MONO I
N
PUTS
STE
R
EO I
N
PUTS
INPUT CHANNELS
INPUT CHANNELS
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Inputs
The mono input channels feature balanced
XLR-type microphone/line inputs. +48V
Phantom power is independently switchable
for all mono inputs, providing direct compat-
ibility with high-performance phantom-
powered condenser microphones and DI
boxes.
Stereo line sources can be directly con-
nected to any of the 4 stereo input channels
(a total of eight inputs). Stereo channel 1 has
switchable “A” or “B” inputs: the “A” inputs are
balanced XLR type connectors, and the “B”
inputs are standard RCA pin jacks type for
compatibility with the widest possible range of
line sources. Stereo channels 2 through 4
have balanced TRS inputs.
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Channel Insertion
Insert send/return patch points are
included on all mono channels for convenient
insertion of compressor/limiters (a must for
top-quality vocal sound), equalizers, or any
other outboard equipment you might need to
apply to individual channels.
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Input Controls & Level Matching
Gain trim controls with a 44-dB range on
all mono inputs, independent 40-dB gain
controls for the A input on stereo channel 1
and stereo channels 2 through 4, and 30-dB
gain controls for the B input on stereo channel
1, facilitate optimum level matching with a
wide range of sources. The mono inputs
additionally feature 26-dB pad switches and
phase switches for easy input phase correc-
tion.
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Filters & Flexible 4-band Channel
EQ
All mono channels feature a switchable
high-pass filters to effectively eliminate rumble
and other low-frequency noise. The mono
channels also feature a very flexible 4-band
equalizer which provides sweepable frequen-
cies for the HI MID and LO MID bands. The
stereo channels offer 2-band shelving EQ. EQ
bypass switches are provided on all channels
so equalization can be punched in or out as
required without having to change settings.
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14 Aux Sends
The AUX 1 through AUX14 controls are
mono auxiliary sends, feeding the correspond-
ing auxiliary busses. The AUX 7 through AUX
14 signals can be re-routed to the group
master controls, as described in the “MASTER
CONTROLS” section, below. AUX 1 and AUX 2
are hard-wired pre-fader, while the remaining
12 sends can be switched to receive the pre-
or post-fader signal in groups of four.
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Buss Assign & Pan/Balance
Controls
All mono and stereo channels have odd/
even assign switches for the 8 group busses,
as well as stereo and mono buss assign
switches. The mono channels have PAN
controls switchable for LR or LCR operation,
and the stereo channels have balance
controls.
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3-point Level Indicators
All mono and stereo channels feature 3-
point input level indicators for accurate
monitoring of pre-fader signal levels. SIGNAL,
NOM (nominal), and PEAK LEDs provide a
broader “view” of channel signal levels than
the usual one- or two-LED indicators.
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Channel Faders, Pre-fader Listen,
& Channel ON Switches
Smooth, noise-free 100-mm linear faders
make it easy to set up the optimum balance
between channels, while PFL (Pre-Fader
Listen) switches allow convenient solo
monitoring of the channel’s pre-fader signal.
All channels additionally feature ON/EDIT
switches and indicators that can be used to
switch the channel signal into or out of the
mix — allowing editing of mute scenes, for
example — without changing any other
settings.