User Manual

10
listen channels before they are fed into the mix or just to check out a particular channel anytime during a
session. You can PFL as many channels at a time as you like.
21. CHANNEL FADER level control (ch. 1 ÷ 8 / 9 ÷ 16)
It adjusts the level of the channel signal and send it to the MAIN MIX and/or to the GROUPS 1-2 buses.
22. MIC-XLR / LINE-JACK L MONO combo input (ch. 9 ÷ 16)
This is a female JACK/XLR combo connector that accepts a balanced microphone XLR input from almost any
type of microphone or a balanced or unbalanced line level JACK input signal from almost any line source. If
the LINE R jack is not inserted, this channel operates like a MONO channel with this input as a single signal
source. Wiring is the same of previous paragraphs.
23. LINE-JACK R Input (ch. 10 / 12 / 14 / 16)
This is a JACK connector that accepts a balanced or unbalanced line level input signal from almost any line
source. This is used only in presence of LINE L jack input to use the channel as STEREO.
24. EQ section MID control (ch. 9 ÷ 16)
This control gives you up to 15 dB boost or cut at 2.5 KHz with a “PEAKING” curve shape. Use it to increase or
reduce the sound “presence”.
25. BAL control (ch. 9 ÷ 16)
It adjusts the amount of channel signal sent to the left versus the right outputs if the channel is used as
MONO, or it fades the LEFT or RIGHT signal amount if the channel is used as STEREO.
26. FX PRESETS selector
The internal Digital Effect Processor is built around a powerful 24bit DSP. It includes 100 different presets of
studio-grade effect algorithms.
HOW TO USE THE FX:
- rotate the SELECTOR knob (26) to choose the type of effect (preset) you want to use; rotating the knob the
number on the display scrolls and flashes. After you have chosen the effect, press the SELECTOR (26): the
preset will be loaded and the number on the display will remain fixed.
- send the signal to the effect with the FX control (11) of the channel you want to add the effect to;
- raise up the FX LEVEL (30) fader until you hear the effect added to the original signal;
- adjust the FX controls (11) just before the signal input clipping indicated by the peak led (29);
- re-adjust the FX LEVEL (30) fader to combine the wet effected signal with the natural dry signal.
PRESET DESCRIPTION:
p 00-09. HALL – This type of reverb simulates the ambience of a concert hall varying its size from larger to
smaller. Dense, smooth reverb with long pre-delay and a lot of high frequency reflections. Works well
with vocals, electric and acoustic guitars, strings and woodwinds.
p 10-19. ROOM – This type of reverb reproduces the more intimate ambience of natural room acoustics. It
features a lot of early reflections with a few of high frequency. Emulating two different type of rooms
and scaling their size from bigger to smaller (10-14 and 15-19), works well with vocals, fingered
guitars, drums.
p 20-29. PLATE – This is a simulation of classic '70s and '80s metal plate reverbs, starting with a longer tail
scaling to shorter tail. Works well with vocals, and any instrument in order to achieve the vintage
sound of many recordings.
p 30-39. MONO DELAY – Typical echo + feedback effect with decreasing delay times.
p 40-49. STEREO DELAY – Typical echo + feedback effect with ping-pong of left and right channels with