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INPUT STEREO
10. STEREO INPUT L/MONO R
Electronically balanced inputs for the connection of musical instruments with stereo out-
put, like keyboards, drum computers, E-guitars and E-basses with an active output as well
as any equivalent sound source that provides a high level output; like additional mixing
consoles, effect units, compact disc players, etc.
The stereo LINE input is meant for balanced or unbalanced sound sources with levels
between –20dBu and +30dBu. For the connection of external devices you can use mon-
aural or stereo phone plugs which are in accordance to the diagram below. If the external
appliance is equipped with a balanced output stage, you should preferably use balanced
cables and plugs, since this type of connection provides better shielding against RF induc-
tion and external noise.
In case you want to connect a monaural signal source to one of the stereo input channels,
you just have to plug it into the L/MONO input. The signal is internally linked to both chan-
nels.
11. LINE TRIM
These controls serve to match the incoming line level signals of a stereo channel to the
PowerMate’s internal operation level. The total adjustment range is 30dB. Unity gain – no
amplifi cation (0 dB) – is achieved at the 0dB mark. The control allows to attenuate or
amplify the signal level in the range of -10dB to +20dB. This range is suffi cient for mat-
ching most professional, semi professional, and even hi-fi signal sources.Adjustment is
performed in accordance to the description of the gain control within the monaural input
channel.
If you are using a keyboard as signal source and you have it connected to one of the
stereo inputs, please make sure not to set split zones or layers with channel separation.
Otherwise the stereo channel mapping will appear like it is set on the keyboard and you
will not have the opportunity to re-position the sound in the overall stereo image, using the
controls of the mixer. The better alternative to connect a keyboard with pre-programmed
channel mapping is to use two adjacent monaural input channels, leaving you the option
of placing the sound in the fi nal mix via the PAN controls.
12. TONE CONTROL SECTION
The mixer’s tone control section allows very differentiated shaping of the incoming audio
signals within miscellaneous frequency bands. Turning one of the EQ level controls to the
right enhances/amplifi es the corresponding frequency range while turning them to the left
lowers/attenuates the signal of the specifi c frequency band. Before you begin to alter the
sound, all tone controls should be set to their neutral position; i. e.: their marker points
straight up (detent position). Do not set the EQ controls to extreme positions. Usually,
minor changes are totally suffi cient 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, being the perfect instrument to judge the sound quality.
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