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21
Using Pan
The final Main output of the TM300 is stereo—that is, there are discrete speaker output
jacks, labeled “left” and “right,” which will normally be routed to two (or two pairs of)
discrete speakers. Because of this, you will usually be working with a stereo field that
ranges from hard left to hard right. The TM300 provides six monophonic input channels,
each with its own dedicated Pan control. The Pan circuitry in the TM300 always keeps
the overall level constant, regardless of pan position. Here’s how it works: When the Pan
knob is placed at its center (detented) position, signal is sent equally to both left and right
outputs. When moved left of center, less signal is sent to the right output and more
signal is sent to the left output (making the sound appear left of center) and when moved
right of center, less signal is sent to the left output and more signal is sent to the right
output (making the sound appear right of center). To route a signal hard left or right,
place the pan knob either fully counterclockwise or fully clockwise.
Note that, when the TM300 is operated in a “split mono” configuration (that is, when the
Aux 1 / Monitor switch is pressed in), the stereo output is internally mixed to mono and
then routed to the left speaker outputs only. In this configuration, the channel Pan
controls are functionally inoperative.
You can use stereo panning creatively in a variety of ways: For example, you might want
to have guitars coming from one speaker and keyboards from another, or you might use
panning to “spread” the signal from a piano miked with two microphones—one over the
bass notes (panned left) and the other over the treble notes (panned right). By turning a
Pan knob while a signal is present, the sound appears to move in space (a process
known as
dynamic panning)—this can be particularly effective when applied to sound
effects. In live performance, you may want to resist the temptation to pan anything
completely hard left or right, since some members of the audience not seated in the
center of the venue may miss some signal altogether. In these circumstances, you’re
best to use modest panning, with signals routed no further than the 9 o’clock and
3 o’clock positions.
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