9. STEREO AUX RETURNS13. MAIN INSERTS
Patch the outputs of external parallel ef-With nothing plugged into these jacks, the
fects devices (reverb, delay, etc.) to thesemain mix goes straight through the MAIN MIX
inputs.FADER (72) to the MAIN OUTS (12) (16).
With an effects device plugged into these jacks,
When connecting a mono device (just onethe main mix leaves the mixer, goes through
cord), always use the LEFT (MONO) input and
plug nothing into the RIGHT input. A trickthe effects device and back into the mixerOs
called Ojack normalling� will cause the signal tomain mix faders.
appear on both sides.Use these jacks to send the main mix
Accepts 1/4� TRS balanced or 1/4� TS unbal-through a compressor, graphic equalizer or
anced plugs, see page 14 for wiring details.similar device. Since the insert is before the
main mix fader, moving the fader will not alter
10. AUX SENDSthe level sent to a compressor, thereby preserv-
ing the signalOs characteristics.
With aux sends in Opre� mode, patch these
jacks into stage monitor amplifier inputs. WithThese unbalanced insert jacks are wired ex-
actly the same as shown for INSERT (3) on
aux sends in Opost� mode, patch these jackspage 15.
into the inputs of an effects device. See AUX
(26) and PRE (27) for more information.
Accepts 1/4� TRS balanced or 1/4� TS unbal-14. MONO MAIN OUT
The signal sent out of this XLR jack is a sum
anced plugs, see page 14 for wiring details.
of the left and right signals at the MAIN OUTS
11. CONTROL ROOM OUT(12) (16). It can be used to feed a mono sound
system or a mono recording device. See OUT-
These line-level jacks are used to feed am-PUT LEVEL (15) for more information.
plifier inputs in a control room situation,
typically found in a recording studio.This XLR balanced output will add 6dB
when connected to a balanced input, thereby
The stereo signal at these jacks is the sameelevating signal from the noise floor by that
as the MAIN OUTS (12) (16), except when anyamount.
SOLO (39) (47) (52) (57) or the TAPE RE-
TURN TO PHONES/C-R (69) is engaged. ItsAccepts XLR balanced plugs, see page 14.
level is independently controlled by PHONES/
15. OUTPUT LEVEL
C-R LEVEL (70).
Accepts 1/4� TRS balanced or 1/4� TS unbal-Use this knob to independently set the level
anced plugs, see page 14 for wiring details.of the MONO MAIN OUT (14). The level is also
dependent on the level set by the MAIN MIX
12. MAIN OUTS (TRS) andFADER (72). Unity gain is at 3 oOclock, and
16. MAIN OUT (XLR)there is 6dB additional gain available when
turned fully up.
Available in two types, XLR and TRS, the
main output represents the end of the signalTo feed a microphone input, like that found
path, just after the MAIN MIX FADER (72),on a camcorder, turn this knob down to the
where the fully mixed stereo signal enters the9:00 range. Use the deviceOs input meters to as-
real world.sure a good level.
The XLR balanced outputs will add 6dB17. TALKBACK MIC
when connected to balanced inputs, thereby el-
evating signal from the noise floor by thatConnect a balanced dynamic microphone to
this XLR jack to utilize the mixerOs talkback
amount.
The TRS balanced outputs offer the advan-feature (66) (67) (68). This input does not
tage of having no 6dB level change to dealprovide phantom power, so it cannot accept
condenser microphones.
with, while still providing extraneous noise re-
jection. These accept 1/4� TRS balanced or 1/4�Accepts XLR balanced plugs, see page 14.
TS unbalanced plugs, see page 14 for wiring
details.
17 |
ACEC
MACKIE
