13
The mixer's phantom power is globally
controlled by the phantom (23) switch on
the front panel. (Phantom power for all mics
is turned on and off together.)
Never plug single-ended
(unbalanced) micro phones, or
ribbon mics into the mic input jacks
if phantom power is on. Do not
plug instrument outputs into the mic XLR
input jacks with phantom power on, unless
you know for certain it is safe to do so.
6. MONO LINE INPUTS (CH. 1 to 6)
These 1/4" jacks share circuitry (but not
phantom power) with the mic preamps,
and can be driven by balanced or
unbalanced sources.
To connect balanced lines to these inputs,
use a 1⁄4" Tip-Ring-Sleeve (TRS) plug.
To connect unbalanced lines to these
inputs, use a 1⁄4" mono (TS) phone plug or
instrument cable.
The mono line-level signals appear
equally in the left and right of the main mix.
7. STEREO LINE INPUTS (CH. 7 and 8)
In addition to a mic input, channels 7
and 8 each have stereo line inputs. If you
just have a mono source, plug it into the
left input of channel 7 or 8 (labeled mono),
and the signal will appear (as if by magic)
equally on the left and right of the main mix.
8. RCA INPUTS (CH. 9 and 10)
In addition to a mic input, channels 9
and 10 each have RCA line inputs, suitable
for connecting the line-level, unbalanced
output from CD players, tape decks, iPod
docks etc. These inputs are not affected by
the break switch (24), so you can play CDs
or background music in your system when
the band is taking a break.
9. MONITOR SEND
This 1/4" TRS connector allows you to
send the monitor line-level output to stage
monitors. These could either be passive
stage monitors powered by an external
amplifi er, or powered stage monitors with
their own amplifi er built in.
Stage monitors allow the talented
musicians in your band to hear themselves
clearly on stage, and this can often be a
good thing. The monitor output can be
carefully adjusted in level using the channel
aux mon controls (17). If they want "more
me, and less Keith," you can turn up their
channel's mon control, and turn down
Keith's.
The monitor signal is the sum (mix) of all
the channels whose mon control (17) is set
to more than minimum. The overall output
level can be adjusted with the monitor
master level (32) and its EQ tweaked with
the monitor graphic EQ (29).
The monitor output is not affected by
the main master level (28), or the channel
level controls (20). This allows you to set up
the monitor mix and level just right, and not
have it change every time a channel level
or the main mix level is adjusted.
10. TAPE OUTPUTS
These stereo unbalanced RCA outputs
allow you to record the main stereo mix
onto a tape deck, hard disk recorder,
automatic CD burner, or a computer, etc.
This allows you to make a recording for
posterity/archive/legal purposes whenever
the band gets back together again.
The tape output is the stereo main mix,
not affected by the main master level (28),
or the main graphic EQ (25).
11. MAIN OUTPUTS
These 1/4" balanced TRS outputs supply
the stereo main mix at line-level. You can
connect these outputs to the line-level
inputs of external power amplifi ers running
passive loudspeakers, or to the inputs of
powered loudspeakers (or not use them at
all if you don't have the external gear).
These outputs play the same signal as the
rear-panel speaker-level outputs (3) (when
set to stereo mains), only at line-level.
These outputs can also be used to feed
an external stereo effects processor or other
device, and have the processed output
of that device feed the power amp inputs
(13). This places the device in-line and it will
affect the main mix.
Another idea is to run this output to the
inputs of a powered subwoofer to reinforce
the bass in your system.
