Korg SoundLink MW-1608, Руководство пользователя, Страница: 3 / 65

Hook
-up
/Back panel
Analog C
ontr
ols
Digital C
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Greg Mackie founded TAPCO in the
70’s to make the first practical band
mixers. Then in 1990, he formed
the eponymous company truly
revolutionized both live and studio
recording for cash-strapped musicians
and seasoned pros alike. After retiring
from that company in 2002, he’s been
busy designing for others and himself.
3
Welcome…and thank you!
Born in London, UK, Peter worked
at Trident Audio for 18 years (10
years as Head of R&D) assembling,
testing and designing now-legendary
high-end analog studio and mixers.
He moved to the USA to join Mackie
Designs, staying for 7 years as VP of
Engineering and Chief Designer for
Digital Mixers and related products.
In 2003 Peter founded Stonepower
Ltd as an independent professional
audio design house, working on
projects for numerous brands.
A few words from Greg Mackie.
I’ve been designing mixers for over 40 years.
A few years ago, I helped create a compact
all-digital mixer. For a while, I used it in my own
live mixing, which includes talent shows, open
mic nights and three-bands-in-one-night at a
club. Here, I had to deal with feedback, groups
I’d never mixed before, more feedback, micro-
phone mishandling and timid vocalists, three
mics on one act and sixteen on the next…oh, did
I mention feedback?
I discovered that the
all-digital interface simply could not let me make
changes and corrections fast enough — too
many menus and scrolling! On the other hand,
I loved the equalization, effects, and presets of
digital.
SoundLink is my and Peter Watts’ hybrid
solution superbly interpreted and executed
by KORG. It gives you analog’s instant control
for the emergencies that inevitably happen in
live mixing, but with the power of high-quality
digital where it counts.
You have made a good
choice.
We are glad that you have chosen
a KORG SoundLink MS mixer.
Here are some of the highlights:
] True hybrid design developed with mixer
design legends Greg Mackie and Peter
Watts
] 24 x 8 x 2 or 16 x 8 x 2 models
]
Peter Watts-designed HiVolt mic
preamps, with more headroom than
any comparably-priced mixer (+/-16.5V
internal voltage on mono and stereo
channels)
]
Velvet Sound™ A/D & D/A converters with
0.004% THD,
]
L/R Monitor, ¼ ” and XLR main outs, eight
¼ ” Group Outs, four XLR Aux Outs, two
¼ ” Musician’s Phones outputs linked to
Aux 3 & 4, front panel Headphone output,
stereo USB output
] Eight mono/four stereo individual output
buses (true 8-bus design)
]
Unique Musician’s Phones Monitor
Section gives two musicians individual
control of how much of “me” versus the
total mix they hear
]
Only mixer in its class with Mute Groups
to quickly create and recall various input
combinations of on-stage musicians
]
Mono channels have Peter Watts-derived
HI (12k), MID (250 hz - 5k sweepable) and
LO (100 Hz) EQ; Stereo channels feature
HI, HI MID (2.5k), LO MID (250 hz) and LO
EQ
]
Digital section includes three each of
Peter Watts-designed Compressors,
Limiters and Noise Gates, each with
editable, recallable parameters
] Three ingenious 9/31-band ParaGraphic
equalizer that each address nine bands
out of a possible 31
] Twenty of KORG’s renowned 32-bit digital
effects — 10 at once, with save and recall
user settings
]
Foot switch control for FX
]
Talkback to L/R or to Aux 1-4
]
Peter Watts-inspired rack-mount-
processor-grade, one-knob Compressor
on all mic channels
]
Best Automatic Feedback Control of any
compact mixer
] USB stereo output/input Input for
recording out and backing tracks in
]
Optional foot switch
]
Super-useful touches such as all-XLR
speaker outputs and enhanced Break
Switch with 1/8” input
]
Silky-smooth, long-life ALPS
®
faders and
rotary controls
]
MW-2408 fits in a 19” rack