Tape In Section; Master Control Section - Phonic IMPACT 8.4 Manual Del Usuario

TAPE IN SECTION

40. Level Control
This controls the level of the signal received through
the Tape In mixing bus, to be sent to the Control Room
/ Phones and/or Main L/R mixing buses, as selected by
the user.
41. CTRL RM and MAIN Buttons
These buttons allow users to send the Tape In signal to
these particular mixes. Sending the Tape In signal to the
Control Room mixing bus is useful in monitoring of the
signal, whereas sending it to the Main L/R allows users
to combine the Tape In signal with the main mix.To avoid
any unwanted feedback, don't press the MAIN button
down when the Record Out signal is returned to the Mixer
through the Tape Inputs.
42. To AUX 1 and 2 Controls
These controls allow users to adjust the signal level of the
Tape In that is sent to the auxiliary 1 and 2 mixing buses.

MASTER CONTROL SECTION

43. Stereo Return To AUX 1 and 2 Controls
These controls adjust the pre-fader level of the signal
from the Stereo Return controls to the corresponding AUX
mixing buses for effect-to-monitor sends.
44. Stereo Return Level Controls
These rotary control will alter the signal level that is sent
from the Stereo Retuns to the Main L/R mix.
45. Stereo Return PFL Buttons
The PFL - or Pre-Fader Listen - buttons are pushed to
allow the Stereo Return signals to be sent to the Control
Room / Phones mix (pre-fader, post-EQ), for use with ei-
ther headphones or studio monitors. This allows easier
tracking of audio by sound engineers.
46. AUX 1 and 2 Master Controls
These 60 mm fader will alter the signal level that is sent
from the AUX 1 and 2 to their corresponding outputs.
Both faders are accompanied by AFL (or After-Fader Lis-
ten) buttons, allowing users to send the post-fader signal
to the Control Room / Phones mixing bus.
47. Phantom Power Button and Indicator
When this button is pushed in, +48V of Phan-
tom Power is activated for all microphone in-
puts, allowing condenser microphones (well,
the ones that don't use batteries) to be used
on these channels. Activating Phantom Pow-
er will be accompanied by an illuminated LED
above the button. Before turning Phantom
Power on, turn all level controls to a minimum to avoid the
possibility of a ghastly popping sound from the speakers.
IMPACT 8.4/12.4/16.4/24.4/8.4X/12.4X/16.4X/24.4X
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NB. Phantom Power should be used in conjunction with bal-
anced microphones. When Phantom Power is engaged, single
ended (unbalanced) microphones and instruments should not be
used on the Mic inputs. Phantom Power will not cause damage
to most dynamic microphones, however if unsure, the micro-
phone's user manual should be consulted.
48. EFX Send 1 and 2 Master Controls
These rotary controls adjust the final level of the EFX 1
and 2 signals (as taken from the EFX controls on each
channel strip), the audio of which is sent to the corre-
sponding EFX sends. Also accompanying the EFX Send
controls is an AFL button, allowing users to send the post-
fader signal to the Control Room / Phones mixing bus.
The EFX 2 master control also determines the final level
of the audio sent to the built-in Effects processor of the
Impact X mixer.
49. Mono Channel Controls
The 60 mm faders is the final level control for the Mono
mixing bus, the signal of which is sent to the Mono / Sub-
woofer output on the rear of the Impact. The included AFL
button allows users to send the post-fader Mono signal to
the Control Room mixing bus.
A Low Pass Filter has been included to cut unwanted
high frequency sounds of the mono output at a rate of
12 dB per octave, for a clearer bass sound when using
subwoofers. The switch turns the Low Pass Filter on and
off, whereas the accompanying control adjusts the cut-off
frequency between 60 and 160 Hz.
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