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Owner's Manual 19
This 20 dB of attenuation can be very handy when you
are inserting a hot signal, or when you want to add EQ
gain, or both. Without this “virtual pad,” there is more
chance of channel clipping.
24. SEND FIREWIRE PRE/POST
Each channel of the mixer can send a FireWire output
to your computer or DAW. The FireWire output from
each channel can be tapped before (pre) or after (post)
the channel EQ. (The output is always pre-fader.)
If you want the mixer EQ to affect the FireWire
recording, then set this switch to post. This is useful
in recording channels in a studio (where the recording
includes the benefi cial effect of our Perkins EQ).
If you would rather record the straight signals from a
live performance, and EQ them later in your DAW, then
set this switch to pre. This is good for live work, where
you may have added EQ to adjust for the room, and yet
not want this added to your recording.
CHANNEL EQUALIZATION (EQ)
There are three different fl avors of EQ:
Mono Channels 1 and 2
3-band EQ with shelving high, shelving low, and
peaking mid EQ with adjustable mid frequency.
Hybrid Channels 3/4
4-band EQ with shelving high, shelving low,
with peaking lo-mid and peaking hi-mid.
Stereo Channels 5/6 and 7/8
3-band EQ with shelving high, shelving low, and
peaking mid EQ.
Shelving means that the circuitry boosts or cuts all
frequencies past the specifi ed frequency. For example,
the low EQ boosts bass frequencies below 80 Hz and
continuing down to the lowest note you never heard.
Peaking means that certain frequencies form a “hill”
around the center frequency.
With too much EQ, you can really upset
things. We’ve designed a lot of boost and cut
into each equalizer circuit because we know
that everyone will occasionally need that. But if you max
the EQ on every channel, you’ll get mix mush. Equalize
subtly and use the left sides of the knobs (cut), as well
as the right (boost). If you fi nd yourself repeatedly using
a lot of boost or cut, consider altering the sound source,
such as placing a mic differently, trying a different kind
of mic, a different vocalist, changing the strings, or
gargling.
Never plug single-ended (unbalanced)
micro phones, or ribbon mics into the mic
input jacks if phantom power is on. Do not
plug instrument outputs into the mic XLR input jacks
with phantom power on, unless you know for certain it
is safe to do so. Be sure the main level [55] is turned
down when connecting microphones to the mic inputs
when phantom power is turned on, to prevent pops from
getting through to the speakers.
21. LINE +4 dB/-10 dB (Ch. 3 and 4 only)
This switch affects channel 3 and 4 line inputs only
(not the mic input), and allows them to be connected
to professional sources (+4 dBu) or consumer sources
(–10 dBV). This helps adjust the channels for the right
operating range, so the input is not too hot, or too cold.
For example, leave this switch out if you connect a
+4 dBu recorder source to channels 3 and 4. Press this
switch in if you connect a –10 dBV source.
If your line-level source seems a bit high, make sure
this switch is out (+4dBu).
22. INPUT (LINE or FW 1-2)
Channel 7 and 8 can either be fed from the 1/4" line
level inputs, or by two outputs from a computer via
FireWire. This switch lets you choose which to use.
Either way, the channels receive line-level analog audio
signals just prior to the gain control, so channel setup,
gain adjustment and EQ adjustment are the same for
line or FireWire. This is useful for virtual instruments
that want to be "just another channel" among hardware
instruments.
23. GAIN CONTROL
If you haven’t already, please read the level-setting
procedure on page 3.
The gain knobs adjust the input sensitivity of the mic
and line inputs. This allows signals from the outside
world to be adjusted to run through each channel at
optimal internal operating levels.
If the signal originates through the mic XLR jack,
there will be 0 dB of gain with the knob fully down,
ramping to 60 dB of gain fully up. (Ch 3/4 gain affects
the Mic input only.)
Through the 1⁄4" line input of channels 1 and 2, there
is 20 dB of attenuation fully down and 40 dB of gain fully
up, with unity gain "U" at 11:00.
Through the 1⁄4" line input of channels 5/6 and 7/8,
there is 20 dB of attenuation fully down and 20 dB of
gain fully up, with unity gain "U" at 11:00.