"
useful to reduce mic rumble. A channel that has
been well set up by adjusting the input gain can
be overloaded by EQ boosts. Be careful. If you
hear distortion, reduce the gain or EQ a little.
4. AUX send 1
AUX sends are for making a separate mix to the
main outputs. AUX send 1 is pre-fader, which
means that the signal is tapped at a point before
the channel fader (see block diagram). Adjust-
ments to the channel fader do not change the
AUX1 levels - this is suitable for a monitor sys-
tem feed. The musicians can then hear a raw
mix of all the instruments and can hear cues and
intros from instruments that are faded down in
the main mix.
5. AUX send 2
AUX send 2 is a post-fader mix which is perfect
as an effect send. A mix of various channels can
be sent to a reverb unit, for example, processed,
and returned to the master through an AUX re-
turn or 2 input channels. Being post fader means
that adjustments in the channel faders will affect
the AUX 2 mix. When you fade down the guitar,
the reverb on that instrument is reduced in the
main mix too.
6. PAN/BAL
The PAN control places the channel's output
within the stereo output mix. The signal can be
positioned anywhere between hard left, and hard
right. On the stereo channels, this is effectively
a balance control, which adjusts the relative
levels of the left and right signals to effect stereo
placement.
When inputting stereo signals on the stereo
channels, putting BAL in the central position will
allow the external device's own BAL control to
set stereo positioning. If you are using the MM122
for mixing more than four stereo devices, two
mono channels can be used for each additional
stereo device. For the best stereo effect, the
PAN controls on each channel should be
panned hard left and right respectively, and the
same EQ and fader settings applied to both
channels.
7. Channel fader
The level control for each channel is a high
quality slider, compared to the rotary faders
which feature on most small mixers. This gives
you much more freedom to actually mix rather
than just setting levels and leaving the mixer
alone.
The markings on the main faders are designed
for easier use too. Gain scales (in dB) have
become popular over recent years because they
help maximize the S/N, or sound to noise ratio,
by keeping a quantitative track on gain.
The disadvantage really becomes apparent
when you want to accurately note settings.
Interpolating, or estimating a value that falls
between two numbered divisions, is difficult
because the numbers aren't evenly spaced. Try
to quickly note a few fader positions on a gain
scale and then reproduce them quickly and
accurately. Even a rocket scientist's mind is
more at home with a linear 0-10. It may indicate
arbitrary values, but for a position reference,
it's still the best. To keep everyone happy, we've
marked each slider fader with a gain scale on
the right and a 0-10 on the left. The rotaries
have the important gain values marked but have
divisions marked which you can think of as a
0-10 or even points on the clock.
8. Scribble strip
The white patch that contains the channel num-
bers is to help identify what is on each channel.
Clear tape (the kind that doesn't leave a residue)
can be laid along the strip and any notes needed
to remind you what's on each channel can be
entered on this and discarded afterwards.
All manuals and user guides at all-guides.com
