User's Manual
Table Of Contents
- A few words from Greg Mackie.
- Selecting channels for a Mute Group.
- MAIN MIX (L/R) fader.
- Group Master Section.
- BREAK button/indicator
- MONITOR section
- STEREO IN knob
- Meter section.
- FX Master Section.
- Talkback.
- A better way.
- A traditional Monitor Mix.
- Musician's Phones.
- Aux Master AFL buttons and indicator.
- Aux Master.
- Master Control Section
- Further reading about mixing.
- A few more tips on equalization.
- MID EQ (stereo channels)
- Source Mic / Line (stereo channels).
- PFL switch / indicator
- Same as Mono Channels
- Different than
- Channel fader
- Bus Assign switches
- —20 (Signal present) LED.
- Mute button/ indicator.
- Pan.
- FX Send.
- Aux PRE Switch.
- Aux Sends
- EQ (Equalization), Mono Channels
- Comp (Compressor) and indicator.
- Gain Control.
- Mono Channel Strips.
- Channel 25-26 (or Channels 17-18) and Phones
- Musician Phones (AUX OUT 3 OR 4 + L/R INJECT)
- Aux Out.
- Group Out (sub buses).
- Monitor Out.
- Main Out.
- Talkback input.
- Foot Switch input.
- USB Out
- USB In
- USB input / output.
- Stereo input channels.
- Mono input channels.
- Power input connector
- POWER switch
- Power supply section
- Why do we start with the back of the mixer?
- How the band is set up on the mixer.
- The "pusha-bunch-'0' buttons" approach to creating a mute group.
- Un-doing the "pusha-bunch-'0' buttons" approach to creating a mute group.
- Program a Mute Group…
- Rack mounting (MW-2408 only)
- Settings that can be saved
- More on Factory Reset (restoring the factory default settings).
- Other GLOBAL options.
- Recalling a Global Scene
- Saving a Global Scene
- Global menu (scene memory, settings, initialization).
- Locking the state of the feedback suppressor
- Feedback Suppressor: Seting routing options.
- Recalling an Equalizer Setting (continued)
- Recalling an Equalizer Setting.
- Saving Equalizer settings.
- Adjusting (Narrow Mode) Continued
- Adjusting EQ Narrow Mode EQ (31 /9-band).
- Adjusting 9-band EQ (Wide Mode).
- Selecting Narrow or Wide 9-band equalization.
- Recalling a Dynamics preset.
- Saving a Dynamics setting.
- FEEDBACK SUPPRESSOR
- EQUALIZATION
- SoundLink Signal Processing*
- Gee, they don't sound like effects!
- Recalling a DFX preset.
- Saving a Digital Effects setting.
- Using the TAP button to set the delay time.
- Editing an effect
- Applying a Digital Effect
- Selecting the DFX type
- Digital Effects (DFX).
- Saving and Recalling Mute Groups.
- Combining Hard Mutes and Mute Groups.
- Adding to or subtracting channels from a Mute Group.
- Creating a Mute Group.
- "Hard muting".
- OL (Overload) LED.
Hook-up/Back panel Analog Controls Digital Controls
➜
R
10
When you’re just getting
into pro sound, you hear these
phrases batted around a lot.
They represent the two kinds
of audio connectors and cables
you’re going to encounter
There’s a big dierence.
An unbalanced cable has
two conductors — a signal
wire and a ground
wire. You can easily
iden-
tify an unbal-
anced cable by
its connectors
because each
wire requires
only two con-
ductors at the
connector. A
standard TS (or
“tip-sleeve”)
guitar cable
an unbalanced
cable: so is a
standard RCA cable used for
many audio/video components
such as DVD players.
An unbalanced cable does
a decent job of rejecting noise
over short, but unfortunately,
the wire itself also acts like an
antenna and picks up noise in
long runs.
Unbalanced
cables
should not be more than
about-20 feet (4-6 meters) in
length, especially when used in
noisy environments and with
signals that are medium level to
begin with, such as those from
keyboards or MP3 devices, etc.
The connector on the end of an
unbalanced ¼” TS (Tip-Sleeve)
jack has two sections.
A balanced cable has three
conductors in the connector and
three wires in the cable. Because
1
2
Balanced versus unbalanced: what’s the deal here?
Hooking up your SoundLink
devices such as DVD players or
feeds from a laptop (the balanced
mono XLR MIC IN jack on each
stereo channel is for connecting
a mono microphone only).
The stereo LINE IN jacks are
marked
LEFT (MONO) and RIGHT.
If you are only connecting a
mono input, use the
LEFT (MONO).
Mic In and Line In jacks
on these channels
CANNOT be used at the
same time.
How do stereo input chan-
nels know if they’re being sent
a mono or stereo input? You
“tell them” via the
SOURCE MIC/
LINE
LINE button on each stereo
channel.
In the
LINE button up position,
the channel defaults to mono mi-
crophone input; press
LINE and
the channel is ready to receive
left and right components of a
balanced stereo input.