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Page 10
5 SENS
This knob sets how much of the source signal is sent to the rest of the mixer. Too
high, and the signal will distort as it overloads the channel. Too low, and the level of any
background hiss will be more noticeable and you may not be able to get enough signal
level to the output of the mixer.
Setting the knob to the `U mark gives unity gain for the LINE input. Note that some
sound equipment, particularly that intended for domestic use, operates at a lower level
(-10dBV) than professional equipment and will therefore need a higher gain setting to
give the same output level.
See `Initial Set Up on page 16 to learn how to set SENS correctly.
6 100Hz HI-PASS FILTER
Pressing this switch activates a steep 18dB per octave filter which reduces the level of
bass frequencies only, and is a real bonus for a such a small mixer. Use this in live PA sit-
uations to clean up the mix, reducing stage rumble or `popping from microphones.
7 EQUALISER
The Equaliser (EQ) allows fine manipulation of the sound, particularly to improve the
sound in live PA applications where the original signal is often far from ideal and where
slight boosting or cutting of particular voice frequencies can really make a difference to
clarity. There are three sections giving the sort of control usually only found on much
larger mixers. The EQ knobs can have a dramatic effect, so use them sparingly and listen
carefully as you change any settings so that you get to know how they affect the sound.
HF EQ
Turn to the right to boost high (treble) frequencies above 12kHz by up to 15dB,
adding crispness to cymbals, vocals and electronic instruments. Turn to the left to cut by
up to 15dB, reducing hiss or excessive sibilance which can occur with certain types of
microphone. Set the knob in the centre-detented position when not required.
MID EQ
There are two knobs which work together to form a SWEPT MID EQ. The lower
knob provides 15dB of boost and cut, just like the HF EQ knob, but the frequency at
which this occurs can be set by the upper knob over a range of 240Hz to 6kHz. This
allows some truly creative improvement of the signal in live situations, because this mid
band covers the range of most vocals. Listen carefully as you use these controls together
to find how particular characteristics of a vocal signal can be enhanced or reduced. Set
the lower knob to the centre-detented position when not required.
LF EQ
Turn to the right to boost low (bass) frequencies below 60Hz by up to 15dB, adding
warmth to vocals or extra punch to synths, guitars and drums. Turn to the left to cut
low frequencies by up to 15dB for reducing hum, stage rumble or to improve a mushy
sound. Set the knob to the centre-detented position when not required.
8 AUX SENDS
These are used to set up a separate mixes for FOLDBACK, EFFECTS or recording,
and the combination of each the Aux Send is mixed to the respective Aux Output at the
rear of the mixer. For Effects it is useful for the signal to fade up and down with the
fader (this is called POST-FADE), but for Foldback or Monitor feeds it is important for
the send to be independent of the fader (this is called PRE-FADE).
AUX SEND 1
This is always PRE-FADE and therefore most appropriate for foldback or monitor
mixes or external submix.
20
20
20
20k
20k
20k
dB
dB
dB
Frequency/Hz
Frequency/Hz
Frequency/Hz
20 100Hz
20k
dB
Frequency/Hz
Muddiness
& Rumble
HF
MID
LF