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Owner’s Manual
Owner’s Manual
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Reverb)
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Signal Processor
(e.g., Compressor)
8. SUB OUTS
These 1/4" jacks are usually patched to the inputs of a
multitrack deck, or to secondary amplifi ers in a complex
installation. See page 18 for details of the SUBGROUP
FADERS [38]. (See also the discussion on double bus-
ing on the previous page.)
9. C-R OUTS (CONTROL ROOM OUTPUTS)
These 1/4" jacks are usually patched to the inputs of
your control room amplifi er or a headphone distribution
amplifi er. See page 19, CONTROL ROOM and PHONES
[43] for details of the signal routing to these outputs.
10. PHONES OUTPUTS
These stereo 1/4" phones
jacks will drive any stan-
dard headphone to very
loud levels. Walkperson-
type phones can also be
used with an appropriate
adapter. See page 19, CON-
TROL ROOM and PHONES
[43] for details of the
signal routing to these outputs.
If you’re wiring your own cable for the PHONES out-
put, follow standard conventions:
Tip = left channel
Ring = right channel
Sleeve = common ground
WARNING: When we say the headphone
amp is loud, we’re not kidding. It can cause
permanent ear damage. Even intermediate
levels may be painfully loud with some earphones. BE
CAREFUL!
Always turn the PHONES knob all the way
down before connecting headphones. Keep
it down until you’ve put the phones on. Then
turn it up slowly. Why? “Engineers who fry their ears
fi nd themselves with short careers.”
Another method of interfacing a multitrack is called
in-line monitoring, and requires a mixing console
dedicated to that, like the Mackie 8•Bus. Each of its
channels is actually two channels: one carrying the mic/
line sound source and the other carrying the multitrack
output.
6. AUX SEND OUTPUTS
These 1/4" jacks usually patch to the inputs of your
parallel effects devices or to the inputs of your stage
monitor amps. To learn how signals are routed to these
outputs, see the Aux discussion on page 21.
EFFECTS: SERIAL OR PARALLEL?
You’ve heard us carelessly toss around the terms “se-
rial” and “parallel.” Here’s what we mean by them:
“Serial” means that the entire signal leaves the mixer
(INSERT send), is routed through the effects device,
and returns to the mixer (INSERT return). Examples:
compressor, limiter, graphic equalizer. Line-level
sources can also be patched through a serial effects
device before or after the mixer.
“Parallel” means that a portion of the signal in the
mixer is tapped off to the device (AUX SEND), pro-
cessed, and returned to the mixer (STEREO RETURN)
to be mixed with the original “dry” signal. This way,
multiple channels can all make use of the same effects
device. Examples: reverb, digital delay.
7. STEREO RETURN INPUTS
This is where you connect the outputs of your parallel
effects devices (or extra audio sources). There are four
stereo returns. They’ll accept just about any pro or semi-
pro effects device on the market. See page 22 for details
of the STEREO RETURN [51] level controls.
Mono: If you have an effects device with a mono
output (one cord), plug that into the left input of a
STEREO RETURN and leave the right input unplugged.
That way, the signal will be sent to both sides, magically
appearing in the center as a mono signal.
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