14
15
16
17
18
20
21
19
5
6
7
8
8
6
6
6
6
6
5
5
5
5
5
5
5
5
5
9
10 11
12
22
23
24
25
26
29
30
33
34
27
28
31
13
32
7
35
12
Front Panel Features
Microphone-level signals are passed
through the mixer's splendid microphone
preamplifi ers to become line-level signals.
Because more gain is required to boost the
microphone level signals, make sure the
gain switch (21) is in the out (high) position
when you are using microphones. The mic
inputs for channels 7 to 10 have no gain
switch; the mic gain is fi xed at the low gain
setting of channels 1 to 6.
The microphone signals appear equally in
the left and right of the main mix.
PHANTOM POWER
Most modern professional condenser
mics require phantom power, which lets the
mixer send low-current DC voltage to the
mic’s electronics through the same wires
that carry audio. (Semi-pro condenser mics
often have batteries to accomplish the
same thing.) “Phantom” owes its name to
an ability to be “unseen” by dynamic mics
(Shure SM57/SM58, for instance), which
don’t need external power and aren’t
affected by it anyway.
Connector Section
This is where you plug things in, such as:
microphones, line-level instruments, guitar
preamps and effects, recorders, external
amplifi ers, powered monitors, powered
subwoofers etc. (The speaker-level outputs
from the internal power amplifi ers are on
the rear panel.) Check out the hookup
diagrams for some connection ideas. See
Appendix B (page 23) for further details
and some rather lovely drawings of the
connectors you can use with your powered
mixer.
5. MIC INPUTS
We use phantom-powered, balanced
microphone inputs just like the big tour
mega-consoles, for exactly the same
reason: This kind of circuit is excellent at
rejecting hum and noise. You can plug in
almost any kind of mic that has a standard
XLR-type male mic connector.
Professional ribbon, dynamic, and
condenser mics all sound excellent through
these inputs. The mic inputs will handle
any kind of mic level you can toss at them,
without overloading.
