PSX1000
STEREO POWERED MIXER
OWNER’S MANUAL
PSX1000
PSX1600
PSX2200
CONTENTS
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Input/Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Input/Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
AUX3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Phones + Mono Out + Standby. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Master + Power Amplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Standard installation + Master patchbay and installation alternatives . . . . . . . . . . 19
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Block diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
1. Security regulations as stated in the EN 60065 (VDE 0860 / IEC 65) and the CSA E65 - 94 have to be obeyed when servicing the
appliance.
2. Use of a mains separator transformer is mandatory during maintenance while the appliance is opened, needs to be operated and
is connected to the mains
3. Switch off the power before retrofitting any extensions, changing the mains voltage or the output voltage.
4. The minimum distance between parts carrying mains voltage and any accessible metal piece (metal enclosure), respectively
between the mains poles has to be 3 mm and needs to be minded at all times. The minimum distance between parts carrying
mains voltage and any switches or breakers that are not connected to the mains (secondary parts) has to be 6 mm and needs to
be minded at all times.
5. Replacing special components that are marked in the circuit diagram using the security symbol (Note) is only permissible when
using original parts.
6. Altering the circuitry without prior consent or advice is not legitimate.
7. Any work security regulations that are applicable at the location where the appliance is being serviced have to be strictly obeyed.
This applies also to any regulations about the work place itself.
8. All instructions concerning the handling of MOS - circuits have to be observed.
Note:
SAFETY COMPONENT (HAS TO BE REPLACED WITH ORIGINAL PART ONLY)
IMPORTANT SERVICE INSTRUCTIONS
CAUTION: These servicing instructions are for use by qualified personnel only. To reduce the risk of
electric shock, do not perform any servicing other than that contained in the Operating
Instructions unless you are qualified to do so. Refer all servicing to qualified service personnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufactures instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus that produce heat.
9. Only use attachments/accessories specified by the manufacturer.
10. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
For US and CANADA only:
Do not defeat the safety purpose of the grounding-type plug. A grounding type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an
electrican for replacement of the absolete outlet.
The lightning flash with arrowhead symbol, within an equi-
lateral triangle is intended to alert the user to the presence
of uninsulated “dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude to constitute
a risk of electric shock to persons.
The exclamation point within an equilateral triangle is inten-
ded to alert the user to the presence of important operating
and maintance (servicing) instructions in the literature ac-
companying the appliance.
IMPORTANT SAFETY INSTRUCTIONS
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FIRST OF ALL, WE WOULD LIKE TO THANK YOU AND CONGRATULATE YOU TO YOUR PURCHASE OF A ELECTRO-VOICE
POWER MIXER.
The design of the PSX compact power mixers is based on decades of experience, research and development as well client inter-communi-
cation in the professional audio market. With the PSX you own a power mixer that offers a wide range of functionality in a very compact frame.
All the troubling experiences with cabling and matching mixers, amplifiers, FX units, and equalizers is history. You now own a device with
optimally matched components.
The mixer’s ergonomic shape and clearly structured controls allow instant access at all times. Also during the transport you will quickly learn
to appreciate the PSX’s superiority: recessed handles on both sides, compact dimensions and low weight. Additionally, a sturdy dust hood
protects the controls against damaging.
Through its multiple functions, its high dynamic capacity, and extremely low-noise design in combination with the 18bit-Dual-Stereo effects
unit and the high-performance power amplifier, the PSX is best equipped for universal use. No matter, whether on-stage, in a home recording
environment or in a permanent installation, Electro-Voice’s PSX is the ideal partner to meet your expectations of a professional audio device
- effective and reliable.
Of course, you want to operate your new PSX as quickly as possible. But please, take your time to read about all connections, functions, and
controls, first. Every section is explained systematically and in detail within this owner’s manual: the input channels, the effects and the master
section as well as the built-in power amplifier. Through the careful perception of the manual you will learn a great deal about all functions and
find some useful and practical tips for the daily operation of the PSX. Even more important, you will find some adjustment instructions that
should be painstakingly carried out; plus the description of a typical sound reinforcement installation, the block diagram, specifications,
connection guidelines, etc... So, take your time and keep on reading.
UNPACKING AND WARRANTY
Open the packaging and take out the PSX. Detach the protective foil of the FX unit’s display. In addition to this owner’s manual you will find
the mains supply cord and the warranty card. Please check, if the warranty registration form is filled out correctly. Only when this form is
completed, you will be able to apply for warranty claims. We grant 36 months of warranty, starting with the date of purchase. Therefore, we
ask you to also keep the original certificate of purchase together with the warranty certificate.
INSTALLATION AND CONNECTIONS
Always install the PSX on an even surface to allow for sufficient airflow during the operation. The device is equipped with electronically
controlled fans to protect the power amplifier against thermal overload. The direction of the airflow is front to rear. Fresh, cold air enters the
mixer at its front side and warm air leaves the device through the ventilation louvres in the rear panel. Do not cover the frontal or the rear
ventilation louvres, since otherwise, the PSX would automatically enter the protect mode to prevent the occurrence of thermal overload. When
the protect mode is engaged, the device is not going to be damaged. But during this period of time regular operation is not possible.
Before establishing the mains connection, please make sure that the device matches the voltage and frequency of your local mains supply.
Check the label next to the mains switch. When switching the power on, the internal ventilators will run for about 2 seconds at full speed to
give you an acoustical signal that the PSX entered the operation mode. In addition dust particles that might have gotten into the enclosure
are blown out.
The SPEAKER OUTPUTS on the rear panel of the PSX are provided through professional standard Speakon connectors which offer an
absolutely secure connection. The pin assignment of these sockets is 1+ (hot) and 1- (cold).
INTRODUCTION
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1. MIC
Electronically balanced XLR-type inputs for the connection of low impedance microphones, like the ones that are
featured in big studio -and live mixing consoles. This type of input stage provides extraordinary low- noise signal
amplification with extremely low distortion (typical <0.002%) even in the high frequency range.
Generally, any type of microphone can be connected as long as its pin assignment is
in accordance with the diagram shown aside. When condenser microphones are
connected, you have to press the PHANTOM button which is located in the master
section. The microphone gets its operational voltage (+24Vdc) through the mixer so
you can forget about battery replacement .
CAUTION: Make sure to always connect the microphones before turning on
the phantom power or switching the PSX on with phantom power activated. This is the only way to prevent your
microphones from damage. Also be sure to engage the stand-by button in the master section to prevent nasty
power-on transients.
The connection of condenser type microphones and dynamic microphone models at the same time is possible and
should generally not lead to any problems. Before you do so, please refer to the microphone’s manual to make
sure that this kind of operation is in accordance to the manufacturer’s guidelines.
The MIC input is designed for levels between –60dBu … +11dBu – depending on the setting of the corresponding
gain control. Because of their low impedance design and the phantom power these XLR-type inputs are not meant
for cascading other mixing consoles or the connection of FX units, keyboards or other electronic equipment. When
connecting this type of equipment, please use the LINE level inputs.
2. LINE
Electronically balanced inputs for the connection of electronic instruments, such as keyboards, drum machines,
electric guitars and basses with active outputs, as well as all other high-level signal sources, like additional mixers,
FX units, CD players, etc.
The LINE input is designed for levels between –40dBu and +30dBu. The connection of balanced or unbalanced
signal sources is handled with monaural or stereo phone plugs, wired according to the diagram below. If the device
that you want to connect has a balanced output stage, the use of balanced cables with stereo phone plugs is
preferable. This type of connection greatly lowers the induction of external noise or HF interference.
Do not connect signal sources to the MIC and the LINE inputs at the same time, since the signals would interfere
with each other, resulting in level reduction.
One more note: Please, do not connect electric guitars or basses with passive, high impedance outputs directly
to one of the LINE inputs. The LINE inputs of the PSX – like the line level inputs of mixers from all other
manufacturers – are meant for the connection of relatively low source impedance of electronic instruments or audio
equipment. The reproduction of the instrument’s original sound characteristics will be unsatisfactory – unless this
effect is intended. Those instruments should be connected using a special transformer, direct box or pre-amplifier
with very high input impedance. Musical instruments that are equipped with an active electronic output stage
(battery powered) can be connected without problems.
When connecting signal sources, please make sure that the corresponding channel faders or the master
faders are at their minimal settings or that the STANDBY button is engaged. This will save you, your
audience, and speakers from unpleasant pop noise.
3. INSERT
Stereo phone jack with breaker function. The low impedance output is assigned to the tip (send) and the high
impedance input (return) is assigned to the ring (body). This jack allows the connection of external compressors,
limiters, EQs, etc. into the corresponding channel’s signal path. The insertion point is post gain controls, low-cut
filters, and voicing-filter stage and pre-EQ section and faders. You have to use a stereo phone plug wired according
to the following diagram – in case you intend to use this jack as a true insert bus.
INSERT
INPUT/MONO
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If you want to use this socket as a DIRECT OUT (Pre EQ), the stereo phone plug’s tip and ring have to be short
circuited, so that the audio signal is not interrupted. If you are using a monaural phone plug instead, you will get a
DIRECT OUT with breaker function – the signal flow within the channel is interrupted.
4. GAIN
Rotary control to adjust the MIC/LINE inputs’ sensitivity. These controls let you optimally adjust the incoming signals
to the mixer’s internal operation level. Correct adjustment offers the benefits of improved S/N-ratio and provides
you with the full bandwidth of the PSX’s outstanding sonic capabilities. On the XLR-type connectors, amplification
of +10dB is achieved when the control is set all the way to the left and +60dB when the control is turned all the way
to the right. When dealing with very low input levels, like those that occur during vocal recordings or when the sound
source is located at a distance, the high gain is extremely beneficial. Using the LINE-input, the signal is generally
attenuated by –20 dB. The total adjustment range of 50dB stays the same. The LINE-input’s unity gain – no
amplification (0 dB) – is achieved at the 20dB mark.
The following is meant as a short note for your assistance on how to determine the correct input level:
Note on how to adjust the input level:
1. Set the gain control and the corresponding channel fader to their lowest setting.
2. Connect the desired sound source (microphone, musical instrument, etc.) to the MIC or LINE input.
3. Play the source at its highest volume –sing or speak as loud as possible directly into the microphone or play
the instrument.
4. While you are playing the sound source or singing into the microphone, adjust the input level using the gain
control, so that during the loudest passages the PEAK LED doesn’t blink, but the SIGNAL - LED
lights constantly.
This is the basic channel setting, gives you at least 6dB of headroom, which means you have at least 6dB
before signal clipping. In case you intend to make further adjustments to the channel’s EQ setting, you should
perform the steps 3. and 4. again, since changes in the sound shaping section also influence the channel’s over-
all level.
5. LO CUT 80 Hz
When the LO CUT switch is engaged, frequencies below 80 Hz are attenuated (18 dB-per-octave). In most cases
using the LO CUT filter with microphone channels is a good advice, since it efficiently suppresses popping sounds
and rumbling noise. The only exceptions are kick drum and
acoustic bass.
Sometimes it can be also very effective to combine the LO
CUT filter with the VOICING filter. For instance to provide a
“thin” voice with more “body”, without getting additional low-
pitched noise. Whenever the LO CUT is engaged, raising the
bass level (LO EQ) provides you with a richer sound, but
without additional rumbling or popping noise.
Another welcome side effect is, that the power amplifier and
the connected loudspeakers do not get “polluted” with unne-
cessary low-pitched noise. And the audience will be thankful
for the use of the LO CUT filter, too, since they can enjoy a
truly clear, natural, and powerful sound performance.
6. VOICING FILTER
This button activates an asymmetric microphone filter, which
can be used in addition to the channel EQ. The VOICING
filter enhances the first harmonics of the human voice and
slightly attenuates the mid frequency range. This voice sha-
ping method provides precisely audible, intelligible, and po-
werful vocals that are clearly emphasized from the rest of the
mix and is not achievable using ordinary third or octave
equalizers.
The use of this filter is not restricted to vocals only. Horns,
woodwinds, and other acoustic instruments can also profit
from the voicing filter.
We leave it entirely up to your creativity to try the filter with
as many different sound sources as you like. Normally, you
do not have to worry about the occurrence of feedback.
DIRECT OUT
INPUT/MONO
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7. EQ SECTION
The mixer’s EQ section allows shaping of the audio signal within different frequency bands. Turning one of the
EQ level controls to the right enhances/amplifies the corresponding frequency range while turning them to the left
lowers/attenuates the signal of the specific frequency band. Before you begin to alter the sound, all EQ controls
should be set to their neutral position; that is: their detented, center position. Try to avoid setting the EQ controls
to extreme positions. Usually, minor changes are totally sufficient and produce the best results in the overall mix.
You should use natural reproduction as an benchmark and rely on your musically trained ear, being the best
instrument to judge the sound quality. The moderate use of the MID control is the best remedy for avoiding
acoustical feedback. In this frequency range, you should try to avoid excessive enhancement. Lowering the level
in this band will provide you with high amplification with lower likelihood of feedback.
Use the LO control according to your pleasing, to add more “punch” to the sound of a kick drum or “body” to the
vocals. Use the HI control in the same way to provide cymbals and the human voice with more treble and a more
transparent sound. The MID EQ section offers separate rotary controls for the adjustment of the level (MID) and
the frequency band (kHz) between 800 Hz and 8 kHz.
LO-HI EQ MID EQ
Adjustments in the MID range are certainly the most effective way to shape the sound. As a matter of fact,
determining the correct center frequency is not always as easy as it seems. Here is one method – amongst others
– how to quickly find the right setting of the parametric EQ for your application.
Note on how to adjust the parametric EQ:
1. Slightly lower the channel fader to avoid feedback.
2. Turn the MID rotary control all the way to the right (+15dB).
3. Play the desired sound source or talk into the microphone.
4. Meanwhile turn the frequency rotary control (kHz) slowly from left to right.
5. Quickly, you will detect the frequency range that is not to your liking or
causing feedback.
6. Leave the frequency control in this position and turn the MID control to the left until the
sound is natural or to your liking.
Enhancing a specific frequency range is a different story. In this case perform steps 1 to 4 as described above.
Set the frequency rotary control to the range you want to enhance or leave it at the position where the sound is
most satisfactory. Now you can use the MID control to determine the amount of alteration.
8. AUX/FX
The AUX/FX controls are used to adjust individual amounts of channel signals to be routed to the FX1 or the FX2
units. The split point of the “dry” signal is POST FADE or in other words: the signal path is split after the audio
signal has passed all stages of the channel module, including the volume fader. That is the reason why the fader
setting also influences the amount of the signal that is fed to the FX units. By using the AUX/FX controls, it is easy
to establish an effects mix. For example, you can assign the short reverb effect of the FX1 unit to the lead vocals
and a combined effect program – echo, hall, and chorus – via FX2 to the background vocals. To determine the
desired intensity of each effect, you should start with the controls set at their center and make individual adjustments
from there on. Also keep in mind that there are two AUX/FX1/2 send controls located within the master section
which control the total amount of the FX signals. When you begin to establish the effect mix these controls should
also be set at their center position.
In case you are not using the internal FX units and/or you want to connect external signal processing units, the
pre-mixed AUX/FX1/2 signals are outputted via the AUX1/2 send jacks. Please monitor the PEAK LEDs in the
FX1/2 channels. The indicator should only light briefly at the occurrence of high program peaks. If the indicator is
constantly lit, you should lower the send levels of those channels where the program peaks occur. For further
information, please read the paragraphs about the FX1/2 units.
INPUT/MONO
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9. AUX 3
The AUX 3 control is primarily meant for the monitor mix. Nevertheless, when the master section’s AUX3 POST
button is pressed, it can also be used as a third FX send bus. In that case, the signal is split post-fader and outputted
via the AUX 3 send jack.
To establish a monitor mix you can choose between two alternatives. The main difference being the point where
the signal is split according to the setting of the AUX3 POST button.
If the AUX3 POST button is not engaged, the signal split is PRE FADER – the setting of the channel faders does
not affect the signal level that is present at the AUX3 rotary controls. Since the monitor mix is not influenced by
the setting of the channel faders, this alternative is primarily used when the main mix and the monitor mix have to
be completely different – the volume of specific musical instruments or vocals needs to be higher or lower or should
not appear at all in the monitor mix. This mode is also preferable when the PSX is operated by a engineer in the
audience area (front of house).
The other alternative should be used when you have to operate the mixer on-stage and still want to have control
over the main mix.
If the AUX3 POST button is engaged (LED is lit), the signal at the AUX3 rotary control is POST FADER – the signal
is split after it passes the channel faders and therefore is affected by their settings. Setting all AUX3 controls to
their center position, the main mix is also present on the monitor bus, giving you the opportunity to control the
volume settings individually from the stage. The overall volume of the monitor mix is set with the AUX3 fader in the
master section. If you are using this option you have to keep in mind that all volume changes made with the channel
faders also appear in the monitor mix, leaving you with a higher risk of acoustical feedback.
To reduce the risk of feedback, you still have the option to adjust the individual send levels via the channels’ AUX3
rotary controls. There is even the possibility to cancel some loud instruments – like the kick drum or the snare
drum, which are in fact already loud enough on-stage – totally from the monitor mix by turning the corresponding
controls all the way to the left.
10. PAN
This control determines the position of the connected sound source within the stereo image. When this control is
set at its center position, the audio signal is fed equally to the left and the right master busses. Through the extensive
PAN section circuitry the essential sound pressure level always stays the same, no matter to what position within
the stereo image the PAN control is set.
11. PFL
Engaging the PFL button (Pre Fader Listening) routes the audio signal of the corresponding channel to the
headphone bus. In this way you can route as many signals as you want to the bus at the same time. The volume
levels of the individual signals are not affected by the channel fader settings – PRE FADER LISTENING. This gives
you the opportunity to set the level or the EQ of a channel without the need to include it in the main mix. The overall
signal of the headphone bus is present at the headphone output.
12. SIGNAL (present) / PEAK indicator
These indicators play a key role during the level adjustment of the input channels, offering visual confirmation of
the actual signal level. They provide the possibility of detecting the risk of overdrive before you would actually hear
the distortion, unlike the mixers of many other manufacturers that either only provide a PEAK indicator or no channel
indicator at all.
As described before, the signal “present” LED should blink in the rhythm of the incoming signal. If this is not the
case, you should increase the gain. If the PEAK LED blinks frequently or lights up constantly, the corresponding
channel is likely to enter clipping and you should turn the gain control a bit to the left. The signal “present” LED
lights at levels –30dB below clipping while the peak LED lights at a level of –6dB below the occurrence of overdrive.
It is also a good idea to watch the indicator during a performance. During performances, some musicians get carried
away by the music and the atmosphere and tend to play their instruments more dynamic than during the rehearsal.
This, of course, can easily lead to channel clipping, resulting in degradation of the sound.
13. VOLUME
The channel faders are used to set the volume of the corresponding channels and to establish an accurately
proportioned mix. The channel faders should be positioned within the range of –5dB to 0dB, leaving you with a
degree of control that allows the precise matching of relatively large differences in the channels’ level settings. The
overall volume is set through the use of the master faders.
Even though the channel faders offer an additional gain of +10dB, we would recommend that you not exceed the
+5dB mark. If the PSX’s main bus gets “overloaded” with too many “high level” input channels, despite its special
negative gain structure, the summing amplifier could be driven into clipping. Once you reach a level where some
channel faders are set above the 0dB marking, we would recommend you lower the setting of each channel fader
by about –5dB and increase the overall output level by elevating the master faders. The proportion of the mix and
the overall volume stay the same while the risk of clipping is prohibited.
INPUT/MONO
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Since most features of the stereo inputs are virtually identical to those of the monaural inputs, we will not discuss
their functions in detail again. Thus, we only point out the differences and ask you to refer to the paragraphs in the
first chapter of this owner’s manual.
14. MIC
Like their monaural counterparts the stereo input channels of the PSX incorporate
extensive circuitry and electronically balanced XLR-type connectors for the connec-
tion of low impedance microphones. Whether your setup is more microphone-ori-
ented or you have more line level sound sources to connect, you can always use
the full amount of input channels, provided by your PSX. The functioning principles
were already discussed in detail in the previous chapter.
15. STEREO INPUT L/MONO R
Electronically balanced inputs for the connection of musical instruments with stereo output, like keyboards and
drum machines, Electric guitars and basses with an active outputs, as well as all other equivalent sound sources
with high level outputs, like additional mixing consoles, FX units, CD players, etc.
The stereo LINE input is meant for balanced or unbalanced sources with levels between –20dBu and +30dBu. For
the connection of external devices you can use monaural or stereo phone plugs which are in accordance to the
diagram below. If the external device is equipped with a balanced output stage, you should preferably use balanced
cables and plugs, since this type of connection provides better shielding against HF induction and external noise.
In case you want to connect a monaural source to a stereo input channel, plug it into the L/MONO input. The signal
gets internally routed to both channels. For further information, please refer to the chapter “INPUT/MONO”.
16. GAIN MIC
Rotary control to adjust the MIC inputs’ sensitivity, providing the possibility to optimally match the incoming signals
with the mixer’s internal operation level. The MIC GAIN control is only active for the XLR-type connections of the
stereo input channels.
Adjustment and functioning of these controls are identical to those of the monaural inputs.
CAUTION: The MIC GAIN control of an unused microphone input should always be set to its minimal marking.
Otherwise the noise of the inactive input is added to the audio signal of the corresponding LINE input, which could
lead to unnecessary extra noise at the main output, becoming clearly audible in program breaks.
17. LINE TRIM
These rotary controls are used to match the incoming line level signals with the operational level of the PSX. The
total adjustment range is 30dB. Unity gain – no amplification (0 dB) – is achieved at the 0dB mark. The control
offers a level reduction of the incoming signal by –20dB and an amplification of +20dB. This range is wide enough
to allow the connection of most professional, semi professional, and even hi-fi audio sources.
For further details on how to adjust the LINE TRIM control, please refer to paragraph 4. GAIN.
If you use a keyboard as sound source on one of the stereo inputs, make sure that no split zones or layers with
channel separation are activated. Otherwise the stereo channel mapping will appear like it is set on the keyboard
and you will not have the opportunity to re-position the sound in the overall stereo image, using the controls of the
mixer. The better alternative to connect a keyboard with pre-programmed channel mapping is to use two adjacent
monaural input channels, leaving you the option to place the sound in the final mix via PAN controls.
One more tip, in case you desperately need another input and all channels of the PSX are already in use:
The microphone input and the phone plug-type inputs are electrically separated from each other. Each input is
equipped with its own gain control – respectively trim control, providing you with the possibility to connect a LINE
level source in addition to a microphone. Of course, the two sources share all other controls. Consequently,
separate adjustments are not possible. This option is only meant as a subsidiary function and can be used when
there is absolutely no other alternative.
INPUT/STEREO
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18. EQ SECTION
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within miscellaneous
frequency bands. Turning one of the EQ level controls to the right enhances/amplifies the corresponding frequency
range while turning them to the left lowers/attenuates the signal of the specific frequency band. Before you begin
to alter the sound, all EQ controls should be set to their neutral position; that is: their marker points straight up
(locked in place). Try to avoid setting EQ controls to extreme positions. Usually, minor changes are totally sufficient
and produce the best results in the overall sound. You should use the natural reproduction as an orientation mark
and rely on your musically trained ear to judge the sound quality. The moderate use of the MID control is the best
remedy to avoid acoustical feedback. In this frequency range, you should try to avoid excessive enhancement.
Lowering the level in this band will provide you with high amplification rates without feedback.
The HI and LO controls of the STEREO channels’ EQ section provide a degree of control that is equally adequate
for LINE level inputs and microphones. The MID control is active in a comparably wide frequency band around 2.4
kHz. With most microphones this is the critical range, where a slight attenuation offers excellent results.
19. AUX/FX
These controls determine the amount of the summed L/R signal that is send to the AUX/FX bus. The signal routing
is POST FADER. For more details on the functioning of these controls, please refer to the INPUT/MONO section
of this owner’s manual.
20. AUX3
This control determines the amount of the summed L/R signal that is send to the AUX3 bus. Depending on the
setting of the AUX3 POST switch within the PSX master section you can choose if the signal is routed PRE or
POST FADER.
21. BAL
The function of the BAL control of the stereo channels is equivalent to the PAN control’s function of the monaural
channels. If you turn the rotary control all the way to the right, the signal is routed to the right output while the signal
of the left channel is muted. When the control is set to its center position, the signal is present with equal intensity
at the corresponding L/R outputs. Whenever stereo sound sources are connected to a stereo channel, you should
leave the BAL control at the center position or make only minor adjustments in either direction. In case a microphone
or another monaural sound source is connected, the BAL controls function absolutely identical to the PAN controls
of the monaural input section.
22. PFL
Engaging the PFL button routes the audio signal of the corresponding input channel to the headphone bus where
the stereo signal is outputted to the headphone output. You can route as many channels as you want to the bus
at the same time. The volume levels of the individual signals are not affected by the setting of the corresponding
channel faders – PRE FADER LISTENING. This gives you the opportunity to set the level and the EQ of a channel
without the need to include it in the main mix.
23. SIGNAL/PEAK
For the stereo SIGNAL/PEAK indicator function, the left and the right channels are monitored separately. The
respective highest level reading is indicated, assuring that neither one is already driven into clipping. For further
descriptions on how to use this indicator most efficiently, please refer to paragraph 12 of the previous chapter.
24. VOLUME
The channel fader is used to simultaneously adjust both channels of the stereo signal. Functioning and specifica-
tions are totally similar to the monaural channel fader, as previously described.
INPUT/STEREO
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