11
Owner
’s Manual
Owner’s Manual
11. Insert Jacks
These unbalanced 1/4" jacks are for connecting
serial effects processors such as compressors,
equalizers, de-essers, or filters.
The insert point is after the gain control and low
cut filter, but before the channel’s EQ and level.
The channel signal can go out of the insert jack
to an external device, be processed and come back
in on the same insert jack.
To do this requires a standard insert cable that must
be wired thusly:
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
Insert jacks may be used as channel direct outputs;
post-gain, and pre-EQ. If you insert a TS (mono) 1/4"
plug only partially (to the first click) into an insert jack,
the plug will not activate the jack switch and will not
open the insert loop in the circuit (thereby allowing
the channel signal to continue on its merry way through
the mixer).
This allows you to tap out the channel signal without
interrupting normal operation.
If you push the 1/4" TS plug in to the second click,
you will open the jack switch and create a direct out,
which does interrupt the signal in that channel.
See illustration below.
Do not overload or short-circuit the signal
you are tapping from the mixer. That will
affect the internal signal.
tip
This plug connects to one of
the mixer’s channel insert jacks.
ring
tip
ring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
Direct out with no signal interruption to master.
Insert only to first “click.”
Channel Insert jack
Channel Insert jack
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
MONO PLUG
MONO PLUG
STEREO
PLUG
12. Low Cut Switches
All channels with a mic input have a low-cut switch
(often referred to as a high-pass filter) that 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 from way-down
low. Applying low-cut removes all those problems,
so you can add low EQ without blowing the woofers.
“U” like Unity gain
ProFXv3 Series mixers have a “U” symbol on almost
every level control. It stands for “unity gain,” meaning
no change in signal level. The labels on the controls
are measured in decibels (dB), so you’ll know what
you’re doing level-wise if you choose to change a
control’s settings.
13. Gain Knobs and Level Set LEDs
If you haven’t already, please read the "Getting
Started" section on page 4. Setting the gain correctly
will ensure that the preamplifier’s gain is not too high,
where distortion could occur, and not too low, where
the quieter, exquisitely-delicate passages might be lost
in background noise.
The gain knobs – in conjunction with the level set
LEDs – adjust the input sensitivity of the mic and line
inputs. This allows signals from the outside world
to be adjusted to run through each channel at optimal
internal operating levels.
For mono channels (mic input with
a mono line input), the gain knob
adjusts the input sensitivity of the
mic and line inputs.
If the signal originates through the mic 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" mono line inputs, there is –20 dB
of attenuation fully down and 40 dB of gain fully up,
with unity gain “U” at 12:00.
This 20 dB of attenuation can be very handy when
you are inserting a hot signal, or when you want to add
EQ gain, or both. Without this “virtual pad,” there is
more chance of channel clipping.
