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Ey SERIES 52 TAPCO STEREO MIXERS
1H - CHANNEL PATCHING
INSERT JACK
1A - GAIN
1B1 - HI EQUALIZER
1B2 — MID EQUALIZER
1B3- LO EQUALIZER
1C-EFFECTS REVERB
SEND
ID -MONITOR SEND
IE-PAN POT
1G -PEAK LED
IF - CHANNEL FADER
FIGURE 1 - Input Channel Functions
SECTION 1.0
1.0 INPUT CHANNEL CONTROLS (Figure 1)
The input channel is the beginning of the mixer.
Each input channel will accept one signal source
which then may be sent to a monitor system, be
equalized, have reverb or other effects added, and
last but not least, be sent to the main system for
the audience to hear. Each input has a low imped¬
ance microphone input (the 3 pin XLR or Cannon
connector) and a high impedance mike or line
input (1/4 in. phone jack). The line input will
accept signals from an instrument, high impedance
microphone, tape machine, electronic drummer or
almost any other audio source. Always make sure
that the channel fader (sect. IF) or master faders
(sect. 2G) are down before plugging or unplugging
input sources.
IA.
GAIN
RED CONTROLS
The GAIN control adjusts the gain or amplifi¬
cation of the input amplifier. This is necessary
to accommodate the wide variation in signal
strength presented to the mixer by the almost
endless variety of signal sources — vocal mics,
instrument mics, instruments, tape machines,
etc. The GAIN control allows you to optimize
the amplification for each input source. This
results in the best signal to noise ratio (. . . no
hiss) and at the same time, best freedom from
overload distortion.
The GAIN control is used to match the gain
of the first preamp stage to the signal strength
of the source being run through the channel.
To get the cleanest, quietest operation from
the board it is important that the GAIN
control be properly set. To set up a mix,
first put all the input and sub-group slide
faders
at
"10''.
Then adjust the GAIN
controls for a rough mix, and do the fine
tuning with EQ and faders as necessary.
Whenever possible, it's best to try to maintain
that "straight line" relationship between all
faders. When this is done, all the levels within
the console are very close to being optimized
for the best noise and distortion performance.
Once the correct GAIN setting is established,
- make all volume adjustments with the appro¬
priate channel fader (sect. 1 F).
In
general,
the
lowest
noise
operation
(greatest dynamic range) will be obtained
when the GAIN control is set at a point where
the PEAK
light
flashes
occasionally
but
not frequently.
fry i ir
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