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amplifiers clip at about +10 dB, and some recorders
aren’t so forgiving either. For best real-world results,
try to keep your peaks between 0 dB and +8 dB.
If your meters are too high, you will get distortion.
If they are too low, then your signal-to-noise will
suffer. Use the meters to help you adjust the mixer for
optimum performance without distortion or noise.
Then you can adjust your amplifier’s level controls for
good overall volume.
49. CD/TAPE TO MAIN MIX
This knob is used to control the level of the signal
that goes onto the main mix bus from your CD
player or tape deck. If the band is taking a break,
you can play some intermission music, and MUTE
(14) all active channels.
50. SUBGROUP FADERS
If the SUB ASSIGN TO MAIN MIX L and R (51)
switches above each fader are engaged, these
faders will affect the subgroup levels reaching the
main mix bus.
These faders also control the signal level out of
the rear panel SUB OUTS (61).
They also affect the level to the control room/
phones if the SOURCE SELECT (42) switches SUB 1-2 or
SUB 3-4 are engaged.
The faders range from minimum at the bottom, to
unity gain at 75% up, and to +10 at the top.
For an example of subgroups, suppose you have
a group of microphones to record a drum kit:
• Each drum microphone could be assigned to
subgroup 1-2 by pressing the channel 1-2 switches.
• Use the channel Pan controls to create a delicate
stereo mix between subgroup 1 and 2.
• Assign this to the main mix.
• Use the subgroup faders 1 and 2 to adjust the
sound of all drum mics in the main mix, instead
of having to tweak each individual drum mic
channel fader.
51. SUB ASSIGN TO MAIN MIX L and R
These switches allow you to assign a subgroup to
the main mix bus. The rear panel subgroup outputs
are not affected.
52. MAIN MIX FADER
This 60 mm stereo fader adjusts the level of the
main mix as it is sent out of the MAIN MIX (58) outputs
for audience entertainment, and TAPE (26) outputs
for recording for posterity/archiving/evidence.
It also adjusts the levels to the USB (62) outputs,
and control room/phones, if the main mix is set to be
their source.
This fader is what you use for the long drawn-out
fade out or fade-in. It ranges from minimum at the
bottom, to unity gain at 75% up, to +10 dB at the
top.
U
U
MAX
PHONESLAMP
BYPASS
EQ IN
FX OL
MAIN MIX
AUX1(MON)
POWER
PHANTOM 48V
1
MAIN
MIX
SUB
2
SUB
3
SUB
4
SUB
SUB ASSIGN
TO MAIN MIX
MASTER
AUX
SEND
CTRL RMPHONES
CD/TAPE IN
TO MAIN MIX
TO
MAIN
MIX
TO
AUX1
MON
INTERNAL EFFECTS
SUBS
1-2
SUBS
3-4
MAIN
MIX
CD/
TAPE
FX
BYPASS
SOURCE
SELECT
RUDE SOLO
0dB = 0dBu
OUTPUT LEVEL
USB
SOURCE
OL
MAX
MAX MAX
MAX
L R L R L R L R
1
MON
2
FX
+15
+15
FX
RETURN
+15
+15
15
-
15+
5
10
0
5
10
-
15
+15
5
10
0
5
10
STEREO GRAPHIC EQ
64Hz 125Hz 400Hz 1kHz 2.5kHz 8kHz 16kHz
16
LEVEL
SET
12
8
4
0
-4
-12
-24
FX
INPUT
LEVEL
SPRING
M DELAY
ST DELAY
CHORUS
REV + FLANGER
REV + CHORUS
REV + DELAY
FLANGER
TAPE REV
PLATE
SM HALL
LG ROOM
LG HALL
VOCAL 1
SM ROOM
VOCAL 2
VARIATIONS
MAIN MIX
SUBS 1-2
(PRE-FADER)
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
USB OUTPUT
10
dB
30
20
10
40
50
5
5
60
10
dB
30
20
10
40
50
5
5
60
10
dB
30
20
10
40
50
5
5
60
10
dB
30
20
10
40
50
5
5
60
10
dB
30
20
10
40
50
5
5
60
UUUUU
49
50
51
52
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