M-2000 Module:

Mono Input Module


The front panel may be conveniently divided into three sections: the mono-input modules, the stereo modules, and the master section (which includes the AUX master controls, the group blocks, the matrix, the Stereo master block and a number of other functions). Accordingly, each will be described separately.

Mono-input modules
Working from top to bottom (roughly in signal order, except for the channel assign section), the features of these modules are:

1. Channel assign switches (1-2, 3-4, 5-6, 7-8, ST, MONO)
These switches assign the final (post-fader and post-pan) signal from the input channel to the required pair of groups, or ST or MONO output. From the six alternatives, you can select any combination, or none at all. To send an input channel to a single group, these switches must be used in combination with the PAN control 2.


2. PAN control
Pans between pairs of groups, and/or the stereo buss. The pairs of groups (or ST) assigned with 1 are treated as stereo pairs, and the position of the PAN control determines the proportion of signal sent to the left (odd numbered) or right (even numbered) group of the pair. The "" setting (center) sends the signal of this channel equally to both odd- and even-numbered groups or to the L and R busses of the stereo mix.
The position of this knob has no effect on any output sent to the MONO buss.


3. Phase (polarity) reverse switch
This switch reverses the phase of the XLR-type connectors. In the normal position (switch up), pin 2 is positive (hot), and pin 3 is negative (cold), and input and output signals are the same. Reverse phase by depressing this button, making pin 2 negative (cold) and pin 3 positive (hot). This switch also affects the phone jack input (input B). With the switch in its normal position, the jack tip is positive (hot), and the ring is negative (cold). With the switch depressed, the tip is negative (cold), and the ring is positive (hot).
Out-of-phase signals are often caused by differing wiring configurations in microphone or mixing console cables, especially due to differing national standards.


4. +48V phantom power switch
This switches the +48V phantom powering for condenser microphones (input A, balanced XLR-type connector) on or off for this input channel (when the switch is in the upper position, phantom powering is on).
IMPORTANT: Phantom powering should be on only for balanced condenser microphones requiring an external power source. Unbalanced sources (line and microphone), self-powered condenser microphones and transformers with earthed center taps are liable to damage if phantom powering is applied.


5. A/B input selector switch
A/B input selector switch When this switch is up, signals will enter the channel from the A input (balanced XLR-type connector). When it is down, signals will enter from the B input (balanced phone jack connector)


6. GAIN control
This rotary control matches the level of the input source to the optimum level expected by the mixer circuitry. Set the gain control to the level of the input source, from -16dB (high gain source, so little extra gain necessary) to -60dB (low gain source, so much extra gain necessary). This should be used in conjunction with the 26dB pad switch 7.


7. 26dB pad switch
This switch (ON when down) attenuates the input signal by 26dB (in addition to any attenuation/ gain provided by the GAIN control 6).


8. PEAK and SIGNAL LED indicators
These two LED indicators allow a useful check of the signal to the input channel. The SIGNAL indicator illuminates when a signal of 10 dB below the nominal level is received, and the PEAK indicator illuminates when the signal reaches 3 dB below the clipping point of the input channel circuit. If the PEAK indicator lights more than briefly on high-level transients, the GAIN control and/or the 26dB pad should be used to attenuate the input signal.
Both of these indicators operate post- EQ and pre-fader.


9. High-pass filter switch
When ON (down), this switch provides a 12 dB/octave roll-off starting at 80 Hz. This may be used to eliminate wind noise, microphone "popping", or AC hum. This filter is not part of the EQ section - any facilities described as "pre-EQ" will still be post-high-pass filter.


10. EQ (HIGH, HI-MID, LO-MID and LOW controls)
These low-noise, low-distortion equalizers offer four bands of EQ, with 15 dB of gain, in the following ranges:

HIGH: 12 kHz shelving type.
HI-MID: 400 Hz - 8 kHz peaking type.
LO-MID: 80 Hz - 1.6 kHz peaking type.
LOW: 80 Hz shelving type.
Response is flat in the center "" position.


11. EQ switch
This switch turns the equalization on (routes the signal through the equalization) or off (the signal bypasses the equalization).


12. Channel AUX controls (1-4) and switches (1-2, 3-4)
These rotary controls control the level of the signal fed from the input channel to the AUX busses. Nominal send level of 0dB is at the "" mark on each control. The two switches allow the assignment of the AUX SENDs to be either pre- (switch depressed) or post-fader (switch up) in two groups (1-2, and 3-4). When AUX SENDs are post-fader, the level of the signal sent to the AUX busses is affected by the channel fader position. In the pre-fader position, the AUX SENDs will also be post- EQ (but this can be altered to pre- EQ by having internal jumpers changed).
Pre-fader AUX SENDs are especially useful for foldback mixes, and post-fader AUX SENDs for effects, but there is no hard and fast rule governing this.


13. Channel AUX control (5)
This AUX control is hard-wired as post-fader.


14. Channel AUX control (6) and DIRECT switch
Channel AUX control (6) and DIRECT switch AUX6, like AUX5, is set as post-fader, but moving an internal jumper will change it to pre-fader. In addition to the normal function of AUX send to the AUX6 buss, the signal is also sent to the DIRECT OUT jack on the rear panel. When the DIRECT switch is up, post AUX6 control signals will be sent to the AUX6 buss, and pre AUX6 control signals will be sent to DIRECT OUT. When the DIRECT switch is depressed, signals will not be sent to the AUX6 buss, and post AUX6 fader signals will be sent to DIRECT OUT.


15. ON/EDIT switch, and ON and CHECK indicators
The ON/EDIT switch is a momentary (non-latching) type that controls output from the channel. Pressing it turns the ON indicator on and off alternately. While the ON indicator is illuminated, signals from this channel are sent to the specified busses. When the indicator is off, signals from the channel are removed from the mix, so the control may be used for minimizing noise in quiet passages, for channels which are not needed at the time. Signals sent from the channel to the cue buss, however, are not affected by the ON/EDIT switch.
The CHECK indicator is for use with the scene memories (see "SCENE MEMORY block" on page8), and allows the user to see beforehand what the condition of the channel will be after a new scene is recalled. In critical performance situations, this feature is likely to avert many potential disasters.


16. Channel fader
The long-travel, smooth-action conductive plastic linear fader permits precise adjustment of the final level of the signal from this channel to the assigned buss(es).


17. CUE switch
CUE switch When depressed, this switch adds the signal of the channel to the INPUT CUE buss (which can be monitored over headphones). To listen to one channel only, make sure that all other CUE switches on the single-input and stereo-input channels are turned OFF.

Note: The CUE switches on the groups, AUX outs, and MONO and STEREO master controls go to the MASTER CUE busses, not the INPUT CUE buss.