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The signal splits just before the fader to feed the Monitor 1 and Monitor 2 controls which feed the Monitor 1 and Monitor 2 mix buses. Since the signal feeds the Monitor controls before it passes through the Input Channel fader, the Monitor controls are “prefader,” that is, they are not affected by the fader. The Effect control, on the other hand, comes after the fader and is therefore “post-fader" (it is affected by the position of the fader). The Monitor controls can be changed to “post-fader” by changing the location of a jumper on the printed circuit board (this modification must be performed by a qualified service technician). After the Program mix buses, the signal flows through a "summing amplifier.” This summing amplifier performs the duty of mixing together the signals from all the Input Channels while keeping them from affecting each other. The Direct In jack is also connected to the input of this summing amplifier stage. Next, the signal flows through the Line Out G-EQ In jacks (and through any device connected between these jacks) and into the Graphic Equalizer. After the Graphic Equalizer, the signal flows through the Program fader which could be called the “master” fader for the entire mixer. After the Program fader, the signal flows through another buffer amplifier and through the Pre Amp Out Power Amp In jacks (and through any external device connected to these jacks) to a “line amplifier” (a preamplifier for the Power Amplifier) and on to the Power Amplifier. Notice that the VU Meter is connected to the Pre Amp Out jack and reads the level at this point. The Clip LED, on the other hand, reads the level at the output of the Power Amplifier. On the line amplifier is a switch labeled "AGC.” This is the Automatic Gain Control circuit switch which can help you avoid clipping. After following the signal flow through the Mixer, you can see how valuable the block diagram can be. As you read the rest of this manual, we suggest that you study the various sections of the block diagram. Experienced mixer operators often keep a copy of the block diagram close at hand at all times to remind them of the way the various parts of the mixer operate and interact with each other. 14 Block Diagram, Model 3106 Block Diagram, Model 3206 INPUT (ONE OF SIX) EFF RETURN J4 r». -» -|H£>J RIGHT POWER ©AMP OUT 200 W. 40 © MON 1 OUT VU PEAK METER METER PGM L MON 2 DIRECT IN METER * ©MON 2 OUT vu pEAK METER _ ff PGM R-4-o ts=q /9) EFF DIRECT IN -<2)EFF OUT 15 Block Diagram, Models 3208, 3212, 3216 INPUT 16 Section II: How to Use Your 3000 Mixer, a Self-Teaching Guide The Artistry of Mixing The sound system operator usually has a title having something to do with “technical operations” or “sound crew" or some other title implying behind-the-scenes status. But the sound system operator also deserves to be recognized as an artist — as much an artist, in fact, as the musicians or performers on stage. At one time, a performance of any type had to be held in a room (or outdoor area) small enough that the performance could be properly heard by everyone in the (small) audience. That just isn't true anymore. Most performances now depend on some type of sound equipment either for sound reinforcement or for sound effects or both. In other words, the sound system has become an integral part of. the performance. In fact, many performances simply couldn’t be held without a sound system. Knowing this, the sound system operator faces the responsibility of carrying the audio portion of a performance to everyone in the audience. The orchestra balance, once solely the responsibility of the orchestra conductor, is now in the hands of the sound system operator. The tonal character of an instrument, once controlled solely by the musician, is now controlled by the musician and the sound system operator. The quality and intelligibility of a voice, once the exclusive responsibility of the vocalist, now depends a great deal on the vocalist’s microphone technique and the abilities of the sound system operator. In brief, the sound system operator now shares a significant portion of the artistic responsibility for a performance (and that can be a "performance” of any kind, from a live musical drama to a rock concert to a guest speaker at your place of worship). As you learn to use your Fender 3000 Series Mixer, you will find that it enhances your capabilities and helps you carry out those artistic responsibilities. For that reason, in this manual, we recognize your artistic responsibilities and we comment on the artistic as well as the technical nature of the various connections and controls. The Exercises The Purpose These “Exercises" to allow you to learn how to use your Mixer’s controls and switches and to begin to appreciate the things you can do during an actual performance. And, even though that “performance" may be anything from a large outdoor rock concert to a special choir service at your place of worshi...

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