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Owner's Manual 17
Aux Sends 1-6 [19] are line-level outputs, and are
used if you want to connect external processors,
powered stage monitors, or external power amps with
passive stage monitors. Aux Returns 1-4 [18] are
line-level inputs, typically used to return the output
from external processors back to the main mix.
Carefully adjust how much of each channel appears
in your aux mixes. For example, if you are running stage
monitors, and someone wants "more me, and less them,"
adjust these carefully.
The aux sends can either be pre or post fader,
depending on the position of the aux pre/post switches
[56]. For stage monitor work, use pre, so the stage
monitors do not increase in volume when the channel
level is adjusted. For external processors, use post. In
this way, the feed to external processors will vary with
the channel level, keeping them in the same ratio (wet/
dry).
36. PAN
This control allows you to adjust how much of the
channel signal is sent to the left versus the right
outputs.
With the knob panned hard left, the signal feeds
the main left, sub 1, or sub 3 busses, depending on the
setting of the assign switches [44-45]. With the knob
panned hard right, the signal feeds the main right, sub
2, or sub 4 busses, again dependent on the setting of the
assign switches [44-45].
The pan control employs a design called “Constant
Loudness.” If you have a channel panned hard left (or
right) and then pan to the center, the signal is
attenuated about 3 dB to maintain the same apparent
loudness. Otherwise, it would make the sound appear
much louder when panned center.
This is not to be confused with pan, the famous steel
drums of the tropical island paradise of Woodinville.
37. MUTE
Mute switches do just what they sound like they do.
They turn off the signal by “routing” it into oblivion.
Engaging a channel's mute switch (almost) provides
the same results as turning the fader all the way down
(a pre-aux send is not affected by the channel fader,
but it is by the mute switch). Any channel assignments
to main mix, sub 1-2, or sub 3-4 will be interrupted and
all of the aux sends will be silenced (both pre- and
post-fader). The recording out [20] and channel insert
[6] will continue to provide a signal when a channel is
muted.
The LED next to the mute switch illuminates when
the mute switch is engaged.
38. CHANNEL FADER
This is the last control in a channel’s signal path, and
it adjusts the level of each channel onto the main mix.
The “U” mark indicates unity gain, meaning no increase
or decrease of signal level. All the way up provides an
additional 10 dB, should you need to boost a section of
a song. If you fi nd that the overall level is too quiet or
too loud with the level near unity, check that the gain
control [26] is set correctly.
39. -20, 0, +10 and OL LEDS
These LEDs indicate the channel’s signal level after
the gain and EQ controls, but just before the channel’s
level. So even if the level is turned down, you can see if
a signal is present, or if the channel is being overloaded.
The OL (overload) LED will come on when the
channel’s input signal is too high. This should be
avoided, as distortion will occur. If the OL LED comes
on regularly, check that the gain control [26] is set
correctly for your input device, and that the channel EQ
is not set with too much boost.
The –20 and 0 LEDs should illuminate frequently and
the +10 LED should light occasionally.
40. ASSIGN
Alongside each channel fader are three buttons
referred to as channel assignment switches. Used in
conjunction with the channel's pan knob [36], they
are used to determine the destination of the channel's
signal.
With the pan knob at the center detent, the left and
right sides receive equal signal levels (main mix L-R,
sub 1-2, and sub 3-4). To feed only one side or the other,
turn the pan knob accordingly.
If you are doing a mixdown to a 2-track, for example,
simply engage the main mix switch on each channel
that you want to hear, and they will be sent to the main
mix bus. If you want to create a subgroup of certain
channels, engage either the 1-2 or 3-4 switches instead
of the main mix, and they will be sent to the appropriate
subgroup faders. From there, the subgroups may be sent
back to the main mix (using the sub assign switches
[70] above the subgroup faders [71]), allowing you to
use the subgroup faders as a master control for those
channels.
If you are creating new tracks or bouncing existing
ones, you will also use the 1-2 and 3-4 switches, but not
the main mix switch. Here you do not want the
subgroups sent back into the main mix bus, but sent
out, via the sub out jacks [17], to your multitrack
inputs.