Gatt MX-6-FX - MIC; Live Application Diagram; Trim; Eq

The circuitry of the British EQs is based on the technology used in the bast-known top-of-the-line consoles
and providing a warm sound without any unwanted side effects. The result are extremely musical equalizes
which, unlike simple equalizers, cause no side effects such as phase shifting or bandwidth limitation, even
with extreme gain settings of +15 dB.
All mono input channels include a 3-band equalizer. All bands provide boost or cut of up to 15 dB. In the
central position, the equalizer is inactive.
The upper (HI) and the lower band (LO) are shelving filters that increase or decrease all frequencies above
or below their cut-off frequency. The cut-off frequencies of the upper and lower band are 12 kHz and 80 Hz
respectively. The mid band (602/802/1002/1202) is configured as a peak filter with a center frequency of
2.5kHz
In addition, the mono channels are equipped with a steep LOW CUT filter
designed to eliminate unwanted low-frequenty signal components. These can be noise created by band-held
microphones, subsonic noise or plosive sounds created by highly sensitive microphones.
(slope at 18 dB/oct., -3 dB at 75 Hz)
L O W C U T
E Q
pl ea s e r e me m be r t ha t y ou c a n o nly u s e e ith er t h e m i c ro ph o ne o r t h e l in e i n p ut o f a
c h a n ne l a t a ny o ne t im e . Yo u c a n n ev er u s e b o th s im u lta n eo u s l y !
T R IM
Use the TRIM control to adjust the input gain. This control should always be turned fully counterclock
-wise whenever you connect or disconnect a signal source to one of the inputs.
5
FX sends enable you to feed signals via a variable control from one or more channels and sum these signals to
bus. The bus appears at the console’s FX send output and can be fed from there to an external effects device. The
return from the effects unit is then brought back into the console on the aux return connectors or normal channel
inputs. Each FX send is mono and features up to +15 dB gain.
F X
The scale has 2 different value range: the first value range (+10 to +60 dB) refers to the MIC input and
shows the amplification for the signals fed in there.
The second value range (+10 to +60 dB) refers to the line input and shows its sensitivity. The settings
for equipment with standard line-level signals (-10dB or +4dBu) look like this: While the TRIM control is
turned all the way down, connect your equipment. Set the TRIM control is turned to the external devices
standard output level. If that unit that an output signal level display, it should show 0 dB during signal
peaks. For +4 dBu, turn up TRIM sightly. for -10 dBV a bit more. Tweaking is done using the CLIP LED.
Each mono input channel offers a balanced microphone input via the XLR connector and also
features switchable +48 V phantom power supply for condenser microphones. The ME preamps
provide undistorted and noised-free gain as is typically known only from costly outboard preamps.
P leas e mute your play bac k s y s tem before y ou ac tive the phantom power s upply to prevent
s witch-o n thumps being direc ted to your louds peakers . P leas e als o note the ins tructions in
c hapter 2.4“Main s ection”.
MIC
Each mono input also features a balanced line input on a connector. Unbalanced devices
(mono jacks) can also be connected to these inputs.
1/4
L IN E I N
14
3 4
1 2
+10 -40 +10 +60
TRIM
dB/dBu
BAL
OR
UNBAL
LINE
IN
MIC
+10 -40 +10 +60
TRIM
dB/dBu
BAL
OR
UNBAL
LINE
IN
MIC
MAI N OUT
L R L R
CTR L ROOM OUT
LIN E IN 5/6
L
R
MONO
BAL
OR
UNBAL
LIN E IN 7/8
MONO
BAL
OR
UNBAL
LIN E IN9/1 0 LIN E IN 11/1 2
SEN D FX
PHO NES
0
- +15
8
L R
0
-15 +15
0
-15 +15
0
-15 +15
EQ
PAN
HIGH
12 KHz
MID
2.5 KHz
LOW
80 Hz
FX
CLIP
0
- +15
8
3
LEVE L
0
- +15
8
L R
0
-15 +15
0
-15 +15
0
-15 +15
EQ
PAN
HIGH
12 KHz
MID
2.5 KHz
LOW
80 Hz
FX
CLIP
0
- +15
8
4
LEVE L
0
- +15
8
L R
BAL
CLIP
0
- +15
8
5/6
LEVE L
0
- +15
8
L R
BAL
CLIP
0
- +15
8
7/8
LEVE L
0
- +15
8
L R
BAL
CLIP
0
- +15
8
9/10
LEVE L
0
- +15
8
L R
BAL
CLIP
0
- +15
8
11/12
LEVE L
+4
-10
+4
-10
+4
-10
+4
-10
L
R
CD/ TAPE
IN OUT
0
- +15
8
MAIN MIX
10
0
10
15
20
25
30
40
60
8
MONO
BAL
OR
UNBAL
L
R
L
R
+10 -40 +10 +60
TRIM
dB/dBu
BAL
OR
UNBAL
LINE
IN
MIC
+10 -40 +10 +60
TRIM
dB/dBu
BAL
OR
UNBAL
LINE
IN
MIC
0
- +15
8
L R
0
-15 +15
0
-15 +15
0
-15 +15
EQ
PAN
HIGH
12 KHz
MID
2.5 KHz
LOW
80 Hz
FX
CLIP
0
- +15
8
1
LEVE L
0
- +15
8
L R
0
-15 +15
0
-15 +15
0
-15 +15
EQ
PAN
HIGH
12 KHz
MID
2.5 KHz
LOW
80 Hz
FX
CLIP
0
- +15
8
2
LEVE L
MONO
BAL
OR
UNBAL
L
R
FX FX FX FX
+48 V
POWER
0
- +15
8
0
- +15
8
FX SEN DS
L R
20
0
6
CLIP
PROG RAM
(PUS H)
REVERB 00-39
ER/DLY 40-59
MOD 60-73
PITCH 74-79
MULTI 80-99
LOW CUT
75Hz
18 dB/ Oct
LOW CUT
75Hz
18 dB/ Oct
LOW CUT
75Hz
18 dB/ Oct
LOW CUT
75Hz
18 dB/ Oct
M E 1 2 0 2 F X
TAPE
TO MIX
TAPE
TO CTR L
FX
TO CTR L
PHON ES
PHAN TOM
HIGH QUALITY 18 INPUT 2/2 BUS MIXER 24-BIT DSP FX PROCESSOR
12
3
12
3
12
3
12
3
-3
-6
-10
-15
-20
CLP
24-BIT DUAL ENGINE DSP
24-BIT A/D & D/A CONVERTER
88
TAPE
+ 6. .6 6
Dig ital A ud i o w o r k s ta ti o n
MIDI s o u nd m o du l e
H ea dph o n e
mic ro p hone
A c ti v e m o n i tor
C D p la y er
G ui ta r
k e y b o a r d
F ig. 3 . 2: L ive a pplic a tion o f the 1 202 F X
MD r e c orde r
3. 2 L iv e s o u nd
MX-6-FX / MX-8-FX
MX-6-FXU / MX-8-FXU
MX-6-FX / MX-8-FX
MX-6-FXU / MX-8-FXU