3 . application, Db / dbu bal or unbal, Mono bal or unbal – Jammin Pro StudioMix 10 User Manual
Page 9: 2 . 2 stereo channels, Tape, 3 . 1 recording, Tudio headphone md recorder, Fig . 3 . 1 : the studiomix in a recording studio
The PAN control determines the position of channel signal within the stereo image. This control features a
constant-power characteristic, which means the signal is always maintained at a constant level, irrespective
of position in the stereo panorama.
PAN
The LEVEL control determines the level of the channel signal in the main mix
LEVEL
The CLIP LED”s of the mono channels illuminate when the input signal is driven too high, which could
cause distortion. If this happens, use the TRIM control to reduce the preamp level until the LED does not
light anymore.
CLIP
2.2 Stereo channels
6
As the name suggests, the FX sends of the ME mixing consoles are intended to drive effects devices (reverb,
delay, etc.) and are therefore configured post-fader. This means that the mix between dry signal and effect
remains at the level determined by the channel’s aux send, irrespective of the level fader setting. If this were
not the case, the effects signal of the channel would remain audible even when the fader is lowered to zero.
With ME mixing consoles the channel fader is called LEVEL control.
In the StudioMIX 10/StudioMix 12, the FX send is routed directly to the built-in effects processor. To
make sure that the effects processor receives an input signal, you should not turn this control all the way to
the left (-∞ ).
Attention: Since the FX path for the effect processor is connected post-fader, the LEVEL
control has to be turned up in order to get this channels signal to the effects processor!
LINE IN 3/4
L
R
MONO
BAL
OR
UNBAL
LINE IN 5/6
MONO
BAL
OR
UNBAL
LINE IN 7/8
LINE IN 9/10
0
-
+15
8
L
R
BAL
CLIP
0
-
+15
8
3/4
LEVEL
0
-
+15
8
L
R
BAL
CLIP
0
-
+15
8
5/6
LEVEL
0
-
+15
8
L
R
BAL
CLIP
0
-
+15
8
7/8
LEVEL
0
-
+15
8
L
R
BAL
CLIP
0
-
+15
8
9/10
LEVEL
+4
-10
+4
-10
+4
-10
+4
-10
MONO
BAL
OR
UNBAL
L
R
L
R
MONO
BAL
OR
UNBAL
L
R
FX
FX
FX
FX
Fig. 2.2: Connectors and controls on the stereo channels
13
3.
APPLICATION
1
2
+10 -40
+10
+60
TRIM
dB/dBu
BAL
OR
UNBAL
LINE
IN
MIC
+10 -40
+10
+60
TRIM
dB/dBu
BAL
OR
UNBAL
LINE
IN
MIC
MAIN OUT
L
R
L
R
CTRL ROOM OUT
LINE IN 3/4
L
R
MONO
BAL
OR
UNBAL
LINE IN 5/6
MONO
BAL
OR
UNBAL
LINE IN 7/8
LINE IN 9/10
SEND FX
PHONES
0
-
+15
8
L
R
0
-15
+15
0
-15
+15
0
-15
+15
EQ
PAN
HIGH
12 KHz
MID
2.5 KHz
LOW
80 Hz
FX
CLIP
0
-
+15
8
1
LEVEL
0
-
+15
8
L
R
0
-15
+15
0
-15
+15
0
-15
+15
EQ
PAN
HIGH
12 KHz
MID
2.5 KHz
LOW
80 Hz
FX
CLIP
0
-
+15
8
2
LEVEL
0
-
+15
8
L
R
BAL
CLIP
0
-
+15
8
3/4
LEVEL
0
-
+15
8
L
R
BAL
CLIP
0
-
+15
8
5/6
LEVEL
0
-
+15
8
L
R
BAL
CLIP
0
-
+15
8
7/8
LEVEL
0
-
+15
8
L
R
BAL
CLIP
0
-
+15
8
9/10
LEVEL
+4
-10
+4
-10
+4
-10
+4
-10
L
R
CD/TAPE
IN
OUT
TAPE
TO MIX
TAPE
TO CTRL
FX
TO CTRL
+48 V
POWER
0
-
+15
8
PHONES
0
-
+15
8
FX SENDS
L
R
20
0
6
CLIP
MAIN MIX
10
0
10
15
20
25
30
40
60
8
MONO
BAL
OR
UNBAL
L
R
L
R
PHANTOM
MONO
BAL
OR
UNBAL
L
R
FX
FX
FX
FX
PROGRAM
(PUSH)
LOW CUT
75Hz
18 dB/Oct
LOW CUT
75Hz
18 dB/Oct
ME1002
FX
HIGH QUALITY 14 INPUT 2/2 BUS MIXER 24-BIT DSP FX PROCESSOR
REVERB 00-39
ER/DLY 40-59
MOD 60-73
PITCH 74-79
MULTI 80-99
1
2
3
1
2
3
-3
-6
-10
-15
-20
CLP
24-BIT DUAL ENGINE DSP
24-BIT A/D & D/A CONVERTER
88
TAPE
+6. .
66
MIDI sound module
CD player
Active monitor
Digital Audio workstation
microphone
Guitar
keyboard
Fig. 3.1: the StudioMix in a recording studio
3.1 Recording
s
tudio
Headphone
MD recorder