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Repeat this procedure on other channels as required. As more channels are added to
the mix, the meters may move into the red section. Adjust the overall level using the
Master Faders if necessary.
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Listen carefully for the characteristic sound of `feedback. If you cannot achieve satis-
factory input level setting without feedback, check microphone and speaker place-
ment and repeat the exercise. If feedback persists, it may be necessary to use a
Graphic Equaliser to reduce the system response at particular resonant frequencies.
Note:
The initial settings should only be regarded as a starting point for your mix. It is
important to remember that many factors affect the sound during a live performance,
for instance the size of the audience!
You are now ready to start building the mix and this should be done progressively,
listening carefully for each component in the mix and watching the meters for any hint of
overload. If this occurs, back off the appropriate Channel Fader slightly until the level is
out of the red segments, or adjust the Master Fader.
Note:
The level of any source signal in the final output is affected by many factors, principal-
ly the Input Sensitivity control, Channel Fader, Group and Output Faders. You should try
to use only as much microphone gain as required to achieve a good balance between sig-
nals, with the faders set as described above. If the input gain is set too high, the channel
fader will need to be pulled down too far in compensation to leave enough travel for suc-
cessful mixing and there is a greater risk of feedback because small fader movements will
have a very significant effect on output level. If the gain is set too low, you will not find
enough gain on the faders to bring the signal up to an adequate level.
