. If you want to plug
your instrument into the mixer, we suggest a direct box (also called a DI
box). Plug your instrument into the direct box, then plug the output of the
direct box into the microphone input of the mixer.

GUITAR/BASS

Passive guitar or bass signals tend to have the best sound and sensitivity
when they are connected to a high-impedance input (similar to what you
would find on a guitar or bass amp). When connecting a passive guitar
or bass signal to CH 3|4, engaging the GUITAR HI-Z switch is
recommended. It is possible to connect 2 guitar signals to CH 3|4
simultaneously. When both inputs are used, the signals will be hard-
panned left and right. If you wish to have both guitars panned to the
center so that they project from both speakers in PA setup, press the
MONO button next to the MAIN level control.

If connecting an active acoustic guitar signal to CH 1 or CH 2, engaging the
HPF is recommended for rolling-off “boominess”.

GAIN

Gain controls the level of the microphone or line level signal plugged into the
mixer. If the gain is set too low, the output signal will be noisy when you turn
it up at the level control. If gain is set too high, it will distort.

For best performance, set the gain while looking at the meters. Turn the Level
control so that it’s facing straight up. Then turn the gain up until you see
the first or second lights on the meters. Don’t set it too high – although you
might not hear distortion when playing by itself, when all of the channels are
playing at that level they may add together and distort the mixer.

Sidebar: “Why are there two volume controls?”

The Gain and Level controls work together to get the best performance out
of the mixer. A quiet signal may need more gain than a loud guitar amp
going into a sensitive microphone. Set the gain so that the level on each
channel is roughly the same, then use the Level controls to set the balance
that you want in your mix.

GAIN STAGING

Gain staging involves setting the serial amplification stages of an audio
signal in a way that achieves best signal to noise ratio. Improper gain
staging can result in more background noise, less clarity and lower sound
system efficiency. If your mixer is connected to a FOH amplifier or powered
speakers, you will need to first set the level of these for an appropriate
audience listening level. To set your FOH amplifier or powered speaker
level, connect a full-range line level music source to your mixer and set the
peak level on the channel meters somewhere between -6dB and 0dB. Set
your main output level to zero/unity and slowly bring up the amplifier or
powered speaker levels to a volume that makes sense for the venue. With
this main output level set, you can move on to setting levels for the individual
inputs. Start with gain and channel level controls at their minimum positions.
For microphone signals, while speaking or singing into the connected
microphone, slowly bring up the channel GAIN control until only the loudest
input briefly triggers the channel CLIP indicator LED. Reduce the GAIN
control slightly from this level. With the main output level control set to zero/
unity, continue speaking or singing into the connected microphone and
slowly bring up the channel LEVEL to a desired listening level. Follow this
process for any microphone signals. When setting relative levels between
channels, best practice is to reduce levels of signals that are too loud,
working subtractively.

The high EQ control is a shelving EQ. What this means is that it boosts or
cuts from 10kHz and everything above that. Turn it up to bring out the breath
of a vocal or the high overtones of the cymbals. Turn it down to reduce finger
squeaks on a guitar or bass.

APPENDIX

These steps should resolve any Bluetooth trouble you may encounter:

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5/26/21 3:23 PM