Samson PL2404 User Manual
Introduction 1
PL 2404 Features 1
Guided Tour 3
Overview 3
Channels 4
Main Section 6
Rear Panel 8
Connecting The PL 2404 - General Suggestions 10
Setting Up and Using the PL 2404 12
Setting the Correct Gain Structure 13
Grounding Techniques 15
Busing, Submixing, and Channel Muting 17
Using the Balance Control 18
Using Equalization 19
Using Aux Sends and Returns 20
Using Channel Inserts 21
Using PFL/AFL 22
Applications Notes 23
Using The PL 2404 As A Recording Mixer 23
Using The PL 2404 As A Main Live Mixer 24
Using The PL 2404 As A Keyboard Submixer 25
Linking The PL 2404 With Other Mixers 26
Appendix A: Block Diagram 27
Specifications 28
Introduction
Congratulations on purchasing the Samson PL 2404 four-bus line mixer! The
PL 2404 is optimized for use as a keyboard submixer in both live performance
and recording applications, and it can be used wherever there are a number of
stereo or mono line-level sources that need to mixed down to two or four
outputs. Although the PL 2404 is designed for easy operation, we suggest you
first take some time to go through these pages so you can fully understand how
we’ve implemented a number of unique features.
In this manual, we’ll provide you with an overview of PL 2404 features, followed
by a guided tour of its front and rear panels. Then we’ll describe how the
PL 2404 should be connected to your existing equipment (including wiring
diagrams) and talk about the important topics of gain structure and grounding
techniques. Next, we’ll cover a number of specific PL 2404 features (such as
busing, submixing, channel muting, as well as using balance, equalization,
auxiliary sends and returns, channel inserts, and PFL/AFL) in detail. Finally,
we’ll wrap things up with a series of applications notes describing a number of
ways to use the PL 2404 for both recording and live performance, plus reference
Appendices and full specifications. You’ll also find a warranty card enclosed—
please don’t forget to fill it out and mail it so that you can receive online technical
support and so we can send you updated information about other Samson
products in the future.
SPECIAL NOTE: Should your unit ever require servicing, a Return Authorization
number (RA) is necessary. Without this number, the unit will not be accepted.
Please call Samson at 1-800-372-6766 for a Return Authorization number prior
to shipping your unit. Please retain the original packing materials and, if
possible, return the unit in its original carton and packing materials.
PL 2404 Features
“PL” stands for “Program/Line” and the name describes the broad range of
signals which can be handled by this powerful four-bus mixer. In fact, the
compact design of the PL 2404 belies an extraordinary versatility. Add excellent
sound quality to the equation, and you’ve got a product which is equally useful in
live performance and for recording (you’ll find descriptions of each application at
the conclusion of this manual). Here are some of the PL 2404’s main features:
• Twenty-four input channels, which can be used as twelve stereo channels.
All channels provide electronically balanced line-level inputs, and are ideal
for line-level sources such as keyboards and MIDI tone modules; drum
machines; outboard signal processors; CD players; and tape or cassette
recorders. In addition, channels 1 and 3 provide electronically balanced XLR
mic inputs so that you can connect one or two microphones to the PL 2404.
• Four bus outputs (a “bus” is simply a pathway through which a signal can be
routed) and an electronically balanced main stereo output, with dedicated
front panel control. Any channel input can be routed to either of the two bus
pairs (1/2 or 3/4), and any of the buses can be routed to the Left/Right mix
output with the touch of a button. This flexible design allows you to easily
mute selected channels and/or to create submixes within your main mix.
1
PL 2404 Features
• An independent electronically balanced Control Room output (with dedicated
level control) for connection to a power amplifier and studio monitors.
• Four Bus faders enable easy control of bus output levels.
• Input trims for the mic inputs of channels 1 and 3 are continuously adjustable
from +4 to -50 dB, making it possible to use the PL 2404 with a wide variety
of microphone types.
• Four auxiliary sends and four stereo auxiliary returns (which can be routed to
any of the four buses). All aux sends are post-fader and post-equalizer.
• Independent 3-band equalization for each channel, with 15 dB of cut or boost
for low (80 Hz), mid (1 kHz) and high (10 kHz) frequencies.
• Balance controls for each channel that allow you to blend the relative levels
of stereo inputs.
• Center detents for all Balance and EQ controls, making it easy to use the
PL 2404 even in low-light situations such as live performance.
• Selectable Pre Fade Listen (PFL) or After Fade Listen (AFL) soloing for each
channel. PFL allows headphone monitoring of individual channels, pre-fader
(but post-EQ), while AFL enables headphone monitoring of individual
channels, post-fader and post-EQ, with the channel in its proper stereo
position. Both types of solo function are non-mix-destructive in that they do
not affect the signal being output either by the Main, Bus, or Control Room
outputs.
• A flexible front panel metering system includes a ten-segment level meter
and allows you to view at a glance the levels of the main Left/Right output,
as well as power and PFL or AFL status.
• An independent front-panel headphone output with dedicated volume
control and Main/Solo switch for selective monitoring of either the Main
output or of channels that are soloed.
• Channel inserts are provided for channels 1 - 4, enabling you to use
outboard signal processors such as equalizers, compressor/ limiters, or
noise gates in a standard “effect loop.”
• Bus inserts allow external signals to be submixed into any or all of the four
buses and also enables linking of multiple mixers.
• The PL 2404 can be mounted in any standard 19" rack (taking four rack
spaces), making it easy to integrate into any existing system.
• Last but certainly not least, affordability. The PL 2404 has been designed
from the ground up to provide versatility and excellent sound quality at a
cost-conscious price.
2
Guided Tour - Overview
The following illustration shows an overview of the front panel of the PL 2404:
3
HIGH
MID
LOW
AUX
AUX
AUX
SOLO
ON OFF
MUTE
3/4
CH 1/2
CH 3/4 CH 5/6 CH 7/8 CH 9/10 CH 11/12 CH 13/14 CH 15/16 CH 17/18
0
HIGH
+15
-15
-15
MID
0
+15
-15
-15
0
LOW
+15
-15
-15
AUX
1L-2R
0
∞
∞
+10
AUX
3L
0
∞
∞
+10
AUX
4R
0
∞
∞
+10
SOLO
ON OFF
MUTE
3/4
L
R
L
BALANCE
BALANCE
0
∞
+10
∞
LEVEL
LEVEL
0
0
HIGH
HIGH
HIGH
0
+15
-15
+15
MID
MID
0
0
+15
-15
+15
0
LOW
0
+15
1L-2R
0
+10
3L
0
+10
4R
0
+10
R
0
+10
LOW
+15
-15
AUX
1L-2R
AUX
0
∞
+10
AUX
3L
AUX
0
∞
+10
AUX
4R
AUX
0
∞
+10
SOLO
ON OFF
ON OFF
MUTE
3/4
R
L
BALANCE
00
∞
+10
LEVEL
SOLO
MUTE
3/4
∞
-15
-15
-15
∞
∞
∞
L
BALANCE
LEVEL
-15
+15
MID
0
-15
+15
LOW
0
-15
+15
1L-2R
AUX
0
∞
+10
3L
AUX
0
∞
+10
4R
AUX
0
∞
+10
SOLO
ON OFF
MUTE
3/4
R
L
BALANCE
∞
+10
LEVEL
0
0
HIGH
HIGH
+15
+15
-15
MID
0
+15
0
LOW
+15
1L-2R
AUX
0
+10
3L
AUX
0
+10
4R
AUX
0
+10
SOLO
ON OFF
MUTE
3/4
R
0
∞
+10
-15
MID
0
+15
-15
-15
0
LOW
+15
-15
-15
1L-2R
AUX
0
∞
+10
∞
3L
AUX
0
∞
+10
∞
4R
AUX
0
∞
+10
∞
SOLO
ON OFF
MUTE
3/4
R
L
L
BALANCE
BALANCE
00
∞
+10
LEVEL
LEVEL
CHANNELS MAIN SECTION
CH 23/24
HIGH
-15
MID
-15
LOW
-15
∞
∞
∞
SOLO
MUTE
3/4
L
BALANCE
∞
0
0
0
+15
+15
+15
1L-2R
0
+10
0
+10
0
+10
R
0
+10
AUX RETURNS
1/2 3/4
1/2
3L
4R
1/2
1/2
∞
AUX RET.1
∞
AUX RET.2
∞
AUX RET.3
∞
AUX RET.4
0
PHONES
0
+10
0
+10
3/4
0
+10
3/4
0
+10
dB
+10
3/4
0
+10
SAMSON
PL 2404 STEREO MIXER
-18 -12 -9 -6 -3 0 +3 +6 +9+12
LEFT
RIGHT
-18 -12 -9 -6 -3 0 +3 +6 +9+12
PFL AFL
PFL
AFL
0
∞
+10
MAIN LEVEL
R
L
0
∞
BUS 2BUS 1 BUS 3
POWER
SOLO
MAIN
∞
CONTROL ROOM
L
0
+10
R
+10
dB
0
∞
BUS 4
CH 21/22
CH 19/20
0
HIGH
+15
-15
MID
0
+15
-15
LOW
0
+15
-15
1L-2R
AUX
0
∞
+10
3L
AUX
0
∞
+10
4R
AUX
0
∞
+10
SOLO
ON OFF
MUTE
3/4
R
L
BALANCE
∞
+10
LEVEL
0
0
HIGH
HIGH
+15
+15
MID
0
+15
LOW
0
+15
1L-2R
AUX
0
+10
3L
AUX
0
+10
4R
AUX
0
+10
SOLO
ON OFF
MUTE
3/4
R
0
∞
+10
-15
-15
MID
0
+15
-15
-15
LOW
0
+15
-15
-15
1L-2R
AUX
0
∞
∞
+10
3L
AUX
0
∞
∞
+10
4R
AUX
0
∞
∞
+10
SOLO
ON OFF
MUTE
3/4
R
L
L
BALANCE
BALANCE
0
∞
+10
LEVEL LEVEL LEVEL LEVEL
0
0
HIGH
+15
+15
-15
MID
0
0
+15
+15
-15
LOW
0
0
+15
+15
-15
1L-2R
AUX
1L-2R
AUX
0
0
∞
+10
+10
3L
0
+10
4R
0
+10
R
0
+10
AUX
AUX
SOLO
ON OFF
MUTE
3/4
∞
∞
∞
L
BALANCE
AUX
3L
0
+10
AUX
4R
0
+10
ON OFF
R
0
+10
Guided Tour - Channels
1: Equalizer (violet) - These knobs determine the amount of boost or attenuation in each
of three frequency areas (up to 15 dB for each area). The mid frequency control (centered
at 1 kHz) utilizes a resonant (“bell”) peaking curve, while the high and low frequency
controls (centered at 10 kHz and 80 Hz, respectively) utilize shelving curves. The EQ
setting affects both the odd- and even-numbered channel inputs, although the signals
remain separate. A center detent in each knob (at the “0” position) indicates no boost or
attenuation (that is, flat response). As each knob is turned clockwise from the “0” position,
the frequency area is boosted; as it is turned counterclockwise from the “0” position, the
frequency area is attenuated. For more information on the application of EQ, see the
“Using Equalization” section on page 19.
2: Auxiliary sends (blue) - These knobs (labeled “Aux 1L-2R,” “Aux 3L,” and “Aux 4R”)
allow you to route signal to any of the PL 2404’s four Auxiliary outputs. These are typically
used to route signal to outboard effects devices. When a pair of channel inputs (that is,
both odd-numbered and even-numbered) are connected, the odd-numbered (left) input
signal can only be routed to Aux 1L and Aux 3L, while the even-numbered (right) input can
only be routed to Aux 2R and Aux 4R. In this case, the Aux 1L-2R send acts as a stereo
auxiliary send, with the left side of the input signal routed to Aux 1L and the right side routed (at equal level) to Aux 2R. When only the even-numbered (right) input is connected, the
signal can only be routed to Aux 2R or Aux 4R. When only the odd-numbered (left) input is
connected, the signal can be routed to any of the four Aux sends. When an Aux send knob
is at the “0” (2 o’clock) position, the signal is routed with unity gain (that is, no boost or
attenuation). As each Aux send knob is turned clockwise towards the “+10” position, the
signal is boosted (by a maximum of 10 dB); as it is turned counterclockwise towards the
“∞” position, it is attenuated (at the very bottom, it is attenuated infinitely—in other words,
no signal is routed). All four Aux sends are post-fade; that is, the level of the signal is
determined by the position of the channel’s Level control, its EQ settings, the position of
the main Level control, and (in the case of channels 1 and 3) Trim control. For more
information, see the “Using Auxiliary Sends and Returns” section on page 20.
3: Solo On/Off switch - When pressed in, the channel is soloed (in headphones only, and
only when the Solo/Main switch in the PL 2404 main section is in the Solo position).
Soloing will be in either PFL (Pre Fade Listen) or AFL (After Fade Listen) mode, depending
upon the setting of the PFL/AFL switch in the PL 2404 main section. See #7 and #8 on
page 7 and the “Using PFL/AFL” section on page 22 for more information.
4: Mute 3/4 switch - When up, the channel’s signal is routed to the Bus 1/2 faders and
then on to the Bus 1/2 and, optionally, Main and Control Room output jacks (if, as
described in #10 on page 7, the Bus “L/R” switches for those buses is pressed in). When
pressed in, the channel’s signal is instead routed to the Bus 3/4 faders and then on to the
Bus 3/4 and, optionally, Main and Control Room output jacks (if, as described in #10 on
page 7, the Bus “L/R” switches for those buses is pressed in). If you set the Bus 3/4 faders
all the way down (to their “∞” position), this switch can be used for channel muting. See
the “Busing, Submixing and Channel Muting” section on page 17 for more information.
5: Balance (brown) - When a pair of channel inputs (that is, both odd-numbered and
even-numbered) are connected, the odd-numbered (left) input signal is automatically
panned hard left and the even-numbered (right) input signal is automatically panned hard
right. In this case, the “Balance” knob controls the relative levels of the paired input
signals. When the knob is placed at its center detented position, both signals are at equal
strength. When moved left of center, the odd-numbered (left) input signal remains at the
same strength but the even-numbered (right) input signal is attenuated; when the knob is
moved right of center, the even-numbered (left) input signal remains at the same strength
but the odd-numbered (right) input signal is attenuated. When placed fully counterclockwise, only the odd-numbered (left) input signal is heard (panned hard left); when placed
4
HIGH
MID
LOW
CH 1/2
0
+15
-15
0
+15
-15
0
1
-15
AUX
∞
AUX
∞
AUX
∞
SOLO
ON OFF
MUTE
3/4
L
∞
BALANCE
LEVEL
+15
+10
+10
+10
0
0
0
1L-2R
R
0
+10
3L
2
4R
3
4
5
6
Guided Tour - Channels
fully clockwise, only the even-numbered (right) input signal is heard (panned
hard right). When only the odd-numbered (left) input is connected, the Balance
knob functions as a constant level Pan control, allowing you to continuously
place the incoming signal anywhere in the left-right stereo field. For more
information, see the “Using the Balance Control” section on page 18 in this
manual.
6: Level (white) - This knob (purposely made a little bigger than the others so
you can find it easily in low-light situations) simultaneously controls the volume
of both the odd- and even-numbered channel inputs (the relative volumes of the
two can be adjusted with the Balance knob, as described in #5 above). In
practice, you will use the Level controls to continuously adjust the loudnesses of
the various signals being blended together by the PL 2404. The “0” (2 o’clock)
position of the knob indicates unity gain (no level attenuation or boost). Moving
the knob counterclockwise from the “0” position (towards “∞”) causes the signal
to be attenuated (at the very bottom, it is attenuated infinitely—in other words,
there is no sound). Moving it clockwise from the “0” position (towards “+10”)
causes the signal to be boosted by as much as 10 dB.
For best signal-to-noise ratio, all Level controls for channels carrying signal
should generally be kept at or near the “0” position. Channels that are unused
should have their Level controls kept fully counterclockwise at their “∞”
(minimum) level. See the “Setting the Correct Gain Structure” section on page
13 in this manual for more information.
5
6
Guided Tour - Main Section
1: Auxiliary Return Level (orange) - These knobs determine the input level of
signal arriving via the PL 2404’s four stereo Auxiliary returns. The “0” (2 o’clock)
position of each knob indicates unity gain (no level attenuation or boost). Moving
each knob counterclockwise from the “0” position (towards “∞”) causes the signal
to be attenuated (at the fully counterclockwise position, it is attenuated infinitely—in other words, there is no sound). Moving each knob clockwise from the “0”
position (towards “+10”) causes the signal to be boosted by as much as 10 dB.
For information on how to properly set these, see the sections in this manual
entitled “Setting the Correct Gain Structure” and “Using the Aux Sends and
Returns” (pages 13 and 20).
2: Auxiliary Return Bus switch - These switches determine which of the two
pairs of stereo buses (1/2 or 3/4) the Aux return signal is routed to. When up,
the Return’s signal is routed to the Bus 1/2 faders and then on to the Bus 1/2
jacks as well as (if the Bus “L/R” switch is pressed in—see #10 on page 7) the
Main and Control Room output jacks. When pressed in, the channel’s signal is
instead routed to the Bus 3/4 faders and then on to the Bus 3/4 jacks as well as
(if the Bus “L/R” switch is pressed in) the Main and Control Room output jacks.
If you set the Bus 3/4 faders all the way down (to their “∞” position), this switch
can be used for selective muting of Aux returns. See the “Busing, Submixing
and Channel Muting” and “Using the Aux Sends and Returns” sections on page
17 and page 20 in this manual.
3: Headphone Level - This knob sets the level of the signal sent to the
headphone jack (see #4 below). WARNING: To avoid possible damage to connected headphones (or, worse yet, to your ears!), always turn this all the way off
(to the fully counterclockwise “0” position) before plugging in a pair of headphones—then raise the level slowly while listening. The Headphone Level has
no effect on the final Main output level or on the Control Room output level.
4: Headphone jack - Connect any standard stereo headphones to this jack
(via a 1/4" TRS plug) for private monitoring of the Main output (including all
connected Aux returns). The built-in PL 2404 headphone preamp delivers
120 mw at 33 ohms.
1
2
AUX RETURNS
∞
AUX RET.1
1/2 3/4
∞
AUX RET.2
1/2
∞
AUX RET.3
1/2
∞
AUX RET.4
1/2
3
0
4
PHONES
0
+10
0
+10
3/4
0
+10
3/4
0
+10
dB
+10
0
3/4
0
+10
∞
SAMSON
PL 2404 STEREO MIXER
-18 -12 -9 -6 -3 0 +3 +6 +9 +12
LEFT
RIGHT
-18 -12 -9 -6 -3 0 +3 +6 +9 +12
∞
PFL AFL
MAIN LEVEL
L
PFL
AFL
SOLO
MAIN
0
+10
R
BUS 2BUS 1 BUS 3
POWER
∞
CONTROL ROOM
L
5
6
8
11
12
7
9
10
0
+10
R
+10
dB
0
∞
BUS 4
7
Guided Tour - Main Section
5: Meter - This ten-segment bar meter shows the continuous output level of the
Main left/right output. For optimum signal-to-noise ratio, try to adjust all levels so
that program material is usually at or around 0 VU, with occasional but not
steady excursions to the red “+” segments. See the “Setting the Correct Gain
Structure” section on page 13 in this manual for more information.
6: Meter LEDs - These show the status of various conditions within the
PL 2404. The leftmost LED (labeled “PFL”) lights steadily green when the
PL 2404 is in PFL mode (see #7 below). The center LED (labeled “AFL”) lights
steadily red when the PL 2404 is in AFL mode (see #7 below). The rightmost
LED (labeled “Power”) lights steadily red whenever the PL 2404 is powered on.
7: PFL/AFL switch - This determines whether the PL 2404 is in PFL mode
(switch up) or AFL mode (switch pressed in). For more information, see the
“Using PFL/AFL” section on page 22 in this manual.
8: Solo/Main switch - This switch affects headphone monitoring only. When
the switch is up (Solo mode), the headphones receive signal from only those
channels whose Solo switches are currently pressed in; when the switch is
pressed in (Main mode), the headphones always receive the Main output
regardless of the settings of any channel Solo switches. For more information,
see #3 on page 4 and the “Using PFL/AFL” section on page 22.
9: Main Level - This knob determines the final signal level of the rear panel
Main output—you can think of this as being the “master fader.” The 2 o’clock “0”
position of the knob indicates unity gain (no level attenuation or boost). Moving
the knob counterclockwise from the “0” position (towards “∞”) causes the signal
to be attenuated (at the very bottom, it is attenuated infinitely—in other words,
there is no sound). Moving it clockwise from the “0” position (towards “+10”)
causes the signal to be boosted by up to 10 dB. For more information, see the
“Setting The Correct Gain Structure” section on page 13 in this manual.
10: Control Room Level - This knob determines the signal level of the rear
panel Control Room output, allowing independent monitoring of the Main output
signal. The 2 o’clock “0” position of the knob indicates unity gain (no level
attenuation or boost). Moving the knob counterclockwise from the “0” position
(towards “∞”) causes the signal to be attenuated (at the very bottom, it is attenuated infinitely—in other words, there is no sound). Moving it clockwise from the
“0” position (towards “+10”) causes the signal to be boosted by up to 10 dB.
11: Bus L/R switches - These switches allow you to route the output from any
of the four buses to the Main left/right output jacks and Control Room left/right
output jacks on the rear panel (see #5 and #6 on page 8). When up, the signal
from that bus is not routed to the main outputs and terminates at its Bus out jack
(see #4 on page 8). When pressed in, the signal from that bus is routed to the
main outputs as well as its Bus out jack.
12: Bus Faders (white with blue line) - These linear sliders determine the
relative level of the four bus outputs. The “0” position of each fader indicates
unity gain (no level boost or attenuation). Moving the fader below this position
(towards the “∞” position) causes the signal to be attenuated (at the very bottom,
it is attenuated infinitely—in other words, there is no sound). Moving it above
this position (towards the “+10 dB” position) causes the signal to be boosted by
up to 10 dB. For best signal-to-noise ratio, all Bus faders should generally be
kept at or near the 0 level. For more information, see the “Setting The Correct
Gain Structure” section on page 13 in this manual .
Guided Tour - Rear Panel
1: Power on-off switch - As you may have guessed, this is what you use to turn the
PL 2404 on and off. To avoid potential damage to your speakers, turn the PL 2404 on
before you turn on any connected power amps—and turn it off after the power amps are
turned off.
2. Fuse - Contains a 1 amp, 250 volt fuse.
3. AC input - Connect the supplied standard 3-pin “EEC” plug here.
4: Bus out (1 - 4) - These unbalanced outputs allow you to route signal from each of the
four discrete buses to external devices such as a multitrack digital or analog tape
recorder. The signal is post-bus fader but pre-Main control. See the “Busing,
Submixing, and Channel Muting” section in this manual for more information.
5: Main Out (L, R) - These are the PL 2404’s main outputs. In live performance
applications, you’ll usually use these to connect the PL 2404 to a power amp and
speakers; in recording applications, these will normally be connected to the inputs of a
two-track recorder. The Main out jacks are electronically balanced, so you should use
balanced three-conductor cabling and 1/4" TRS plugs wherever possible (unbalanced
two-conductor plugs can also be inserted into these outputs, but you’ll get better signal
quality and less outside noise and hum if you use balanced lines). See the “Connecting
the PL 2404” section on page 10 for more information.
6: Control Room Out (L, R) - In recording applications, these will normally be
connected to a power amplifier and loudspeakers. The Control Room out jacks are
electronically balanced, so you should use balanced three-conductor cabling and 1/4"
TRS plugs wherever possible (unbalanced two-conductor plugs can also be inserted into
these outputs, but you’ll get better signal quality and less outside noise and hum if you
use balanced lines). See the “Connecting the PL 2404” section on page 10 in this
manual for more information.
8
4
PL 2404 24 CHANNEL PROGRAM STEREO / LINE MIXER
TRS
POWER
1
ON
OFF
BUS OUTPUTS
UNBALANCED
<75Ω+4dBu
STEREO INPUT
TIP = LEFT
RING = RIGHT
SLEEVE = COM
12
BALANCED
TIP = HI
RING = LO
SLEEVE = COM
21
23
TRS INSERT
TRS
UNBALANCED
TIP = RETURN
RING = SEND
SLEEVE = COM
17
19
XLR
BALANCED
3 = LO
2 = HI
1 = COM
11
13
15
2
MIC 3
7
SAMSON
0
-10
1
3
−50
+4
5
7
9
2
MIC 1
0
-10
1
3
−50
+4
1
3
LEFT / MONO
8
9
AVIS:
RISQUE DE CHOC ELECTRIQUE
FUSE
1A/250V
2
3
NE PAS OUVRIR
DO NOT EXPOSE THIS EQUIPMENT
TO RAIN OR MOISTURE
POWER
RATING
RISK OF ELECTRIC SHOCK
~AC INPUT
115V, 60Hz
25W
S/N
115V - 60 Hz 25W
CAUTION
DO NOT OPEN
3
4
L
!
BALANCED <75Ω+4dBu
BALANCED <75Ω+4dBu
5
R
MAIN
RL
CONTROL ROOM
6
24
UNBALANCED <75Ω +4dBu
BUS INSERTS
MIXER LINKING
11
LINE INPUTS - BALANCED 10KΩ+4dBu
AUX RETURNS
STEREO INPUTS
UNBALANCED 10KΩ+4dBu
12
AUX SENDS
UNBALANCED <75Ω +4dBu
13
4
6
8
10
12
14
16
18
20
22
RIGHT
2
1234
INSERT
123412341234
10
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