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CONTROLS AND CONNECTIONS
(5) PAD
This control attenuates the
input signal -20dB when
set to the IN (button
depressed) position.
(6) EQUALIZER CON-
TROLS
All input channels are fit-
ted with a three-band EQ.
All three bands have up to
15 dB of cut and boost,
with a center detent for
“off”. The frequency
response is flat when all
three EQ knobs are in the
center detent position. The
upper and lower shelving
controls have their fre-
quencies fixed at 12 kHz
and 80 Hz respectively.
The midrange control has
a peaking response at
2.5KHz (Q fixed at 1
octave). The channel EQ
is a valuable feature of the
mixer as it allows the user
to control the tonal charac-
teristics of each instrument
separately. For example,
boosting the LOW can fat-
ten the sound and add
punch to the bass or
drums; the MID control
can be used to define the
midrange or bring out the
vocals; and adjusting the
HIGH control can provide
a crisp sounding high end.
Another very important,
yet often overlooked tech-
nique is to use the EQ to
subtract from the mix.
Cutting the HIGH control
can reduce unwanted hiss
during multi-track record-
ing, while attenuating the
MID or LOW can eliminate
feedback in a live perform-
ance or clear up a muddy sounding mix. Cutting away the top
and bottom, then pushing up the Gain is equivalent to mid
range boost!
[Note: Always reset a channel’s input Gain (or external
device’s output level) after altering the amount of mixer equal-
ization cut or boost applied.]
The key to successful equalization is to avoid excess. Too
much equalization on the input channels will result in a mix
that is smeared together with nothing specifically defined.
During rehearsals, experiment with the equalizer controls on
various instruments, vocals and combinations of these mixed
together to become familiar with various equalizer settings.
(7) AUX (POST) SEND CONTROLS
The Aux send controls are mono and post-EQ and pre-fader
and the signal level sent to the AUX bus will be unaffected by
the channel fader setting. This configuration is ideal for
almost all monitoring purposes, for example, for a separate
stage monitor mix in live performances or a studio room mon-
itor in recording applications, such as for a headphone cue
system.
(8) EFF (EFFECTS) CONTROLS
The EFF control are mono, post-EQ and pre-fader and the
signal level sent to the EFFECTS bus will be unaffected by
the channel fader setting. These controls adjust the level sent
by each channel to the internal DSP (Digital Sound
Processor). (See also Digtal Echo Effects Function and
Operation)
(9) PAN
The Channel Pan positions the output of the channel in the
stereo field of the main mix. Its constant-power design
ensures there are no level discrepancies whether a signal is
hard-panned, center-stage, or somewhere in between.
(10) PFL SELECT SWITCH
The PFL (pre-fader listen) switch enables monitoring the sig-
nal of any channel(s) selected (button depressed) at nominal
levels through the headphone output. The signal is post EQ
and independent of channel fader position. Selecting the PFL
never interrupts the main stereo out or the AUX sends.
(11) CHANNEL FADER
The channel faders determine the output signal level to the
Master Mix Left, Right busses. They offer a smooth logarith-
mic taper for optimum control of the signal, more often asso-
ciated with much more expensive consoles.
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