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18. Mic input
A high quality balanced XLR input for connection
of microphones and other equipment. +48V of
phantom power is available if necessary to power
condenser mics.
IMPORTANT: BEFORE PLUGGING ANYTHING
INTO THE XLRs, ENSURE THAT THE PHAN-
TOM POWER IS NOT ON BY CHECKING THE
FRONT PANEL LED AND, IF POSSIBLE, THE
BACK PANEL SWITCH. ONLY ENGAGE THE
PHANTOM POWER ONCE YOU HAVE VERI-
FIED THAT EVERYTHING CONNECTED TO
THE XLR JACKS IS SUITABLE FOR USE WITH
+48V PHANTOM POWER.
19. Mono line inputs
These line inputs use female 1/4" jacks and are
suitable for almost any musical instruments, ef-
fects and tape recorders. There is a wide gain
range-both balanced and unbalanced inputs can
be incorporated, allowing you to use professional
gear at +4dB or semi-professional gear at-10dB,
No manual switching is necessary. The circuitry
will detect a TRS (tip positive, ring negative,
sleeve shield) plug and engage the balanced
17. Main output faders
These control the main L-R output levels and
the tape output levels (see 24 & 25).
JACK-PANEL DESCRIPTION
circuitry.
20. Channel inserts
These features on the four mono channels and
serve a variety of uses, depending on what you
plug in, and how far you push the plug in.
They allow the connection of processors to the
signal path using insert Y-cords, or can be used
as direct outs for multitrack recording.
The insert point (see block diagram) is fixed pre-
fader on channels 3 & 4, but may be switched to
post-fader on the first two channels (see 29).
(See page 11. for diagrams of the various plugs,
connections and wiring schemes relating to chan-
nel inserts.)
21. Stereo line inputs
These are the inputs for the four stereo channels.
They are 1/4" mono jacks, one for the left input,
one for the right input. If the channel is needed
for a mono input, then one input plugged into
just the left jack will automatically be treated as
mono. Just one plug in the right jack will mean a
signal that is only on the right side. If for some
reason you desire to only put an input in the left
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