User's Manual
Table Of Contents
- A few words from Greg Mackie.
- Selecting channels for a Mute Group.
- MAIN MIX (L/R) fader.
- Group Master Section.
- BREAK button/indicator
- MONITOR section
- STEREO IN knob
- Meter section.
- FX Master Section.
- Talkback.
- A better way.
- A traditional Monitor Mix.
- Musician's Phones.
- Aux Master AFL buttons and indicator.
- Aux Master.
- Master Control Section
- Further reading about mixing.
- A few more tips on equalization.
- MID EQ (stereo channels)
- Source Mic / Line (stereo channels).
- PFL switch / indicator
- Same as Mono Channels
- Different than
- Channel fader
- Bus Assign switches
- —20 (Signal present) LED.
- Mute button/ indicator.
- Pan.
- FX Send.
- Aux PRE Switch.
- Aux Sends
- EQ (Equalization), Mono Channels
- Comp (Compressor) and indicator.
- Gain Control.
- Mono Channel Strips.
- Channel 25-26 (or Channels 17-18) and Phones
- Musician Phones (AUX OUT 3 OR 4 + L/R INJECT)
- Aux Out.
- Group Out (sub buses).
- Monitor Out.
- Main Out.
- Talkback input.
- Foot Switch input.
- USB Out
- USB In
- USB input / output.
- Stereo input channels.
- Mono input channels.
- Power input connector
- POWER switch
- Power supply section
- Why do we start with the back of the mixer?
- How the band is set up on the mixer.
- The "pusha-bunch-'0' buttons" approach to creating a mute group.
- Un-doing the "pusha-bunch-'0' buttons" approach to creating a mute group.
- Program a Mute Group…
- Rack mounting (MW-2408 only)
- Settings that can be saved
- More on Factory Reset (restoring the factory default settings).
- Other GLOBAL options.
- Recalling a Global Scene
- Saving a Global Scene
- Global menu (scene memory, settings, initialization).
- Locking the state of the feedback suppressor
- Feedback Suppressor: Seting routing options.
- Recalling an Equalizer Setting (continued)
- Recalling an Equalizer Setting.
- Saving Equalizer settings.
- Adjusting (Narrow Mode) Continued
- Adjusting EQ Narrow Mode EQ (31 /9-band).
- Adjusting 9-band EQ (Wide Mode).
- Selecting Narrow or Wide 9-band equalization.
- Recalling a Dynamics preset.
- Saving a Dynamics setting.
- FEEDBACK SUPPRESSOR
- EQUALIZATION
- SoundLink Signal Processing*
- Gee, they don't sound like effects!
- Recalling a DFX preset.
- Saving a Digital Effects setting.
- Using the TAP button to set the delay time.
- Editing an effect
- Applying a Digital Effect
- Selecting the DFX type
- Digital Effects (DFX).
- Saving and Recalling Mute Groups.
- Combining Hard Mutes and Mute Groups.
- Adding to or subtracting channels from a Mute Group.
- Creating a Mute Group.
- "Hard muting".
- OL (Overload) LED.
Hook-up/Back panel Analog Controls Digital Controls
20 50 100 200 500 1k 2k 5k 10k 20k
Bass VOCALS Soprano
KEYBOARD
KICK DRUM
BASS GUITAR
FLOOR TOM
GUITAR
SNARE / GUITAR / PERCUSSION ATTACK
SNARE / GUITAR /ACOUSTIC INSTRUMENT CLARITY
CYMBALS/STRING INSTRUMENTS / SNARE SIZZLE
HI-HAT / CYMBALS
Analog Controls
Without compression, wide swings in dynamics.
Compression levels things out.
EQ (Equalization),
Mono Channels
Equalization is another name for
“tone control”. But EQ is a lot
more sophisticated on Sound-
Link mixers than tone control is
on a car stereo or MP3 player.
Both mono and stereo Sound-
Link channels split the frequency
range into three parts: Hi, Mid
(midrange) and Lo.
Every instrument covers a
broad range of frequencies.
the mumbled syllables come
though, the rest of the vocal
will be overwhelming. No single
fader setting gives a good balance
because the difference between
the highest and lowest signal
levels (the "dynamic range") is
too large.
Compressors remedy this by
reducing a sound’s dynamic
range: compression reduces the
level differences between the
quieter mumbled and un-mum-
bled words, making it easier to
find a single fader setting that
works. The compressor does this
by turning down (or compress-
ing) the louder signals so that
they match the quieter signals
more closely — an automatic vol-
ume control.
A similar trick works for vo-
calists who have a consistent
dynamic range. Compression can
“raise” them in the mix without
having to increase their actual
volume.
Compression is also useful
for presenters and pastors who
speak in a normal voice most
of the time BUT SOMETIMES
SHOUT!!!!, and for mic-ing
drums where compression can
add “punch”.
Note that there is also a digital
Compressor function that works
with AUX , AUX and main L/R
and has several variable parame-
ters. We cover that further on.
Greg's mixes-almost-
every- weekend advice
on equaliztion: Find the
problem areas and CUT
as needed. Then consider
boosting. Otherwise you
"chase your tail".