1.
Microphone input (XLR connector).
Use this connector to plug in a dynamic or condenser
microphone. Carefully read the user manual of your microphone, as it may be possible that your
microphone needs Phantom Power (provided by this mixer).
2.
Insert.
Use this 6.35 mm stereo jackplug connector (TRS) to connect peripheral equipment such
as compressors, equalizers, feedback destroyers, gates, and so on. This function only works for
the microphone input.
Tip = Microphone signal output
Ring = Signal input
3.
Line input.
Use this 6.35 mm mono jackplug connector (TS) to connect audio sources such as
keyboards and other equipment which has a mono line output or is able to perform in mono
mode. Combine channels 1 and 2 to create a stereo line input if needed. It is not possible to
combine the microphone input and the line input at the same time.
4.
Gain.
Every channel input is equipped with a gain, which provides the right amount of
amplification before the signal is transferred through the built-in EQ, pan, channel fader and so
on. To ensure proper amplification without distortion or other symptoms which might alter the
quality of the audio signal, pay close attention to the scales.
Mono inputs are equipped with gains that provide ‘unity gain’ for the line and microphone
signals. Unity gain means that there is no volume difference in incoming or outgoing signals.
The gain levels are different for the microphone input and the line input:
Microphone gain: 0 - 60 dB
Line input gain: -45 - +15 dB
Stereo input / MP3 player gain: -60 – 0dB
5.
Pan.
Use the pan encoder to position your audio channel optimal in the stereo sound image. For
example, when a vocalist is positioned on the left side of the stage, you may want to pan the
audio channel slightly to the left for a more accurate stereo sound image. Panning the mono
channel fully to the left will eliminate sound coming from your right speaker.
When using the pan function on the stereo channel (using a left and right input), the encoder
changes the effective volume on each side. For example, when panning the signal slightly to the
left, the volume of the right side will be slightly reduced.
6.
EQ – High.
The High-encoder boosts or reduces high frequencies in a range between -15 and
15 dB. When positioned in the center, the sound remains unaltered.
7.
EQ – Mid.
The Mid-encoder boosts or reduces mid frequencies in a range between -15 and 15
dB. When positioned in the center, the sound remains unaltered.
8.
EQ – Low.
The Low-encoder boosts or reduces low frequencies in a range between -15 and 15
dB. When positioned in the center, the sound remains unaltered.
9.
AUX.
The AUX-encoder can be used to make a monitor mix, which can be transferred to a stage
monitor, in-ear system or headphone amplifier. The AUX on every channel is a pre-fader encoder
and with the main AUX (28) it is possible to control the entire monitor mix.
10.
FX.
The FX-encoder of each channel is used to increase the level of the internal or external
effects. (I.e.: a copy of the original signal is sent to the internal or external effects processor,
which determines the amount of effect that needs to be created. When decreasing the FX
volume of any channel, the intensity of the effect will decrease in the total mix as well. It is also
possible to adjust the total amount of effect, when operating the volume fader of the return
channel. This last part is only possible when using external effects).
Any information and illustrations shown in this user manual are subject to change without further notice.
User manual version: 1.0
Creation date + author initials: 27-08-2013 RV Revision date + author initials: 20-02-2014 RV
