8
5 & 8-CHANNEL
MIXERS
L502 & L802 Owner's Manual
INPUT TYPES
This chapter will review the types of inputs on the L502/802 mixer and explain each of their features.
CHANNELS 1-4: MIC/LINE INPUTS
MICROPHONE INPUT (MIC)
This XLR connector will accept virtually any professional microphone.
It is designed for microphone level signals. If you have a device that
plugs into the wall and has an XLR output (like a mic pre/channel
strip, guitar multieffects processor, computer interface), you should
get an XLR-to-¼" TRS cable and plug it into the line input (below).
Some microphones, mostly condenser mics, need phantom power to
operate. Switch on phantom power on the right side of the mixer. If
you're unsure if your mic needs phantom power, check the instruc-
tions or the manufacturer's website for information. Phantom power
should not hurt most microphones, except for very old or damaged
ribbon microphones.
Use the microphone preamp's gain control (explained below) to
bring the microphone up to a high enough level to use with the mixer.
LINE INPUT (LINE)
This ¼" input is designed for line-level signals. It accepts either
balanced (TRS) or unbalanced (TS) cables. The level of this input is
also controlled by the gain control, explained below.
Do not use both the microphone and line inputs on the same channel.
The mixer will distort and the noise level will go up.
The line input is not designed to accept an instrument-level signal,
such as the output from an electric or acoustic guitar or bass. If you
want to plug your instrument into the mixer, we suggest a direct
box (also called a DI box). Plug your instrument into the direct box,
then plug the output of the direct box into the microphone input of
the mixer.
GAIN
Gain controls the level of the microphone or line level signal plugged
into the mixer. If the gain is set too low, the output signal will be noisy
when you turn it up at the level control. If gain is set too high, it
will distort.
For best performance, set the gain while looking at the meters. Turn
the Level control so that it's facing straight up. Then turn the gain up
until you see the first or second lights on the meters. Don't set it too
high – although you might not hear distortion when playing by itself,
when all of the channels are playing at that level they may add
together and distort the mixer.
Sidebar: "Why are there two volume controls?"
The Gain and Level controls work together to get the best
performance out of the mixer. A quiet signal may need
more gain than a loud guitar amp going into a sensitive
microphone. Set the gain so that the level on each channel
is roughly the same, then use the Level controls to set the
balance that you want in your mix.
EQ HI
The high EQ control is a shelving EQ. What this means is that it
boosts or cuts from 12kHz and everything above that. Turn it up to
bring out the breath of a vocal or the high overtones of the cymbals.
Turn it down to reduce finger squeaks on a guitar or bass.
EQ MID
*
The mid EQ is a peaking EQ, centered at 2.5kHz. This boosts or cuts
the high midrange of your signal. You might turn it up if your vocal
isn't cutting through the mix, or turn it down if a percussion part is
too harsh.
EQ LOW
This low EQ boosts or cuts everything from 80Hz or below. You
might bring it up for more bottom out of your kick or bass guitar, and
turn it down to reduce rumble from a vocal or wind instrument.
FREQUENCY IN HZ
FREQUENCY RESPONSE
REL
A
TIVE RESPONSE IN
dB
FREQUENCY IN HZ
FREQUENCY RESPONSE
REL
A
TIVE RESPONSE IN
dB
FREQUENCY IN HZ
FREQUENCY RESPONSE
REL
A
TIVE RESPONSE IN
dB
*L802 ONLY
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