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Pro
Tracker is an in-line format mixer, combining a channel path (nor-
mally feeding direct to tape) and a monitor path within the same verti-
cal strip. The Insert point and the Auxiliary send may be swapped
between the two paths for flexibility, which together with some
advanced features controlled from the Master section make the mixer
suitable for a wide range of applications.
For clarity, facilities are numbered differently to show which channel
path they normally serve.
normally in Channel path normally in Monitor path
CHANNEL PATH
1
The Microphone input is via a standard female XLR-3 connector
and is available when the Mic-Line/DI switch (4) is released. It is
designed to suit a wide range of BALANCED or UNBALANCED
low-level signals, whether from delicate vocals requiring the best
low-noise performance or close-miked drum kits needing maxi-
mum headroom. Professional dynamic, condenser or ribbon mics
are best because these will be LOW IMPEDANCE. While you can
use low-cost HIGH IMPEDANCE mics, you do not get the same
degree of immunity to interference on the microphone cable and
as a result the level of background noise may be higher.
2
The +48V switch applies PHANTOM POWER to the mic input
socket providing a suitable powering voltage for professional con-
denser mics.
DO NOT use unbalanced sources with the phantom power
switched on. The voltage on pins 2 & 3 of the XLR connector may
cause serious damage.
3
The Line/Instrument input accepts 3-pole or 2-pole `A gauge
(TRS) jacks. Use this input for sources other than mics, such as
keyboards, drum machines, synths, tape machines or guitars. The
input is BALANCED for low noise and immunity from interference,
but you can use UNBALANCED sources by wiring up the jacks as
shown on page 2 of this manual, although you should then keep
cable lengths as short as possible to minimise interference pick-up
on the cable.
4
The Mic-Line/DI switch selects between the Mic input socket
(switch released) and the Line/Instrument socket (switch pressed).
5
The GAIN control sets the
level of the selected input
feeding the tape send. Too
high, and the signal will dis-
tort as it overloads the chan-
nel and causes clipping
within the mic amp. 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 feed
the tape machine adequate-
ly. This is shown in the dia-
gram on the right:
6
The red O/L (Overload) LED monitors the channel source signal at
the output of the input amplifier and the monitor signal at the out-
put of the fader buffer amplifier, giving a visual warning if the sig-
nal exceeds a safe working level.
7
Pressing the 100Hz switch inserts a 12dB per octave Hi-Pass Filter
into the signal path. Use this in live recording applications to
reduce stage rumble or popping from microphones.
8
A built-in Limiter with an attack time of 300
m
sec is always avail-
able in the path to the tape send, to avoid the possibility of tran-
sients overloading the inputs of a digital tape machine. The
Limiter threshold is set globally from the Master section, but the
Limiter may be switched in individually on each channel using this
switch.
Controls in Detail
If the signal level is too low it may be masked
by the noise.
Signal
Noise
If the signal level is too high, clipping distortion
may occur.
Clipped
Signal
Noise
