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32
achieve satisfactory input level setting without feedback, check
microphone and speaker placement and repeat the exercise. If
feedback persists, it may be necessary to use a Graphic Equaliser
to reduce the system response at particular resonant frequencies.
Note:
The initial settings should only be regarded as a starting point for your
mix. It is important to remember that many factors affect the sound dur-
ing a live performance, for instance the size of the audience!
You are now ready to start building the mix and this should be done
progressively, listening carefully for each component in the mix and watch-
ing the meters for any hint of overload. If this occurs, back off the appro-
priate Channel Fader slightly until the level is out of the red segments, or
adjust the Master Faders.
Remember that the mixer is a mixer, not an amplifier. Increasing the
overall level is the job of the amplifier, and if it is impossible to provide
adequate level, it is probable that the amplifier is too small for the appli-
cation. Choose your amplifier carefully, and do not try to compensate for
lack of power by using the mixer to increase output level.
Note:
The level of any source signal in the final output is affected by many
factors, principally the Input Gain control, Channel Fader and Mix Faders.
You should try to use only as much microphone gain as required to achieve
a good balance between signals, with the faders set as described above.
If the input gain is set too high, the channel fader will need to be pulled
down too far in compensation to leave enough travel for successful mix-
ing and there is a greater risk of feedback because small fader move-
ments will have a very significant effect on output level. Also there will be
a chance of distortion as the signal overloads the channel and causes
clipping.
If the gain is set too low, you will not find enough gain on the faders to
bring the signal up to an adequate level, and backgound hiss will be
more noticeable.
This is illustrated below:
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