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MU 1722X / MU 1822X
17. Power Connector
This port is for the addition of a power cable, allowing power to be
supplied to the mixer. Please use the power cable that is included
with this mixer only.
Controls and Settings
Channel Controls
18. Low Cut Filter (75 Hz)
This button will activate a high-pass filter
that reduces all frequencies below 75 Hz at
18 dB per Octave, helping to remove any
unwanted ground noise or stage rumble.
19. Line/Mic Gain Control
This controls the sensitivity of the input
signal of the Line/Microphone input. The
gain should be adjusted to a level that
allows the maximum use of the audio,
while still maintaining the quality of the
feed. This can be accomplished by adjusting it to a level that will
allow the peak indicator occasionally illuminate.
20. High Frequency Control
This control is used to give a shelving boost or cut of ±15 dB to high
frequency (12 kHz) sounds. This will adjust the amount of treble
included in the audio of the channel, adding strength and crispness
to sounds such as guitars, cymbals, and synthesizers.
21. Middle Frequency Control
This control is used to provide a peaking
style of boost and cut to the level of
middle frequency sounds at a range of
±15 dB. These mixers also provide a
sweep control, allowing you to select a
center frequency between 100 Hz and 8
kHz. Changing middle frequencies of an
audio feed can be rather difficult when
used in a professional audio mix, as it
is usually more desirable to cut middle
frequency sounds rather than boost
them, soothing overly harsh vocal and
instrument sounds in the audio.
The stereo channels of the MU1722X
mixer feature a High-Mid and Low-Mid
control instead of the typical controls described above. They
provide a peaking style of boost and cut to middle frequencies,
where the frequencies are set at 3 kHz and 800 Hz (High-Mid is
set at 3 kHz and Low-Mid is set at 800 Hz). The stereo channels
of the MU1822X mixer have a single Middle Frequency control,
with the center frequency set at 2.5 KHz.
22. Low Frequency Control
This control is used to give a shelving boost or cut of ±15 dB to
low frequency (80 Hz) sounds. This will adjust the amount of bass
included in the audio of the channel, and bring more warmth and
punch to drums and bass guitars.
23. AUX Control
This control alters the signal level that is being sent to the auxiliary
1 mixing bus, the signal of which is suitable for connecting stage
monitors, allowing artists to listen to the music that is being playing.
Also included is a Pre/Post button, which alternates the feed to the
AUX mixing bus between a post and pre-fader feed.
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Rear Panel
11. Channel Inserts
Located on the rear of the MU1722X and MU1822X, the primary
use for these TRS phone jacks is for the addition of external
devices, such as dynamic processors or equalizers, to mono
input channels 1 through to 5. This will require a Y cord that can
send (pre-fader and pre-EQ) and receive signals to and from an
external processor.
12. Control Room Outputs
These two 1/4” phone jack outputs feed the signal altered by the
Control Room / Phones level control on the face of the mixer. This
output has extensive use, as it can be used to feed the signal from
the mixer to an active monitor, for the monitoring of the audio signal
from within a booth, or, alternatively, for the addition of external
signal processing devices or mixers, as well as acting as a “side
fill” output, supplying audio to indoor areas that the main speakers
do not reach.
13. Group Out
These 1/4” phone jacks output the final feed from the Group 1 and
2 Faders on the main mixer. These outputs can be used to feed
a wide range of devices, such as mixers, signal processors, and
even to connect an amplifier and speakers to be used along with
the Main Speakers, for a more rounded audio experience.
14. Main Out
These two XLR ports will output the final stereo line level signal
sent from the main mixing bus. The primary purpose of these
jacks is to send the main output to external devices, which may
include power amplifiers (and in-turn, a pair of speakers), other
mixers, as well as a wide range of other possible signal processors
(equalizers, crossovers, etcetera).
15. Phantom Power Switch
When this switch is in the on position, it act48V of phantom
power for all microphone inputs, allowing condenser microphones
(well, the ones that don’t use batteries) to be used on these
channels. Activating Phantom Power will be accompanied by an
illuminated LED above the left channel Level Meter. Before turning
Phantom Power on, turn all level controls to a minimum to avoid
the possibility of a ghastly popping sound from the speakers.
NB.
Phantom Power should be used in conjunction with balanced
microphones. When Phantom Power is engaged, single ended (unbalanced)
microphones and instruments should not be used on the Mic inputs.
Phantom Power will not cause damage to most dynamic microphones,
however if unsure, the microphone’s user manual should be consulted.
16. Power Switch
This switch is used to turn the mixer on and off.
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