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15. G
(56): This switch lifts the signal ground,
L
S
ROUND
IFT
WITCH
and may help in the event of a stubborn ground loop issue.
Using the G
L
S
is in no way a substitute for proper wiring,
ROUND
IFT
WITCH
but in a live scenario, it can help to eliminate ground hum. Before chang-
ing the position of the switch, make sure to turn the unit Off. If both 'GND'
and 'LIFT' settings sound identical, then keep the switch set to 'GND'.
FUNCTIONS:
1. M
V
(2): This rotary control alters the volume of the
IC
OLUME
Microphone that is plugged into the XLR-1/4" C
(1).
2. M
1 H
B
EQ (3): This rotary control alters the amount
IC
IGH
AND
of high frequency that is applied to Microphone #1. Turning the
control clockwise increases the high frequencies, while turning
the control counterclockwise decreases. In the middle position (the rotary
control is detented here), there is no change being made to the audio sig-
nal.
3. M
EQ (4): This rotary control alters the amount
1 M
B
IC
ID
AND
of midrange frequency that is applied to Microphone #1.
Turning the control clockwise increases the midrange frequen-
cies, while turning the control counterclockwise decreases. In the middle
position (the rotary control is detented here), there is no change being
made to the audio signal.
4. M
EQ (5): This rotary control alters the amount
1 L
B
IC
OW
AND
of low frequency that is applied to Microphone #1. Turning the
control clockwise increases the low frequencies, while turning
the control counterclockwise decreases. In the middle position (the rotary
control is detented here), there is no change being made to the audio sig-
nal.
5. M
1 EFX A
B
IC
SSIGN
UTTON
signal of Microphone #1 to the DSP EFX section found on this
mixer. When the LED on this button is illuminated, it indicates
that the signal is being fed through the DSP. When the LED on this button
is extinguished, it indicates that the signal is being output as-is, without any
effect.
6. M
1 O
/O
/T
IC
N
FF
ALKOVER
whether Microphone #1 will be on, off, or on with Talkover.
When talkover is engaged, the level of the audio (except for
the microphone) will be attenuated so that the microphone can be easily
heard over any music that may be playing.
7. D
/C
A
EVICE
HANNEL
SSIGN
found on each mixer channel, determines which set of jacks
will be used to drive that channel. Printed next to the knob
itself is a diagram showing the positions and available devices that can be
assigned to the channel. This feature allows many devices to be connected,
5 of which can be used simultaneously when they are selected using the
s.
D
/C
A
K
EVICE
HANNEL
SSIGN
NOB
8. C
G
C
(9): These controls, found on each
HANNEL
AIN
ONTROL
mixer channel, allow you to increase or decrease the volume of
each channel. This is useful for matching levels during mixing,
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or to make additional signal boosts when the C
do not provide enough. To match levels while mixing, visually match the
level of the C
C
HANNEL
increases the high frequencies, while turning the control counterclockwise
decreases. In the middle position (the rotary control is detented here),
M
1 I
OMBO
IC
NPUT
there is no change being made to the audio signal.
clockwise increases the midrange frequencies, while turning the control
counterclockwise decreases. In the middle position (the rotary control is
detented here), there is no change being made to the audio signal.
increases the low frequencies, while turning the control counterclockwise
decreases. In the middle position (the rotary control is detented here),
there is no change being made to the audio signal.
a C
HANNEL
illuminate. Only one channel at a time can be assigned to the DSP effects.
When there is no C
be sent through the DSP effects section.
(6): This button assigns the audio
playing a particular piece of music through the headphones while there is
another music program playing through the speakers. When a C
CUE S
ELECTOR
S
(7): This switch determines
WITCH
nate. You may choose as many channels as you wish, simultaneously, to be
monitored through the Cue Section.
14. S
monitor sound from the Cue Section in one ear, while listening to
the Program (Master Bus) in the other ear. This is particularly use-
K
(8): This control, which is
NOB
ful if there is no booth monitor available, or if the monitor is unusable.
way to the right, only the Program (Master Bus) will be heard through
the headphones. When this control is in the middle, an equal mix of Cue
and PGM.
manuals search engine
V
HANNEL
LED VU M
(23), by making adjustments to the
HANNEL
ETERS
G
C
.
AIN
ONTROLS
9. C
EQ (10): This rotary control, found on
H
B
HANNEL
IGH
AND
each channel, alters the amount of high frequency that is applied
to the corresponding channel. Turning the control clockwise
10. C
EQ (11): This rotary control, found on
M
B
HANNEL
ID
AND
each channel, alters the amount of midrange frequency that is
applied to the corresponding channel. Turning the control
11. C
L
B
EQ (12): This rotary control, found on
HANNEL
OW
AND
each channel, alters the amount of low frequency that is applied
to the corresponding channel. Turning the control clockwise
12. C
EFX A
B
(13): When these buttons,
HANNEL
SSIGN
UTTON
found on each channel, are pressed, the audio which corre-
sponds to that channel is routed to the DSP effects section. When
EFX A
B
is active, the LED inside of the button will
SSIGN
UTTON
EFX A
B
active, the Master bus will
HANNEL
SSIGN
UTTON
13. C
CUE S
(14): These buttons, found on each
HANNEL
ELECTOR
channel, route the pre-fader audio signal to the Cue Section,
which can be monitored through headphones. This is useful for
B
is active, the LED inside of the button will illumi-
UTTON
(15): The Split Cue function allows you to
C
B
PLIT
UE
UTTON
15. CUE/PGM R
C
(16): When this rotary control
OTARY
ONTROL
is all the way to the left, only the Cue Section will be heard
through the headphones. When this rotary control is all the
16. C
V
C
(17): This controls the volume of the
UE
OLUME
ONTROL
H
O
(18).
EADPHONE
UTPUT
<6>
(22)
17. H
F
O
OLUME
ADERS
EADPHONE
UTPUT
(6.35mm) connector, and will power virtually any headphones.
18. X-F
A
ADER
SSIGN
found on each channel, are used to assign each respective
audio channel to either the left side (A) or the right side (B) of the X-
F
(21). When the switch is in the middle position (Off ), the audio of
ADER
each channel will be controlled solely by the C
and not by the X-F
(21).
ADER
19. X-F
C
ADER
URVE
taper of the X-F
(gradual taper), the X-F
ADER
response which is best suited towards mixing. When the switch is set to
the right (short taper), the X-F
which is best suited towards scratch and battle use. For an even sharper
response, replace the stock fader with an RG-45PRO Scratch Fader (sold
separately).
20. X-F
ADER
all of the active channels that are assigned to the 'A' side
of the X-F
and the active channels that are assigned to the 'B' side of
ADER
the X-F
. Assigning channels to the X-F
ADER
X-F
A
S
ADER
SSIGN
WTICHES
21. C
V
F
HANNEL
OLUME
nel, allow you to control the amount of signal that is sent to the out-
put of the mixer.
23. C
LED VU M
HANNEL
level of the audio source. This has a multitude of uses, such as visually
verifying which channels are receiving audio signal or matching the
volume levels between two sources. For optimal sound, you should adjust
the C
G
C
HANNEL
AIN
ONTROLS
to light the first blue LED.
24. M
LED VU M
ASTER
the signal being output through the M
For optimal sound, this should not exceed +5dB on the meter.
25. Z
S
ONE
ELECT
select a source to be output directly to the Z
HANNEL
(64) found on the rear panel of the mixer. The audio signal output will be
completely prefader, which means that the C
has no effect on the level of the output. However, the audio will still be
affected by the C
G
HANNEL
When the Z
S
C
ONE
ELECT
ONTROL
(64) will behave the same as the B
26. Z
(26): This rotary control determines the volume of
V
ONE
OLUME
the audio being sent out through the Z
27. B
C
ALANCE
ONTROL
Master signal from Left to Right. By default, this control should be
in the middle position, which is an equal balance of left and right chan-
nels.
28. M
V
ASTER
OLUME
the volume of the audio being sent out through the M
60).
29. B
V
C
OOTH
OLUME
volume of the audio being sent out through the B
(18): This jack accepts a standard 1/4"
S
(19): These switches, which are
WTICH
V
F
(22),
HANNEL
OLUME
ADER
S
(20): This switch determines the
WITCH
(21). When the switch is set to the left
ADER
(21) will have a smooth and gradual
(21) will have a sharper response
ADER
(21): With this control, you can fade between
is accomplished using the
ADER
(19).
(22): These controls, found on each chan-
ADER
(23): This VU meter displays the prefader
ETER
(9) until the C
LED VU M
begins
HANNEL
ETER
(24): This VU meter displays the level of
ETER
O
of the mixer.
ASTER
UTPUTS
C
(25): By using this control, you can
ONTROL
RCA O
ONE
UTPUTS
V
F
(22)
HANNEL
OLUME
ADER
(9) and C
(10, 11, 12).
C
EQ
AIN
ONTROL
HANNEL
S
is set to Master, the Z
RCA O
ONE
UTPUTS
(63).
RCA O
OOTH
UTPUTS
(64).
RCA O
ONE
UTPUTS
(29): This control allows you to pan the
(30): This rotary control determines
C
ONTROL
(59,
O
ASTER
UTPUTS
(31): This rotary control determines the
ONTROL
RCA
OOTH
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