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• If you cannot obtain a satisfactory setting, e.g. the gain
control is right at the extreme low end of the scale on
Microphone Input, try using the Line Input instead.
• Listen carefully for the characteristic sound of ‘feedback’.
If you cannot achieve satisfactory input level setting
without feedback, check microphone and speaker
placement and repeat the exercise.
You are now ready to start building the mix and this should
be done progressively, listening carefully for each component
in the mix and watching the meters for any hint of overload.
If this occurs, back off the appropriate Channel Fader slightly
until the level is out of the red segments, or adjust the Master
Fader.
Note: The level of any source signal in the final output is
affected by many factors, principally the Gain control,
Channel Fader and Output Faders. You should try to use only
as much microphone gain as required to achieve a good
balance between signals, with the faders set as described
above. If the input gain is set too high, the channel fader will
need to be pulled down too far in compensation to leave
enough travel for successful mixing and there is a greater risk
of feedback because small fader movements will have a very
significant effect on output level. If the gain is set too low,
you will not find enough gain on the faders to bring the signal
up to an adequate level.
Microphone Placement
Careful microphone placement and the choice of a suitable
type of microphone for the job is one of the essentials of
successful sound reinforcement. The aim should be to place
the microphone as close as physically possible to the source,
to cut out unwanted surrounding sounds, allow a lower gain
setting on the mixer and avoid feedback. Also a well-chosen
and well-placed microphone should not need any appreciable
equalisation.
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