24
6 - INSERT POINT
6 - INSERT POINT
6 - INSERT POINT
6 - INSERT POINT
6 - INSERT POINT
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing
limiters, compressors, special EQ or other signal processing units to be added in the
signal path. The Insert is a 3-pole ‘A’ gauge jack socket which is normally bypassed.
When a jack is inserted, the signal path is broken, just before the EQ section. The Send
may be tapped off as an alternative pre-fade, pre-EQ direct output if required, using a
lead with tip and ring shorted together so that the signal path is not interrupted.
7 - DIRE
7 - DIRE
7 - DIRE
7 - DIRE
7 - DIRECT OUTPUT
CT OUTPUT
CT OUTPUT
CT OUTPUT
CT OUTPUT
Channels 1-8/1-16/1-24 (see block diagram) have a dedicated Direct Output which
allows direct connection to external devices, for example to feed Tape Machines or
effects units.
The pre-fade direct output level may be monitored by pressing the PFL switch on the
appropriate channel to feed the pre-fade signal to the monitors and the bargraph
meters.
8 - DIR. PRE
8 - DIR. PRE
8 - DIR. PRE
8 - DIR. PRE
8 - DIR. PRE
The Direct Outputs are normally set POST-FADER for use as effects sends or to provide
fader control of recording levels in a studio recording application. For live recording the
outputs can be individually changed to PRE-FADER by pressing this switch, so that the
direct output level remains unaffected by fader settings for the main PA mix.
9 - EQU
9 - EQU
9 - EQU
9 - EQU
9 - EQUALISER
ALISER
ALISER
ALISER
ALISER
The Equaliser (EQ) allows fine manipulation of the frequency bands, and is particularly
useful for improving 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.
4 - G
4 - G
4 - G
4 - G
4 - GAIN
AIN
AIN
AIN
AIN
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.
See `Setting Up & Troubleshooting’ on page 20 to learn how to set GAIN correctly.
5 - 1
5 - 1
5 - 1
5 - 1
5 - 100Hz HI-P
00Hz HI-P
00Hz HI-P
00Hz HI-P
00Hz HI-PASS FIL
ASS FIL
ASS FIL
ASS FIL
ASS FILTER
TER
TER
TER
TER
Pressing this switch activates a steep 18dB per octave filter which reduces the level of
bass frequencies only. Use this in live PA situations to clean up the mix, reducing stage
rumble or ‘popping’ from microphones.
