User Manual

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Owner’s Manual
Owner’s Manual
16. Main Out
These 1⁄4" TRS balanced/unbalanced outputs feed
the main mix out into the waiting world. You may feed
the amplifiers or powered speakers this way.
TRS stands for Tip-Ring-Sleeve, the three connections
available on a stereo 1/4" cable. To use these outputs to
drive balanced inputs, be sure the cables are wired per
AES (Audio Engineering Society) standards:
Balanced 1/4" TRS Connector
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
Ring – Negative (– or cold)
TS stands for Tip-Sleeve, the two connections
available on a mono 1⁄4" cable. For most music
recording and PA applications, unbalanced lines are
fine. To drive unbalanced inputs, be sure the cables are
wired per AES (Audio Engineering Society) standards:
Unbalanced 1/4" TS Connector
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
17. CR Out [Control Room Output]
[Mix8 and Mix12FX only]
These TRS 1⁄4" balanced/unbalanced outputs allow
you to listen to something other than the main mix.
These outputs are often used to run a nice pair
of powered studio monitors in a control room
or a headphone distribution amplifier. The volume
is adjustable with the CR / phones knob.
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING
Balanced 1/4" TRS Connector
SLEEVE
TIP
TIP
SLEEVE
TIP
SLEEVE
Unbalanced 1/4" TS Connector
BAL / UNBAL BAL / UNBAL
L L
R R
MAIN OUT
AUX
RETURN AUX SEND
L R
CR OUT
PHONES
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18. Phones Out
This stereo jack will drive any standard headphone to
very loud levels. "iPod"-type and computer headphones
may also be used here, with a 1/4" male to 1/8" female
stereo adapter.
The level is adjusted with the CR / phones knob.
If you’re wiring your own cable for the phones output,
follow standard AES (Audio Engineering Society)
conventions:
Unbalanced 1/4" TRS Connector
Sleeve – Shield (Ground)
Tip – Left Channel
Ring – Right Channel
WARNING: The headphone amp is loud,
and can cause permanent ear damage.
Even intermediate levels may be painfully
loud with some earphones. BE CAREFUL! Always turn
the CR / phones knob all the way down before
connecting headphones. Keep it down until you’ve put
the phones on. Then turn it up slowly. Why? “Engineers
who fry their ears find themselves with short careers.”
19. Aux Send [Mix8 only]
This is a TRS 1⁄4" balanced/unbalanced output,
commonly used to feed stage monitors or an external
effects processor.
SLEEVE
TIP
SLEEVE
TIP
RING
RING
TIP
SLEEVERING
Unbalanced 1/4" TRS Connector
The aux send knobs tap a portion of each channel's
signal to provide an output here, allowing you to set up
a nice stage monitor mix, or to set up an external effect
from different channels.
Aux sends are post-fader. This way, when changes are
made, the “wet” signal moves up and down along with
the “dry” signal, maintaining a balance between them.
20. Aux Return [Mix8 only]
This is where you connect the outputs of your parallel
effects devices. They can also be used as an extra pair
of stereo line inputs (i.e. channel 7/8, hence the name
"Mix8") if you have a lot of synths, for example.
The circuits will handle stereo or mono, balanced
or unbalanced signals. They can be used with just
about any pro or semipro effects device on the market.
21. FX Send [Mix12FX only]
This 1/4" TRS line-level output may be used to feed
an external effects processor (FX), such as a nice
sound effect or delay unit. The output from this jack
is an exact copy of what goes into the internal FX
processor, being the careful mix of all channels whose
FX control is turned to more than minimum.
(The processed output of the internal FX does not
come out of this output, but is added internally to the
main mix.)
The overall output level may be adjusted with the
FX to main knob. (This knob also affects the level going
into the internal FX.)
The output is “post-fader,” – or in this case, "post-
knob" – so any changes to the channel level knobs will
also affect the level going to the external processor.
The processed output from the effects processor
is usually returned to a spare channel where you may
carefully mix the original unprocessed channel (dry)
and the processed channel (wet). Altering the
original channel level knob increases both the wet
and dry signals and keeps them at the same delicate
ratio. (For example, the reverb remains at the same
level relative to the signal source.)
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