FilterEach mono input channel is equipped with a 100Hz high-pass filter, an invaluable tool for cleaning up the mix. The majority of live sound sources have very little content below 100Hz, and modern microphones have wide frequency response and can pick up bleed from nearby low frequency sources such as bass and kick drums. The filter can be used: on vocal channels to reduce mic handling noise and close proximity ‘popping’; on drum overhead mics to reduce kick and bass pick up; on higher frequency instruments such as flute and acoustic guitar; and on stage mics to reduce foot noise. Recording OutputsThere is a digital SPDIF 2-track output available from a RCA phono socket for recording direct to digital media, such as PC soundcards, DAT and digital audio processors. The recording send can be switched pre-fade if desired. An analogue recording output is also available. 4 Band Channel EQThe 4 band input EQ is every bit a pro tool. The low [60Hz] and high [12kHz] bands have shelving response, while the high-midrange band is sweepable from 350Hz to 6 kHz. Low-midrange EQ has a bell response at 250Hz – a frequency chosen to provide reduction of ‘muddy’ sounds and enhance ‘warmth’. Lamp SocketA 4 pin lamp connector is provided on the rear of the control surface.Specifically targeted at the needs of live sound reinforcement, these stereo consoles have from eight to twenty-four mono microphone/line inputs, with not only stereo main outputs, but also a mono output which may used full-range or as a sub-bass output. All have two dual-stereo input channels, digital S/PDIF outputs to recording devices and integrated digital effects processors. Two models are offered with stereo 500W power amplifiers built-in. Comprehensive signal routing and monitoring arrangements help integrate the mixers into a wide range of live-sound environments. The mixers are built into wedge-shaped chassis, intended for use on a flat surface. The side trims may be removed in the case of the versions; the mixer can then be rack-mounted. At the front of the chassis, the arm-rest forms a convenient carrying handle. Above this is a ‘scribble-strip’ for marking-up the uses of the various inputs and outputs. The models differ in the number of mono inputs and whether or not they have power amplifiers. The functionality of the input channels and the the output facilities is the same for all models except those with power amps. See below. Mono Channels - Microphone/Line These have a balanced XLR input for microphones, with switched 48V phantom power. The line input is balanced, with a 6.35mm jack socket which defeats the microphone input when a plug is inserted. A high-pass (100Hz) filter switch is followed by a mono insert jack and four-band equaliser, with swept high-mid frequency. This is followed by a mute switch, with LED, a ‘Peak’ indicator, the PFL button, and the 100mm fader with pan control. Foldback send controls are fed pre-fader; the two auxiliary sends are post-fader. Stereo Channels - Dual Input The upper stereo input is unbalanced, and uses a pair of RCA(phono) connectors. The second is unbalanced, connected with 6.35mm jack sockets. Each have a gain control and are then summed together. Alte