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CUE/SOLO
15. o (Phase)
This switch reverses the polarity of pins 2 and З of the спаппе!'5 XLR input connector.
When this switch is up, pin 2 is the signal high conductor, and when the switch is en-
gaged, pin 3 is high. This eliminates the need to rewire connectors or use adapters for
out-of-phase (reversed polarity) audio sources. Sometimes intentional polarity reversal
can be helpful in canceling leakage from adjacent microphones, or in creating elec-
tro-acoustic special effects by mixing together out-of-phase signals from mics picking
up the same sound source.
16. GAIN
The inner concentric knob provides 34 dB of continuously variable adjustment for the
input preamplifier gain.
17. PAD (0, 20, 40)
The outer concentric knob is a 3-position rotary switch that attenuates the signal from
the channel's XLR input by 0, 20, or 40 dB. A setting of "40" is therefore least sensitive.
The PAD should be used in conjunction with the GAIN control to obtain the precise
channel sensitivity necessary for a given source. It is always a good idea to begin with
the PAD set to 40 dB position, and to back off from there to avoid any chance of input
overdrive.
18. CLIP
This red LED is provided to indicate when the signal present after the channel preamp
(either from the XLR or from the INSERT IN jack) is too high in level. The CLIP LED turns
on when that signal is 3 dB below clipping, and should therefore flash on only occa-
sionally. If necessary, use a higher PAD value or decrease the GAIN setting to prevent
the LED from remaining on any longer than momentarily; otherwise excessive distortion
and insufficient range for fader motion will result.
19. ON (Channel On)
This locking, yellow, illuminated switch turns on when the input channel is ON, indi-
cating the channel output is available to the 8 group mixing busses, and the 6 auxiliary
mixing busses. Engaging the switch does not necessarily mean the switch will be il-
luminated or that the channel will turn on; muting logic may be dictating that the channel
remain off. When the channel is OFF, its signal may still be previewed with the
CUE/SOLO switch [23].
20. MUTE SAFE
When this locking switch is engaged, and adjacent yellow LED is illuminated, it ov-
errides any combination of MASTER MUTE and channel MUTE switch settings, and
prevents the channel from being muted. Engaging this switch ensures the channel will
always be on so long as the channel ON switch is also engaged.
21. FADER
This smooth, long-throw fader sets the level applied to the 8 group mixing busses. It
also affects any auxiliary feeds which are set to post-fader position.
22. MUTE (Assign 1 - 8)
Engaging any of these 8 locking switches enables the corresponding Group MUTE
MASTER switch(es) to "kill" this channel. An exception exists when the channel MUTE
SAFE switch [20] is engaged, in which case these MUTE switches can have no effect.
When a MUTE switch is engaged, the adjacent yellow LED turns on.
23. CUE/SOLO
The function of this switch on each input channel will depend on the setting of the
console's Master SOLO MODE switch [61].
If the console is set to the SOLO MODE, then pressing this switch mutes all other input
channels, and only the input channel(s) whose CUE/SOLO switch is engaged will feed
the console outputs. (This is also known as "solo in place.") Any AUX RETURN signals
will not be muted so that effects can be heard in conjunction with the input signal. To
silence the AUX RETURNS, turn them off manually.
Ifthe console is setto the CUE MODE, the console then has a dual-priority cue system,
designed to give the engineer maximum control and speed when it is most important.
In this mode, pressing the input channel CUE/SOLO switch causes the channel signal
to replace any master signal in the Cue output and the Phones output.
The engineer can readily select any of 20 output mixes (Group 1-8, Matrix 1-4, Aux
Send 1-6, or Stereo L & R) by pressing the corresponding CUE switches. In most cases,
2-4
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