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Фрагмент инструкции
Independent monitor level controls on each channels permit a monitor mix to be set up independently from the input channel faders. 3. EFFECTS SEND LEVEL This control determines the amount of that channel's signal which is sent to the internal effects mixing buss. This effects buss feeds the rear-panel EFFECTS SEND jack—via the master effects send level control (see MASTER SECTION)—which normally feeds an external echo or reverberation device. Having independent effects send controls on each input channel means that the amount of effect applied to the signal from each, channel can be set independently. 4 7. PAN This control has the same effect as the monitor PAN control, discussed above, except that the channel signal is panned across the main program buss which feeds the mixer's main stereo outputs. Panning is one of the mor§ "conventional" functions that a stereo mixer performs, permitting acoustic placement of each instrument or group of instruments at any desired location in the stereo sound field. I.e., the sound of a particular instrument can appear to come from the left speaker, right speaker, or anywhere in between. This positioning of the signal from each input channel is performed using "pan pots". The position of the pan pots relates directly to the acoustic position of the respective channel's signal: pan pot fully clockwise means that the sound comes from the right channel speaker, fully counterclockwise means that the sound comes from the left channel speaker, and at intermediate pan pot settings the sound appears to be located at the appropriate point between the left and right speakers. The pan pots can also be used to create the effect of "floating" an instrument from one side of the stereo sound stage to the other. Generally, you'll use the pan pots to create the desired acoustic image. 8. INPUT FADER The input faders are what provide the actual "mixing" function in a mixer. They permit individual adjustment of the levels of the six input sources so you can achieve just the right overall balance between instruments, vocals, or whatever you are mixing. These are the controls that you'll be using the most, and how they are used can make the difference between excellent and mediocre sound. Maximum signal-to-noise ratio and minumum distortion, and therefore the best sound, is generally obtained with fader settings between about 1/3 and 3/4 of the fader scale. Fader settings that are too high or too low should be avoided by increasing or decreasing the level of the source whenever possible. Most electronic keyboards and electric guitars have an output level control, and microphone output level can be adjusted by changing the distance of the microphone from the sound source. MASTER SECTION 9. TAPE OUT SWITCHES Rather than always having input channels 1 through 4 feed the corresponding TAPE OUT jacks, these switches make it possible to send the left stereo buss signal to either the TAPE OUT 1 or 3 jacks, and the right stereo buss signal to either the TAPE OUT 2 or 4 jacks. This makes it possible to reconfigure the system to mix the input channels down to stereo on the recorder connected to the TAPE OUT jacks. STEREO L Signal — CH1 Signal“**““““*“ TAPE OUT LINE IN STEREO L Signal-CH1 Signal——— TAPE OUT LINE IN lmET~H>3 -_@L_ STEREO R Signal — CH2 Signal' R*2l ED IR»4 CH4 Signal1 STEREO R Signal' 10. EFFECTS RETURN The output from the effects device you use (normally echo or reverberation, fed by the EFFECTS SEND jack) is returned to the EFFECTS RETURN jack and fed to the stereo mixing buss via the EFFECTS RETURN control. In other words, this control determines how much of the externally processed signal is mixed back into the main stereo program. 11. AUX IN The RM602 has a pair of AUX IN terminals that make it possible to mix an extra stereo signal in with the sources present at the six input channels. The AUX IN control adjusts the level of the AUX IN signal in relation to the rest of the program. What you connect to the AUX IN terminals depends entirely on your specific application, but here are just a few examples: 1. You could connect the outputs from a stereo cassette deck to the AUX IN terminals and play back a tape of your favorite band. Then you can mix in your own instrument and play along —a great way to practice. 2. With the same setup as in number 1, above, the cassette tape can be supplying background music while you mix in a narration and/or sound effects for your audio/visual show and record the mixed program on a second tape recorder. 3. Another possible use for this feature is as extra inputs if the six main input channels are all in use. An electronic keyboard or other line-level source could be connected to the AUX IN terminals with a phone-to-RCA pin plug adaptor and mixed in with the, rest of the program using the AUX control. Of course you don't get any tone control or panning capability, but if you need the extra inputs, they're available. 5 12...