15
POST-FADE), but for Foldback or Monitor feeds it is important for the send to be
independent of the fader (this is called PRE-FADE).
AUX SENDS 1 and 2 are both globally switchable between pre and post-fade (see
master section on page 21). Aux 3 is always post-fade.
8 PAN
This control sets the amount of the channel signal feeding the Left and Right MIX
buses, allowing you to move the source smoothly across the stereo image. When
the control is turned fully left or right you are able to route the signal at unity gain to
either left or right outputs individually.
9 MUTE
All outputs from the channel except inserts are on when the MUTE switch is re-
leased and muted when the switch is down, allowing levels to be pre-set before the
signal is required. The MUTE switch’s inbuilt LED glows when the channel is muted.
10 INPUT CHANNEL FADER
The 60mm FADER, with a custom-designed law to give even smoother control of
the overall signal level in the channel strip, allows precise balancing of the various
source signals being mixed to the Master Section. You get most control when the
input GAIN is set up correctly, giving full travel on the fader. See the “Initial Setup”
section on page x for help in setting a suitable signal level.
11 PFL
When the latching PFL switch is pressed, the pre-fade pre-mute signal is fed to the
headphones, control room output and meters, where it replaces the MIX. The PFL
ACTIVE LED on the Master section illuminates to warn that a PFL is active. This is a
useful way of listening to any required input signal without interrupting the main
mix, for making adjustments or tracing problems. When PFL is pressed anywhere on
the console, the Control Room outputs automatically switch from monitoring the
Mix Outputs.
12 PEAK LED
This LED will light when the signal level approaches clipping at any of the three
monitored points: PRE-EQ, POST-EQ and POST-FADE.
13 SIGNAL PRESENT (SP) LED
The SP LED glows when a signal is present. The feed point for the LED is post-EQ,
pre-mute.
14 MIX/GRP
When this switch is up, the channel’s post-pan-pot signal is routed to the Mix (left
and right) buses. When the switch is depressed, the post-pan-pot signal is routed
to the Group (left and right) buses.
It is sometimes useful to route several inputs to the group buses, e.g. all the mics
for a drum kit, or all the vocal mics for a choir. These signals can then be fed to the
main mix at the master section. By doing this the levels of all of the grouped inputs
can be changed together by using the group faders instead of having to adjust all
of the individual input faders, although, of course, the individual channel faders will
have to be adjusted to start with.
Summary of Contents for MPM 12/2
Page 1: ...1 USER GUIDE...
Page 12: ...12 BLOCK DIAGRAM...
Page 18: ...18 MASTER SECTION...
Page 28: ...28 TYPICAL CONNECTING LEADS...
Page 29: ...29...
Page 31: ......
