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For example: Sound source (external device) > EMX unit > Amps (Powered speakers) 7 Adjust the GAIN control for each channel you are using so that the PEAK indicator comes on only at about maximum input level. NOTE To use the LEVEL meter to get an accurate reading of the incoming signal level: Set the ST/AFL-PFL switch to AFL-PFL( ) and turn on the PFL switch for each channel you are using. Adjust the GAIN controls so that LEVEL meter indication occasionally rises above the “” (0) level. Note that the PHONES jack outputs the pre-faded signal from all channels whose PFL switch is ON, so that you can monitor these signals through the headphones. 8 Turn the ON switch on. 9 Set the ST Master fader to the “0” position. 10 Adjust the channel faders on all occupied channels. Adjust the faders while listening to the output from the speakers. NOTE •To use the LEVEL meter to view the level being input to the internal amp: Set the ST/AFL-PFL switch to ST( ). • Use the LIMITER lamps to check for clipping of the signal from the SPEAKERS jacks. Note that the LIMITER lamps will come on earlier than the level meter's PEAK indicators come on. 11 Adjust the overall volume of the ST Master fader. It is acceptable for the LIMITER lamps to flash on briefly at times, but if they remain lit continuously then there is risk of damage to your speakers or to the internal amp. Reduce the ST master fader setting so that these lamps do not stay on. 10 EMX5014C Owner’s Manual Quick Guide Mixer Basics You can use the reverb effect to simulate the sound of a concert hall or jazz club. 1 Turn the PROGRAM dial to select the desired effect type. To select a reverb effect, turn the dial to any value from 1 to 7. 2 To turn on the effector, set the EFFECT ON switch to its ON position ( ). The switch lights up when turned on. As an alternative to the ON switch, you can use a separately sold FC5 foot switch to toggle the effector on and off. 3 Set the EFFECT RTN fader to the “0” position. 4 Use the channel EFFECT knobs to adjust the effect depth for each channel. 5 Use the EFFECT RTN fader to adjust the overall effect depth. Note that you can use the PARAMETER knob to adjust the characteristic sound of the selected effect. If you have selected a reverb effect, the knob adjusts the reverb time. 1 REVERB HALL 1 5 REVERB STAGE 1 9 KARAOKE ECHO C FLANGER 2 REVERB HALL 2 6 REVERB STAGE 2 0 VOCAL ECHO D PHASER 3 REVERB ROOM 1 7 REVERB PLATE A CHORUS 1 E AUTO WAH 4 REVERB ROOM 2 8 DRUM AMBIENCE B CHORUS 2 F DISTORTION Adding Some Reverb 3,5 1 4 2 Quick Guide Mixer Basics EMX5014C Owner’s Manual 11 The compressor evens out the input level, reducing the level of loud passages and bringing up softer passages. The result is a cleaner sound where nuances remain audible and the lyrics are easier to hear. 1 Adjust the COMP knobs on the relevant channels. Turn the knob clockwise to increase the compression. Avoid setting the value too high, as too much compression may result in howling. For more information about the compressors, see page 18. Using the Compressors to Enhance Vocals 1 12 EMX5014C Owner’s Manual Mixer Basics Making the Most of Your Mixer An Introduction A Place for Everything and Everything in its Place A Plethora of Connectors—What Goes Where? Questions you’re likely to encounter when setting up a system for the first time might include “Why all these different types of connectors on the back of my mixer?” and “What’s the difference?”. Let’s start by taking a look at the most common connector types. The Venerable RCA Pin Jack This is the “consumer connector,” and the one that has been most commonly used on home audio gear for many years. Also known as “phono” jacks (short for “phonogram”), but the term isn’t used much these days—besides, it’s too easily confusable with “phone” jacks, below. RCA pin jacks are always unbalanced, and generally carry a linelevel signal at –10 dB, nominal. You’re most likely to use this type of connector when connecting a CD player or other home audio type source to your mixer, or when connecting the output of your mixer to a cassette recorder or similar gear. The Versatile Phone Jack The name “phone jack” arose simply because this configuration was first used in telephone switchboards. Phone jacks can be tricky because you can’t always tell what type of signal they’re designed to handle just by looking at them. It could be unbalanced mono, unbalanced stereo, balanced mono, or an insert patch point. The connector’s label will usually tell you what type of signal it handles, as will the owner’s manual (you do keep your manuals in a safe place, don’t you?). A phone jack that is set up to handle balanced signals is also often referred to as a “TRS” phone jack. “TRS” stands for Tip-Ring-Sleeve, which describes the configuration of the phone plug used. The Sturdy XLR This type of connector is generally referred to as “XLR-type,” and almost always carries a balanced signal. If the corresponding circuitry is designed properly...