Specifications

Guided Tour
Studio 32 Reference Manual 20
important to set this level properly, since high levels could lead to distortion and
levels set too low will cause noise (see Setting Levels).
Channel and Monitor source select switches: Each channel has its own FADER
SOURCE SELECT switch, under the TRIM control, and MONITOR 1/2 SOURCE
SELECT switch above the MONITOR 1/2 PAN control. These two switches are
completely independent.
• If both switches are up, the TAPE INPUTS can be heard through the
MONITOR 1/2 controls, while the MIC/LINE input appears at the main
channel controls. This is the position normally used for tracking and
overdubbing.
• If both switches are down, the tape returns are on the main channel while the
MIC/LINE input appears at the monitor controls. This is the position normally
used for mixdown (with the main channel assigned to L/R) or for bouncing tracks
(with the main channel assigned to the appropriate Group or Groups).
• If the FADER SOURCE switch is up and the MONITOR SOURCE switch is
down, MIC/LN is chosen for both. This is the position that would be used if
MON 1/2 is going to be used for a pre-fader stage monitoring mix.
The equalizer
EQ section: The EQ section affects only the signal on the Channel fader, not the
signal of the monitor section. An EQ IN switch allows you to hear the signal “flat”
with no EQ at the touch of a button. Once the fader source has been chosen, and the
EQ IN switch is down, signal will flow through the green knobs in the EQ section.
The EQ has three bands: the Hi & Lo EQ, and the fully-parametric Mid EQ. The
Hi & Lo EQ are shelving-type EQs, with 12 kHz and 80 Hz shelving points and an
adjustable boost or cut of ±15 dB. These act much like the bass and treble knobs
found on most audio equipment: the “12 o’clock” position has no effect, and you turn
to the right to get more of the frequencies and to the left to cut them.
The Mid EQ has three knobs: one to set the amount of boost or cut, one to select the
frequency you want to control (adjustable from 150 Hz to 15 kHz), and a “Q” or
bandwidth control. The Q control adjusts how wide an area around the selected
frequency should be cut or boosted, allowing you to be extremely specific about how
you tailor your sound.
To avoid low-end rumble and noise, turn on the 75 Hz high-pass filter, which
removes frequencies below 75 Hz at a rate of 18 dB per octave. The 75 HZ switch
has this effect even if the EQ IN switch is off.
Fader and assignment section
Channel controls: Finally, at the bottom of each channel we find the channel’s
fader, PAN knob, SOLO and MUTE buttons, PEAK and -20 LEDs, and a set of buttons
that let you determine the channel routing, i.e., where it’ll go to. The assignment
switches can route the channel’s signal to any of the four Groups and to the L/R
Master.