5.2 Mixing audio sources
1) Turn up the control MASTER (25) so that the
mixing ratio of the audio sources can be
adjusted in an optimum way.
2) When all level matching adjustments and
all sound adjustments have been made
(
chapter 5.1), use the controls LEVEL
(10) to mix the signals of the input channels
in the volume ratio desired. Always turn back
the controls LEVEL of the channels not used
to the left stop.
3) For the mono channels, use the panorama
controls PAN (9) to place the mono signals in
the stereo sound. For the stereo channels,
use the controls BAL (9) to adjust the balance
of the stereo signals.
4) To add effects, refer to the following chap-
ter 5.3.
5) To add the input signal of the jacks TAPE IN
(18) and of the USB port (33) to the signal
sum, press the button TAPE / USB TO MIX
(21).
Note: If, during recording via the jacks TAPE OUT
or the USB port, the recording signal is sent as an
input signal to the jacks TAPE IN or to the USB port,
make sure that the button TAPE / USB TO MIX is not
pressed; otherwise, there will be feedback.
6) Use the control MASTER (25) to adjust the
definitive volume of the sum signal; check the
LED level indicators (20) while adjusting the
volume. Make sure that none of the two but-
tons (22, 23) for the monitor function is
pressed; otherwise, the LED level indicators
will not indicate the level of the sum signal. In
case of overload, the red LEDs CLIP of the
level indicators will light up.
5.3 Adding effects
5.3.1 Using an external effect unit
Connect the effect unit to the output AUX SEND
(13) and to the LINE input (2) of an input channel
not used.
1) To make sure that the subsequent effect
adjustments are audible, first set the control
LEVEL (10) of the channel to which the effect
unit has been connected approximately to
mid-position.
2) Use the controls AUX SEND (7) to add the
signals of the input channels to the effect
way. The signal will be picked up after the
control LEVEL (10), i.e. the effect part of a
channel is always proportional to the channel
level adjusted. The sum of all signals added
to the effect way is sent to the effect unit via
the output AUX SEND (13).
Note: Turn back the control AUX SEND of the chan-
nel to which the effect unit has been connected to
the left stop; otherwise, there will be feedback.
3) Use the control LEVEL (10) of the channel to
which the effect unit has been connected to
add the output signal of the effect unit to the
sum signal.
5.3.2 Using the internal effect processor
1) To make sure that the subsequent effect
adjustments are audible, first set the control
FX TO MASTER (30) approximately to mid-
position.
2) Turn the selector knob FX SELECT (26) back
and forth until the number of the desired
effect (
effect overview below) starts flash-
ing on the display (27). Press the knob briefly
to confirm. The number will stop flashing
when the effect has been adjusted.
3) Use the controls AUX SEND (7) to add the
signals of the input channels to the effect
way. The signal will be picked up after the
control LEVEL (10), i. e. the effect part of a
channel is always proportional to the channel
level adjusted. The sum of all signals added
to the effect way is sent to the input of the
effect processor.
4) Use the control FX TO MASTER (30) to add
the output signal of the effect processor to the
signal sum.
The LED PEAK / MUTE (29) will light up if
there is an overload at the input of the effect
processor. Turn back any controls AUX
SEND (7) turned up too far. If necessary, turn
up the control FX TO MASTER in compensa-
tion.
5) To mute the effect processor, press the but-
ton MUTE (28) [button will not engage].
When the muting feature has been activated,
the LED PEAK / MUTE (29) will light up. To
unmute, press the button MUTE once again;
the LED PEAK / MUTE will be extinguished.
Note: If the mixer is switched off while the effect
processor is muted, the muting feature will be deac-
tivated when the mixer is switched on again.
5.4 Monitoring via headphones and
monitor system
The two assign buttons (22, 23) for the monitor
function define which signal will be monitored via
the outputs BOOTH OUT (12) and PHONES
(14) and indicated by the LED level indicators
(20):
– If none of the buttons is pressed, the sum sig-
nal adjusted with the control MASTER (25) will
be monitored and indicated.
– If only the button TAPE TO BOOTH / PHONES
(22) is pressed, the input signal of the jacks
TAPE IN (18) and of the USB port (33) will be
monitored and indicated (e.
g. to check a
recording).
– If the button AUX SEND TO BOOTH (23) is
pressed, the signal of the effect way will be
monitored and indicated. In this case, the
position of the button TAPE TO BOOTH
/
PHONES is irrelevant.
Use the control BOOTH / PHONES (24) to adjust
the monitoring volume.
6 Specifications
Input sensitivity
Mic: . . . . . . . . . . . . . . 0.5 mV
Line (mono channel): . 1 mV
Line (stereo channel): 10 mV
Tape In: . . . . . . . . . . . 100 mV
Output level
Master Out / Tape Out: 650 mV
(at indication 0 dB)
Booth Out: . . . . . . . . . 2 V
(at indication 0 dB)
Aux Send: . . . . . . . . . 9.5 V max.
Headphone impedance: ≥ 8 Ω
USB interface: . . . . . . . . USB 2.0
(Full Speed)
Frequency range: . . . . . 20 – 20 000 Hz
THD: . . . . . . . . . . . . . . . < 0.05 %
S/N ratio: . . . . . . . . . . . . > 74 dB
(A weighted)
Crosstalk: . . . . . . . . . . . -63 dB
Equalizer controls
LOW: . . . . . . . . . . . . . ±15 dB / 80 Hz
MID: . . . . . . . . . . . . . ±15 dB / 2.5 kHz
HIGH: . . . . . . . . . . . . . ±15 dB / 12 kHz
Low Cut filter: . . . . . . . . 75 Hz
Phantom power: . . . . . . +48 V
Power supply: . . . . . . . . 18 V~ via power
supply unit provided,
connected to 230 V~/
50 Hz
Ambient temperature: . . 0 – 40 °C
Dimensions
(W × H × D): . . . . . . . . . 280 × 65 × 260 mm
Weight: . . . . . . . . . . . . . 2.5 kg
Suitable operating systems for data transfer via
USB interface:
Windows 2000, Windows XP or subsequent
Windows versions
Mac OS 9.0.4 or later, Mac OS X
Windows is a registered trademark of Microsoft Corporation in the USA
and other countries.
.
Mac OS is a registered trademark of Apple Computer, Inc. in the USA
and other countries.
Subject to technical modification.
9
GB
All rights reserved by MONACOR
®
INTERNATIONAL GmbH & Co. KG. No part of this instruction
manual may be reproduced in any form or by any means for any commercial use.
Number
Name
Effect
Parameter
00 – 09
VOCAL
reverb effect, ideally suited for vocals
decay time 0.8 – 0.9 s, pre-delay time 10 – 45 ms
10 – 19
SMALL ROOM
reverb effect; simulation of a small to medium-sized room
decay time 0.7 – 2.1 s, pre-delay time 20 – 45 ms
20 – 29
LARGE HALL
reverb effect; simulation of a large hall
decay time 3.6 – 5.4 s, pre-delay time 23 – 55 ms
30 – 39
ECHO
echo effect
delay time 145 – 205 ms
40 – 49
ECHO + VERB
combination of echo effect and reverb effect
delay time 208 – 650 ms, decay time 1.7 – 2.7 s
50 – 59
VERB
combination of flanger effect and reverb effect
rate 0.8 – 2.52 Hz, decay time 1.5 – 2.9 ms
60 – 69
PLATE
simulation of a classic reverberation plate with bright sound
decay time 0.9 – 3.6 s
70 – 79
GTR
guitar effect: Chorus
rate 0.92 – 1.72 Hz
80 – 89
GTR
guitar effect: Rotary (Leslie effect)
modulation depth 20 – 80 %
90 – 99
T GTR
guitar effect: Tremolo
rate 0.6 – 5 Hz