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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
which 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
(44) 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 subgroup outputs.
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 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/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 is what you use for the long drawn-
out fade out, or fade-in.
The fader ranges from minimum at the bottom, to
unity gain at 75% up, to +10 dB at the top.
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