Owner’
s Manual
13
Owner’s Manual
5. Low Cut (Channels 1–3)
Each low-cut switch, often referred to as a high-pass
filter (all depends on how you look at it), cuts bass
frequencies below 100 Hz at a rate of 18 dB per octave.
We recommend that you use low-cut on every
microphone application except kick drum, bass guitar,
or bassy synth patches. These aside, there isn’t much
down there that you want to hear, and filtering it out
makes the low stuff you do want much more crisp and
tasty. Not only that, but low-cut can help reduce the
possibility of feedback in live situations, and it helps to
conserve amplifier power.
Another way to consider low-cut’s function is that it
actually adds flexibility during live performances.
With the addition of low-cut, you can safely use low
equalization on vocals. Many times, bass shelving EQ
can really benefit voices. Trouble is, adding low EQ also
boosts stage rumble, mic handling clunks and breath
pops. Applying low-cut removes all those problems, so
you can add low EQ without losing a woofer.
6. Instrument Switch (Channels 1–2)
Press these in if you want to connect a guitar or other
instrument-level source directly to the line inputs of
channels 1 and 2. You will not need a DI box, and your
guitar will perform flawlessly (well, as long as your
playing is that way).
7. Gain (Channels 1–3)
If you haven’t already, please read
the getting started section on page 5.
The gain knobs for channels 1 and 2
adjust the input sensitivity of the mic
and line inputs. This allows signals
from the outside world to be adjusted
to optimal internal operating levels. The gain control for
channel 3 just affects the channel 3 mic input only.
If the signal originates through the XLR jack, there
will be 0 dB of gain with the knob fully down, ramping
to 60 dB of gain fully up.
Through the 1⁄4" input (ch 1 and 2 only), there is
20 dB of attenuation fully down and 40 dB of gain fully
up, with a “U” (unity gain) mark at 10:00. This 20 dB of
attenuation can be very handy when you are inserting
a very hot signal, or when you want to add a lot of EQ
gain, or both. Without this “virtual pad,” this scenario
might lead to channel clipping.
Effects: Serial or Parallel?
The next sections toss the terms “serial” and “parallel”
around like hacky sacks. Here’s what we mean by them:
“Serial” means that the entire signal is routed through
the effects device. Examples: compressor/limiters,
graphic equalizers. Line-level sources may be patched
through a serial effects device before or after the mixer,
or preferably through the insert jacks [4].
“Parallel” means that a portion of the signal in
the mixer is tapped off to the device (aux send),
processed and returned to the mixer (stereo return) to
be mixed with the original “dry” signal. This way,
multiple channels can all make use of the same effects
device. Examples: reverb, digital delay.
8. Stereo Return
This is where you connect the outputs of your parallel
effects devices. They can also be used as an extra pair of
stereo line inputs if you have a lot of synths for example.
These balanced inputs are similar to the stereo line in
[3] inputs (only without EQ, aux sends, pan, mute, and
solo). The circuits will handle stereo or mono, balanced
or unbalanced signals. They can be used with just about
any pro or semipro effects device on the market. The
signals coming into these inputs can be adjusted using
the stereo return [38] knob before passing onto the
main mix bus (see page 21 for more details).
If you have an effects device with a mono output
(one cord), plug that into stereo return, left/mono,
and leave stereo return, right, unplugged. This way
the signal will be sent to both sides, magically
appearing in the center as a mono signal.
9. Alt 3–4 Outs
These 1⁄4" outputs are the sum of any channels that
have the mute/alt 3-4 [23] switch pressed in (see page
16 for the tender details). The outputs are TRS 1/4"
and may be connected to balanced or unbalanced lines.
For example, you can use these to feed a recorder,
and just record individual channels by pressing their
mute/alt 3-4 switches one at a time.
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
