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CHANNEL INPUTS SECTION:
1. LINE INPUT:
1/4" balanced (TRS) high-impedance input for high-level signals. The tip is the
positive input, which should also be used for unbalanced inputs. This input is connected through
a 20 dB pad to the MIC input (#2). The two inputs cannot be used simultaneously.
2. MIC INPUT:
XLR balanced low-impedance channel input optimized for a microphone or other
low-level source. Pin 2 is the positive input. Because of the wide range of gain adjustment, signal
levels as high as +10 dBV (3 V RMS) can be accommodated. When the phantom power is
enabled, this connector has +48 V on pins 2 and 3 (pin 1 is ground reference).
3.
PAD:
Attenuates the input signal by 20 dB. This will increase the dynamic range to accom¬
modate a higher input level before clipping, which may be necessary when close miking
loud guitar amplifiers or drum kits.
4. POLARITY:
Reverses the polarity of the input signal. This will compensate for an out-of-phase
input that would otherwise cause frequency cancellations in the mix. (Often needed for drum
mics where both sides of the drum head are picked up in multiple mic situations.)
5. LEFT/MONO INPUT:
High-impedance input for line-level signals. The left/mono input supplies
signal to both the left and right inputs (if there is nothing inserted to the right input jack) then
through the line-level control, then to the direct/EQ switch. This input also supplies the Mon 1
and 2 sends.
6. RIGHT INPUT:
High-impedance input for line-level signals. The right input supplies signal to the
right input, then through the line-level control, then to the direct/EQ switch. This input also
supplies the Mon 1 and 2 sends.
7.
PHANTOM POWER SWITCH:
Applies 48 V DC voltage to all input XLR connectors to power
microphones that require it.
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CAUTION! When phantom power is switched on, make sure that any channel you are plugging a mic into is muted,
and all Monitor, Auxs, are at minimum. Otherwise there will be a loud pop in the PA. This is normal. It is best to
plug all mics into their respective channels with the phantom power switched off. This reduces noise in the PA and
reduces the chances of the mic being damaged.
If phantom power is used, do not connect unbalanced dynamic microphones or other devices that cannot handle
this voltage to the XLR inputs. (Some wireless receivers may be damaged; consult their manuals.) The line input
jacks
(#1)
are not connected to the phantom supply, and are safe for all inputs (balanced or unbalanced). An
unbalanced-to-balanced impedance converter such as the Peavey 5116, or a Peavey 1:1 Interface Adapter can also
be used to isolate a mic from phantom voltage.
5
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