example, for microphones positioned some distance from the source. The 0 dBu setting would be
used when a device such as another mixer is connected to the input. The Quick Start section of
this guide will provide details on properly setting this control.
LOW CUT
Pressing this switch activates a steep 100 Hz., 18dB per octave high-pass filter which reduces the
level of bass frequencies. Use this in live PA situations to clean up the mix, reduce stage rumble,
microphone handling noise, or reduce `popping’ from microphones. Unless the source is specifically
intended to produce bass content, it is usually better to engage the Low Cut filter.
HF
HF stands for HIGH FREQUENCY EQUALIZER. Turn clockwise to boost high (treble) frequencies
(12kHz and above) by up to 15dB, adding “crispness” or “sparkle” to cymbals, vocals and elec-
tronic instruments. Turn counter clockwise to cut by up to 15dB, reducing hiss or excessive sibi-
lance which can occur with certain types of microphone. Set the knob in the center-detent position
when not required.
MID
These two knobs work together to form a SWEPT MID EQ. The lower knob provides 15dB of
boost and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the
upper knob over a range of 240Hz to 6kHz. This allows some truly creative improvement of the
signal in live situations, because this mid band covers the range of most vocals. Listen carefully as
you use these controls together to find how particular characteristics of a signal can be enhanced
or reduced. Set the gain (lower) knob to the center-detent position when not required. Note that
when the gain knob is centered the frequency knob will have no effect. ‘Q’ or ‘width’ of the filter is
set at 1.5.
LF
Turn clockwise to boost low (bass) frequencies (60Hz and below) by up to 15dB, adding warmth to
vocals or extra punch to synths, guitars and drums. Turn counter clockwise to cut low frequencies
by up to 15dB for reducing hum, stage rumble or to improve a mushy sound. Set the knob to the
center-detent position when not required.
MON
The MON (Monitor) send is always PRE-FADE, POST-EQ (meaning that this signal will be effected
by the EQ but not by the master fader) and therefore most appropriate for stage monitor (also
known as “foldback”) mixes.
EFX2 / MON2
This auxiliary send may be used either as a second send to an effects device such as a digital
reverb or as a second monitor send.
• When the master EFX2 / MON2 switch is set to the EFX2 position (disengaged) the signal will be
taken after the EQ and master fader which is ideal for feeding an effects device.
• When the master EFX2 / MON2 switch is set to MON2 position (depressed) the signal will be
taken before the EQ and master fader which is ideal for feeding a stage monitor system.
EFX
The EFX (effects) send is what you will use to feed an external effects device. It is always POST-
FADE, POST-EQ.
PAN
This control sets the amount of the channel signal feeding the Left and Right main output allowing
you to move the source smoothly across the stereo image. When the control is turned fully right or
left you are able to route the signal to either left or right outputs individually.
ON
All outputs from the channel, except inserts, are muted when the ON switch is released and
enabled when the switch is down, allowing levels to be pre-set before the signal is required.
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