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CHANNEL STRIP FEATURES
1
LEVEL
MIC
SET
U
OVERVIEW
The channel strips are independent of
+50
MIN
-
each other, and allow you to adjust, tweak and
20dB
30dB
+
GAIN
otherwise beautify the sound coming from
your different microphones, guitars and other
LOW CUT
75 Hz
instruments. The Faders and Pans let you ad-
EQ
U
just how much of each channel is sent to the
main mix. The Auxes let you adjust how much
HI
12k
of each channel goes to your stage monitors or
-15
+15
out to external or internal effects.
U
The channel strips come in two flavors:
LOW
Mono and Stereo. In addition, the DFX•12 has
80Hz
two line-level-only stereo channels.
-15
+15
AUX
16. GAIN
1
If you haven't already, please read "SET THE
U
MON
LEVELS" on page 5.
+6
O O
The GAIN control adjusts the input sensitiv-
ity of the mic and line inputs on each channel.
2
U
This allows signals from the outside world to be
EFX
adjusted to optimal internal operating levels.
+6
O O
Through the mono channel MIC (XLR) in-
puts, there is 50 dB of gain fully up. For stereo
channel MIC inputs, this is +40 dB.
Through the mono channel LINE IN (TRS)
R
inputs, there is 20 dB of attenuation fully down
L
PAN
and +30 dB of gain fully up, with a "U" (unity
1
gain) mark halfway up. The stereo channel
MUTE
LINE INs have a maximum gain of +20 dB.
Having 20 dB of line-level attenuation can
be very handy when you are injecting a signal
dB
10
that is very hot, or when you want to add a
OL
lot of EQ boost, or both. Without this "pad," it
5
would be very difficult to control the line signal
and might lead to channel clipping.
U
17. LEVEL SET LED
5
This LED (Light Emitting Dohickey) lets
10
you know that the signals going into the mixer
20
are adjusted to the correct level, not too strong
to cause distortion and not too weak to be lost
30
in noise.
40
After you connect a microphone or line-lev-
50
el component to the mixer, do a sound test and
60
O O
adjust the GAIN (16) control until this handy
LED flickers just occasionally. If it is glowing
constantly, turn the GAIN down. If the LED is
doing almost nothing, turn it up.
Mono Channel
1
18. LOW CUT
The LOW CUT circuit, often referred to as a
high-pass filter, cuts the bass frequencies
below 75 Hz at a rate of 18 dB per octave.
We recommend that you use LOW CUT on
every microphone application except kick
drum, bass guitar, or bass-heavy synth patches.
LOW CUT can also help reduce the possibility
of feedback in live situations and it helps to
conserve amplifier power.
-BAND CHANNEL EQ
The DFX Mixers use "shelving" equaliza-
tion. This boosts or cuts all frequencies past a
specified frequency. For example, turning the
LOW EQ (20) knob clockwise will boost the
bass frequencies at 80 Hz and below.
Although you can bring sound to life with
proper EQ, you can also mess things up. If you
max the EQs on every channel, you'll get mix
mush, not to mention driving your mix levels
near or beyond clipping. So equalize subtly;
use cut as well as boost.
Adjusting the channel EQ will affect your
main mix and the AUX 2/EFX (8) output, but
not the AUX 1/MON (7) output.
19. HI EQ
This control provides up to
15 dB of boost, or 15 dB of cut
at 12 kHz and above. There is
no boost or cut at the center
detent position.
Use this wisely to add
sizzle to cymbals or an overall sense of trans-
parency or edge to keyboards, vocals, guitar,
and bacon frying. Turn it down a little to re-
duce sibilance or hide tape hiss.
0. LOW EQ
This control provides up
to 15 dB of boost, or 15 dB
of cut at 80 Hz and below.
There is no boost or cut at
the center detent position.
Frequencies of 80 Hz and
below represents the punch in bass drums,
bass guitar, fat synth patches, and
high-testosterone male singers.
While adding boost, also engaging the
LOW CUT (18) switch can create an audible
low frequency boost without boosting stage
rumble, mic-handling clunks, and breath pops.
+15
+10
+5
0
HI
–5
–10
–15
20
100
1k
10k
20k
Hz
Hz
Hz
Hz
Hz
+15
+10
+5
0
LOW
–5
–10
–15
20
100
1k
10k
20k
Hz
Hz
Hz
Hz
Hz
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