C O N T R O L S A N D C O N N E C T I O N S
nates when a channel is
going into overload. It
detects the peak level
after the EQ and will light
at approximately 5dB
before clipping to warn
that the signal is
approaching overload.
You do not want the
Peak LED to light except
very intermittently during
a take or a mix. If it does
light persistently, reduce
input gain with the TRIM
control (4) or PAD (5).
(5) PAD
This control attenuates
the input signal -20dB
when set to the IN (but-
ton depressed) position.
(6) EQUALIZER CON-
TROLS
All input channels are fit-
ted with a three-band
EQ. All three bands have
up to 15 dB of cut and
boost, with a center
detent for “off”. The fre-
quency response is flat
when all three EQ knobs
are in the center detent
position. The upper and
lower shelving controls
have their frequencies
fixed at 12 kHz and 80
Hz respectively. The
midrange control has a
peaking response at
2.5KHz (Q fixed at 1
octave). The channel EQ
is a valuable feature of
the mixer as it allows the
user to control the tonal
characteristics of each
instrument separately.
For example, boosting the LOW can fatten the sound and add
punch to the bass or drums; the MID control can be used to
define the midrange or bring out the vocals; and adjusting the
HIGH control can provide a crisp sounding high end. Another
very important, yet often overlooked technique is to use the
EQ to subtract from the mix. Cutting the HIGH control can
reduce unwanted hiss during multi-track recording, while
attenuating the MID or LOW can eliminate feedback in a live
performance or clear up a muddy sounding mix. Cutting away
the top and bottom, then pushing up the Gain is equivalent to
mid range boost!
[Note: Always reset a channel’s input Gain (or external
device’s output level) after altering the amount of mixer equal-
ization cut or boost applied.]
The key to successful equalization is to avoid excess. Too
much equalization on the input channels will result in a mix
that is smeared together with nothing specifically defined.
During rehearsals, experiment with the equalizer controls on
various instruments, vocals and combinations of these mixed
together to become familiar with various equalizer settings.
(7) AUX ( POST ) SEND CONTROLS
The Aux send controls are mono and post-EQ and pre-fader
and the signal level sent to the AUX bus will be unaffected by
the channel fader setting. This configuration is ideal for
almost all monitoring purposes: for example, for a separate
stage monitor mix in live performances or a studio room mon-
itor in recording applications, such as for a headphone cue
system.
(8) EFF (EFFECTS) CONTROLS
The EFF controls are mono, post-EQ and pre-fader and the
signal level sent to the EFFECTS bus will be unaffected by
the channel fader setting. These controls adjust the level sent
by each channel to the internal DSP (Digital Sound
Processor). (See also Digital Echo Effects Functions and
Operation)
(9) PAN
The Channel Pan positions the output of the channel in the
stereo field of the main mix. Its constant-power design
ensures there are no level discrepancies whether a signal is
hard-panned, center-stage, or somewhere in-between.
(10) PFL SELECT SWITCH
The PFL (pre-fader listen) switch enables monitoring the sig-
nal of any channel(s) selected (button depressed) at nominal
levels through the headphone output. The signal is post EQ
and independent of channel fader position. Selecting the PFL
never interrupts the main stereo out or the AUX sends.
(11) CHANNEL FADER
The channel faders determine the output signal level to the
Master Mix Left, Right busses. They offer a smooth logarith-
mic taper for optimum control of the signal, more often asso-
ciated with much more expensive consoles.
(7)
(8)
(9)
(10)
(11)
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