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INPUT STEREO
18. LINE TRIM
These rotary controls are for matching the incoming line level signals to the operating level of
the PowerMate. The total adjustment range is 30dB. Unity gain – no amplication (0 dB) – is
achieved at the 0dB mark. The control offers level reduction of –10dB and an amplication of
+20dB. This range allows the connection of most professional, semi professional, and hi- sound
sources. For further details on how to set the LINE TRIM control, please refer to the description
of the GAIN control in monaural channels.
If you use a keyboard as sound source on one of the stereo inputs, make sure that no split zones
or layers with channel separation are activated. The stereo channel mapping will otherwise
appear like it is set on the keyboard – the lower layer in the left and the top layer in the right
channel – and you will not have the opportunity to re-position the sound in the overall stereo
image, unless you connect the keyboard output to two adjacent monaural input channels,
leaving you the option to place the sound in the nal mix via PAN controls.
One more tip, in case you desperately need another input and all channels of the PowerMate
are already in use: The microphone input and the phone plug-type inputs are electrically totally
separated from each other. Each input is equipped with its own gain control – respectively
trim control, providing you with the possibility to connect a LINE level sound source in
addition to a microphone. Of course, the two sources share all other controls. Consequently,
separate adjustments are not possible. Hence to that fact, this option is only meant as a
subsidiary function and should only be used when there is absolutely no other alternative.
19. EQ SECTION
The mixer’s EQ section allows very comprehensive and effective shaping of the incoming
audio signal within miscellaneous frequency bands. Turning one of the EQ level controls to
the right enhances/amplies the corresponding frequency range while turning them to the
left lowers/attenuates the signal of that specic frequency band. Before you begin to alter the
sound, all EQ controls should be set to their neutral position, i.e. their marker points straight up
(locked in place). Do not set the EQ controls to extreme positions. Usually, minor changes are
totally sufcient and produce the best results in the overall sound. You should use the natural
reproduction as an orientation mark and rely on your musically trained ear. The moderate use
of the MID control is the best remedy to avoid acoustical feedback. Especially in this frequency
range you should try to avoid excessive enhancement. Lowering the level more or less in this
band will provide you with high amplication rates without feedback.
The EQ section of the STEREO channels is designed in a way that HI and LO controls provide
a degree of control that is equally adequate for LINE level inputs and microphones. The MID
control is active in a comparably wide frequency band around 2.4 kHz. With most microphones
this is the critical range, where a slight attenuation offers excellent results.
-20
+20
-15
-10
-5
+0
+5
+10
+15
20 20k50 100 200 500 1k 2k 5k 10k
Hz