Filter
Top Products
45
Channels Source FOH FX Wedges / monitorin
g
1 Kick Subgroups 1 and 2 / MIX-B - Aux send 1 and 2
2 Snare Subgroups 1 and 2 / MIX-B Aux send 4 Aux send 1 and 2
3 Hi Hat Subgroups 1 and 2 / MIX-B - Aux send 1 and 2
4 Tom 1 Subgroups 1 and 2 / MIX-B Aux send 4 -
5 Tom 2 Subgroups 1 and 2 / MIX-B Aux send 4 -
6 Tom 3 Subgroups 1 and 2 / MIX-B Aux send 4 -
7 Tom 4 Subgroups 1 and 2 / MIX-B Aux send 4 -
8 Cymbals (overheads) Subgroups 1 and 2 / MIX-B - -
9 Keyboards L Subgroups 3 and 4 / MIX-B - Aux send 1 and 2
10 Keyboards R Subgroups 3 and 4 / MIX-B - Aux send 1 and 2
11 Bass DI Main mix / MIX-B - Aux send 1 and 2
12 Trumpet Subgroups 5 and 6 / MIX-B Aux send 5 Aux send 2
13 Trombone Subgroups 5 and 6 / MIX-B Aux send 5 Aux send 2
14 Sax Subgroups 5 and 6 / MIX-B Aux send 5 Aux send 2
15 BVs 1 Subgroups 7 and 8 / MIX-B Aux send 5 and 6 Aux send 1 and 2
16 BVs 2 Subgroups 7 and 8 / MIX-B Aux send 5 and 6 Aux send 1 and 2
17 BVs 3 Subgroups 7 and 8 / MIX-B Aux send 5 and 6 Aux send 1 and 2
18 Conga L Main mix / MIX-B - Aux send 2
19 Conga R Main mix / MIX-B - Aux send 2
20 Guitar 1 microphone Main mix / MIX-B - Aux send 1 and 2
21 Guitar 2 microphone Main mix / MIX-B - Aux send 1 and 2
22 Lead vocal Main mix / MIX-B Aux send 5 and 6 Aux send 1 and 2
23 FX 1 L Main mix / MIX-B - -
24 FX 1 R Main mix / MIX-B - -
Tab. 17.1: Channel assignments 2-track
Every B-channel has its own LEVEL, PAN and HIGH and LOW EQ. MIX-B in fact is acting here like a totally
independent separate mixer, albeit with fewer facilities than the main mix. The primary stereo reverb/echo
unit's outputs have been patched into A-channels rather than an aux return, to enable them to be sent to the
MAIN MIX and MIX-B independently.
+ S48 is UP, i.e. MIX-B is NOT blended into the main mix.
+ Bringing the DAT back on aux 1 return P49 (as opposed to the 2-track or external inputs)
enables not only auditioning of DAT playback, but also balancing playback level against the
main mix, in case you also want to use it to play a pre-recorded intro tape to set the scene for
the coming performance.
+ Be sure to have aux return 1 turned all the way down or de-assigned when recording to DAT.
Otherwise expect massive and terminal (as far as the P.A. and gig are concerned) howlround.