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GETTING TO KNOW YOUR CONSOLE
MONO INPUT CHANNEL
T
wo 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 high-
er 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 new U input provides very wide gain control with-
out 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 connec-
tor.
NOTE: Phantom powered mics should not be plugged in with the +48V
switched on. Also you should be aware that some microphones draw an unusu-
ally 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.
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