SoundCraft LIVE 8, User Manual

Page: 17 / 36

17
MONO INPUT CHANNEL
Two inputs are available to the mono input channel, via XLR connector (normally for microphone
sources) or 3-pole 1/4” ‘A’ gauge jack socket for signals needing a higher input impedance such as
keyboards, drum machines, synths or tape machines. Both input sockets are permanently active, and
may be used simply by plugging the source into the required input. You do not need to unplug anything
in the MIC socket if you want to use the LINE input. The U™ input provides very wide gain
control (without the need for a pad), high CMRR and +28dBu input capability.
An impedance balanced DIRECT output is provided, fed from the output of the fader buffer, which is
therefore unaffected by the position of the ROUTING switches or PAN control. This provides an ideal
source for external processing units, the output of which may be brought back to the console through
the STEREO INPUTS or STEREO RETURNS, or to directly send to the tracks of a tape machine for
multitrack recording. This provides as many Tape Sends as there are mixer channels, without using
the group or mix outputs.
An unbalanced INSERT is provided which is a break point in the input channel signal path. It allows
the signal to be taken out of the mixer, through an external piece of equipment and then back into the
mixer to continue through to the final output. The Insert is a 3-pole 1/4” `A’ gauge Jack Socket, which
is normally by-passed. When a jack plug is inserted, the signal path is broken at a point just after the
Hi-Pass Filter, but before the EQ section. The signal from the channel appears on the TIP of the plug
and is returned on the RING. The insert point allows limiters, compressors and other signal processing
units to be added as required to particular input channels and because it is located PRE EQ, noise
generated by the external equipment may be reduced by a small amount of H.F. cut in the Equaliser.
1 +48V
The +48V switch applies phantom powering to the MIC input socket for condenser microphones.
Transformer-coupled dynamic microphones may be used without causing damage, even when the
+48V power is connected, but care must be taken when using unbalanced sources, because of the
voltage present on pins 2 and 3 of the XLR connector.
NOTE: Phantom powered mics should not be plugged in with the +48V switched on.
Also you should be aware that some microphones draw an unusually large current which
may overload the power supply, resulting in distortion. Consult your microphone supplier
for guidance if necessary.
2 PHASE SWITCH
The Phase switch reverses the polarity of the input signal to compensate for phase differences due to
microphone placement or incorrect wiring of input cables. This switch should be released for normal
operation.
3 INPUT SENSITIVITY
This knob sets how much of the source signal is sent to the rest of the mixer. Too high and the signal
will distort as it overloads the channel (shown by illumination of the PEAK LED), and causes clipping.
Too low, and the level of any background hiss will be more noticeable and you may not be able to get
enough signal level to the output of the mixer. Set the knob fully anticlockwise as a preliminary position
for LINE level sources. An individual channel meter monitors the input level at the Insert point, making
it easy to spot input overload.
4 HI-PASS FILTER
Pressing this switch inserts an 18dB per octave 100Hz Hi-Pass Filter in the signal path, immediately
after the input amplifier. This is particularly useful in live PA situations to reduce stage rumble or
‘popping’, and its use is strongly recommended, even on male vocals. It can also be used for filtering
Using The Console