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FRONT PANEL
1. TRIM This sets how much preamplification level
there is on the INPUT. On stereo input channels, TRIM
sets the level of both left and right inputs
.
The TR I M
should be set high enough to amplify the
input
above
the noise floor of the electronics, but not so high that
it distorts the sound of the mixer. When the TRIM
is turned all the way to the left ("LINE" position), the
MM-1 preamp doesn;t add any gain to the signal. Use
th is setti ng for signals that are already preamplified, such
as most
synthesizers.
When TRIM is turned full clock
wise ("MIC" position), the signal at the INPUT jack is
amplified 40 dB, allowing you to plug an unbalanced
microphone or other low-level signal
into
the INPUT
jacks. The proper TRIM setting for any kind of
input
can be set with the help of the channel level LEOs
.
See
p.10, "Setting Input
Levels".
After the level has been
set with the TRIM control, signal goes to the equalizer
.
2. EQUALIZER: The two-band equalizer allows you to
adjust the tonality of
the
signal going through each chan
nel
.
It gets its signal from the TRIM, and sends itto the
CHANNEL FADER and LEVEL
LEDs.
EO HIGH is a
treble shelving-type control with a hinge point of 10
kHz, which can boost or cut signals from 20 kHz down
to 1 kHz. EO LOW is a bass shelving control, with a
hinge point of 100 Hz, that can affect signals from 20
Hz up to 500 Hz
.
EO HIGH and LOW level controls
work similarly to the controls on other audio equip
ment: turn to the right of center to boost, to the left
of center to cut, or leave in the center for no effect
(flat response). On stereo
inputs,
the EO settings affect
the right and left signals simultaneously, while keeping
the signals separate.
dB
Bo~stl
r
15
~2dB
II
~oost
+12 dB ".,
10
5
o
-
5
-10
,
.......
EQLOW
100 Hz
. /
""
I'i"o
~i-'
~
i"-...
,,~
..,
,~
EQ HIGH
10 kHz
CUI
-15
...
~2dB
-12 d B ..........
II
II
Cut
100
lK
10K Hz
3. EFF 1/2: This is a combination "where to" and "how
much" control
.
It typically controls how much signa
l
wi II go to one of two external effects
devices,
for ex
ample, a digital delay on EFF 1 and a reverb unit on
EFF
2.
It gets
its
signal from a point just after (post)
the
CHANNEL FADER and MUTE. It sends signal down
either the EFF 1 or 2 busses to EFFECT SEND MAS
TERS 1 or 2
.
Unlike other effect send controls you may have used,
the OFF position of the EFF
1/
2 knob is the center
detent (12
o'
clock)
.
Tu rn to the right of center to send
signal to E F F 2, or to the left of center to send signal to
,--
1-2
TRIM
MUTE
/
~
~SOLO
D
EFF
1.
The farther you turn it either
way,
the louder it
will be
-
if irs turned all the way to the left, ifs at full
volume to the EFFECTS 1 send.
When you are f irst connecting your effects devices to
the MM-1, you should decide what effects you might
want to use simultaneously on the same channel, and
make sure they;re on separate
controls.
For example,
if
you think you might want to use a flanger and a reverb
unit on a vocal at the same time, connect EFF SEND 1
to the flanger and EFF SEND 3 to the
reverb.
If you
connected the reverb to EFF SEND 2, you couldn't
send vocal signal to both flanger and reverb
simultane
ously.
In the stereo channels (1 -8), the left and right inputs
are summed to mono before they appear at the EFF
1/
2
and EFF
3/
4 controls, so both sides of a stereo instru
ment will be sent to the EFF SEND in mono.
4. EFF
3/4:
This controls how much signal
is
sent to
either
EFFECT SEND MASTER 3 or EFFECT SEND
MASTER 4
.
It
is typically used to send a mix to another
pai r of
external
effects devices. I t works
the
same way
as
EFF
1/
2 above.
For
more
information
on effect sends, see p
.
4,
"
Effect
Mixes", p. 6, "ChOOSing Effect Paths;', and p. 10, "Set
ting Levels: To Effect Devices".
-17
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