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Mono Input Channels
1 - MIC INPUT
The mic input accepts XLR-type connectors and is designed to suit a wide range of BAL-
ANCED or UNBALANCED signals. Professional dynamic, condenser or ribbon mics are best
because these will be LOW IMPEDANCE. You can use low-cost HIGH IMPEDANCE mics, but
the level of background noise will be higher. If you press the 48V switch down the socket
provides a suitable powering voltage for professional condenser mics (this is also known as
Phantom Power).
ONLY connect condenser microphones with the 48V powering OFF (switch
UP), and ONLY turn the 48V powering on or off with all output faders DOWN,
to prevent damage to the mixer or external devices.
TAKE CARE when using unbalanced sources, which may be damaged by the
phantom power voltage on pins 2 & 3 of the XLR connector.
Unplug any mics if you want to use the LINE Input. The input level is set using the GAIN
knob.
2- 48V (Phantom Power)
Many professional condenser mics need an external powering voltage, normally 48V, also
known as PHANTOM POWER. This is a method of sending a powering voltage down the
same wires as the mic signal. Each switch supplies the 48V power to one MIC input. The
adjacent LED illuminates when the power is active.
DO NOT USE unbalanced mics with 48V switched on as they may be
damaged by the phantom power voltage. Balanced dynamic mics and leads
can normally be used with 48V switched on (contact your microphone
manufacturer for guidance).
Mics should always be plugged in, and all output faders set to minimum
before switching 48V ON to avoid damage to external equipment.
3 - LINE INPUT
Accepts 3-pole 'A' gauge (TRS) jacks. Use this high impedance input for sources other
than mics, such as keyboards, drum machines, synths, tape machines or guitars. The input
is BALANCED for low noise and top quality from professional equipment, but you can use
UNBALANCED sources by wiring up the jacks as shown in 'Connecting Leads' Section,
although you should then keep cable lengths as short as possible. Unplug anything in the
MIC input if you want to use this socket. Set the input level using the GAIN knob.
4 - GAIN
This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and
the signal will distort as it overloads the channel. Too low, and the level of any background
hiss will be more noticeable and you may not be able to get enough signal level to the
output of the mixer.
See 'Setting Up & Troubleshooting' Section to learn how to set GAIN correctly.
5 - 100Hz HI-PASS FILTER
Pressing this switch activates a steep 18dB per octave lter which reduces the level of bass
frequencies only. Use this in live PA situations to clean up the mix, reducing stage rumble or
'popping' from microphones.
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