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Hersteller: Mackie
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Dateiname: d2_Pro_OM.pdf
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Anleitung Zusammenfassung
(Remember, when the live record switch is pushed in, the RCA main outs are not affected by the main level control.) 33. BOOTH LEVEL This knob adjusts the output level at the booth outputs [8]. 34. STEREO/MONO With this switch up, the booth outputs [8] provide a stereo left and right output of the main mix. Push the switch in to combine the left and right signals to mono if you only have one booth monitor speaker. 35. FX SEND LEVEL This knob controls the amount of signal being sent to FX send outputs [6]. Adjust this knob to provide an appropriate input signal level to your external effects processor (or whatever you have connected to the FX sends). It ranges from off to +13 dB at maximum. Note: The FX sends are affected by the transform switches [41], so if you mute a pgm channel with the transform switch, the FX send for that pgm channel is muted as well. 36. FX RETURN LEVEL This adjusts the signal level coming from your external effects processor via the FX return jacks [7]. Use it to adjust the processed signal going to the main mix bus. It ranges from off to +13 dB at maximum. 37. FIREWIRE FX RETURN Press this in if the FX return comes from your computer via FireWire. For example, a processed (wet) audio signal to add to the main mix. L R MAIN A B OL 0 2 4 7 10 20 30 OL 0 2 4 7 10 20 30 OL 0 2 4 7 10 20 30 PGM 2 REVERSE contact-free cross-fader infinium PGM 1 LOW MID HIGH PHONES BOOTH SOURCE MAIN EQ FX PAN BAL LOW MID HIGH LINE/ PHONO CD EQ SIG OL MIC PGM 2 CONTROL LEVEL PGM MAIN STEREO MONO +3 +50 L R U -15 +15 U -15 +15 U -15 +15 SOURCE EQ BAL LOW MID HIGH LINE/ PHONO CD PGM 1 L R L R KILL +10 KILL +10 KILL +10 KILL +10 KILL +10 KILL +10 OFF ON LEVEL U MAX LEVEL U MAX RETURN SEND LEVEL MAX LEVEL MAX LEVEL MAX MAX MAX PGM SOURCE 1 2 REVERSE REVERSE 48V 15 10 6 3 15 10 6 3 15 10 6 3 ON FX FX OFF OFF OFF OFF OFF OFF OFF TRANSFORM (CENTER = MUTE) (CENTER = MUTE) TRANSFORM Leave it pressed out if the wet return signals come into the FX return jacks [7] from an external processor. 38. PHONES LEVEL This controls the volume of the phones output from off to maximum gain. Turn it to off before connecting and putting on headphones. Increase it slowly to a safe listening level. See headphone jack [50] on page 17. 39. PGM/MAIN Use this switch to select the source for the headphones signal. When the switch is up (pgm position), the signal is tapped just after the bal control [31] on the pgm channels. You can use the pgm source crossfader [40] to fade between pgm 1 and pgm 2. When the switch is down (main position), the signal is tapped from the main mix bus, just before the main level control [32]. 40. PGM SOURCE When the pgm/main switch [39] is up (in the pgm position), you can use this crossfader to listen to pgm 1 and pgm 2 in the headphones. When the crossfader is all the way to the left, pgm 1 is heard in the headphones. When the crossfader is all the way to the right, pgm 2 is heard in the headphones. When the knob is in the center, the headphones get an even mix of pgm 1 and 2. Note: When the pgm/main switch is down (main position), this control has no effect on the phones output. Owner’s Manual 15 Owner’s Manual Program Output Section 41. TRANSFORM The transform switch has three positions: latching, center, and momentary. When the switch is latched, this program’s signal is on, and passes through to the outputs. When the switch is in the center position, this program’s signal is muted at the outputs and FX sends. The other position is a momentary version of the latched position (in other words, it won’t stay there when you let go of it), and allows the signal to pass as long as the switch is held down. Let go of the switch, and the signal is muted again. This lets you quickly use the transform switch for “stutter” effects. If you prefer, you can rotate the transform switch 45. or 90. so the switch moves diagonally or horizontally instead of vertically. See Appendix D on page 24 for more information. Note: If this switch is in the center position, the program can still be heard and cued in the headphones if the pgm/main switch [39] is up. 42. PROGRAM FADER This controls the volume for the pgm signal being sent to the main mix bus. The characteristics of how the fader affects the audio signal are determined by the corresponding front panel contour control [48] and reverse switch [49]. These faders have a very light touch and are designed to last the lifetime of the d.2 Pro. No audio passes through these faders. Rather, they send a control voltage to a pair of VCAs (voltage-controlled amplifiers) that determine the gain of the signal. This is a very good thing, by the way, as the audio will not be affected by any scratchy electrical contacts, and the design allows for customizing the fader action using the contour and reverse controls. 43. PGM LEVEL METERS These meters have 12 LEDs, ranging from –30 to +20 (OL). They indicate the summed-mono signal strength of the pgm signals just before the bal controls [31]....