Mono Input Channels; Phantom Power - SoundCraft COMPACT 4 User Manual

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USER GUIDE USER GUIDE USER GUIDE USER GUIDE USER GUIDE

MONO INPUT CHANNELS

MONO INPUT CHANNELS
MONO INPUT CHANNELS MONO INPUT CHANNELS MONO INPUT CHANNELS
1

PHANTOM POWER

When using condensor microphones +48v phantom power is required to be present at the contacts
of the microphone (XLR) socket for the microphone to operate correctly. Phantom power can only
be applied to both microphone inputs simultaneously so ensure that phantom power is off when
not required.
ONLY connect condenser microphones with the +48V
powering OFF, and ONLY turn the +48V powering on or off
with ALL OUTPUT LEVEL CONTROLS DOWN, to prevent
damage to the mixer or external devices.
TAKE CARE when using unbalanced sources, which may be damaged by the phantom power
voltage on pins 2 & 3 of the XLR connector.
Unplug any mics if you want to use the LINE Input. The input level is set using the GAIN knob as
described in point (7).
2
MIC INPUT
The MIC input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or
UNBALANCED signals. Professional dynamic, condenser or ribbon mics are best because these
will be LOW IMPEDANCE. You can use low-cost HIGH IMPEDANCE mics, but the level of background
noise will be higher. If you turn the PHANTOM POWER on (top right-hand side of the mixer) the
socket provides a suitable powering voltage for professional condenser mics.
3
LINE INPUT
Accepts 3-pole 'A' gauge (TRS) jacks. Use this input for sources other than mics, such as
keyboards, drum machines, synths, tape machines or DI'd guitars. The input is BALANCED for low
noise and top quality from professional equipment, but you can use UNBALANCED sources by
wiring up the jacks as shown below, although you should then keep cable lengths as short as
possible. Unplug anything in the MIC input if you want to use this socket. Set the input level using
the GAIN knob.
4
HIGH PASS FILTER SWITCH
Pressing this switch activates a steep 12dB per octave filter which reduces the level of sub-
harmonic bass frequencies. This is very useful for removing mic-pops caused by the large volumes
of air pushed out rapidly when singing [P] or [B] sounds. It can also be used to get rid of "rumble"
caused by a microphone on stage, or to simply clean up a mix.