Table of Contents
Advertisement
TONE FREQUENCY RESPONSE
П
+12
RESPONSE
(dB)
100
Ik
FREQUENCY
(Hz)
ECHO CONTROL
Most
electronic
instruments
including
keyboards
and electric guitars sound too "'dry'' when
simply
amplified
and
fed
to
a
speaker
system.
Even
acoustic instruments and vocals can sound dull and
lifeless if recorded in a "dead" room that does пої
have
much
natural reverberation.
That's why
you
sound so good when
you sing in the shower--bath-
rooms
generally have lots of natural reverb thanks
to the hard, shiny tiled walls and
lack of sound
absorbing material. Of course, it's a little inconven-
ient to record in your bathroom to get a reverberant
sound
(although
some
bathrooms
sound
really
good). And
just try crowding your band into the
bathroom
for rehearsal.
The
MM30
provides the
answer to this problem with a built-in BBD (Bucket
Brigade
Delay)
unit that
provides
a high-quality
reverb-like
echo effect. The ECHO
controls deter-
mine how much echo is added to the signal at each
channel. Just a touch of echo is nice with voice, a
considerable
amount
can
be
applied
to
electric
guitar, and bass guitar is generally better off with
none.
Q PAN CONTROL
One of the more
"conventional"
functions that a
stereo mixer performs is to permit acoustic place-
ment of each instrument or group of instruments at
any desired location in the stereo sound field. i.e.,
the sound of a particular instrument can appear to
come
from
the
left
speaker,
right
speaker,
or
anywhere in between. This positioning of the signal
from
each
input channel
is performed
using "рап
pots'--PAN
on the MM30. The position of the pan
pots relates directly to the acoustic position of the
respective channel's signal: pan pot fully clockwise
means that the sound comes from the right channel
speaker,
fully
counterclockwise
means
that
the
sound comes
from the left channel speaker, and at
intermediate
pan pot settings the sound appears to
be located at the appropriate point between the left
and right speakers. The pan pots can also be used to
create the effect of "floating" an instrument from
one
side of the stereo
sound
stage to the other.
Generally,
you'll
use the pan
pots to create
the
desired acoustic image.
Ө
INPUT FADER
The
input
faders
are
what
provide
the
actual
"mixing" function
in a mixer. They permit indivi-
dual
adjustment
of the
levels
of the four input
sources
so you
can
achieve
just the
right overall
balance
between
instruments, vocals, or whatever
you are mixing.
These are the controls that you'll be using the most,
and
how
they are used can
make
the difference
between
excellent and mediocre sound. Maximum
signal-to-noise
ratio and minimum
distortion, and
therefore the best sound, is generally obtained with
fader settings between
about
1/3 and 3/4 of the
fader scale. Fader settings that are too high or too
low should be avoided
by increasing or decreasing
the
level
of the
source
whenever
possible.
Most
electronic
keyboards
and
electric guitars have
an
output level control, and microphone
output level
can
be adjusted
by changing
the distance
of the
microphone from the sound source.
Q
AUXILIARY INPUT FADER
The
MM30
has а pair of AUX
IN terminals that
make
it possible to mix an extra stereo signal in
with
the sources
present at the 4 input channels.
The AUX
IN fader adjusts the level of the AUX IN
signal in relation to the rest of the program. What
you
connect
to the
AUX
IN terminals
depends
entirely on your specific application, but here are
just a few examples :
1. You
could
connect
the outputs
from a stereo
cassette deck to the AUX
IN terminals and play
back a tape of your favorite band. Then you can
mix
in your
own
instrument and play along--a
great way to practice.
2. With the same setup as in number
1 above, the
cassette tape can be supplying background music
while
you
mix
in a
narration
and/or
sound
effects for your audio/visual show and record the
mixed program on a second tape recorder.
А
3. Another
possible use for this feature is as extra
inputs if the four main input channels are all in
use. An
electronic
keyboard
or other line-level
source could be connected to the AUX IN termi-
nals with a phone-to-RCA pin plug adaptor and
mixed
in with the rest of the program using the
AUX
fader.
Of course you don't get any tone
control
or panning
capability, but if you need
the extra channels, they're available.
@
ECHO FADER
The
ECHO
controls on each input channel
indivi-
dually determine
how much of each input signal is
sent to the internal BBD echo unit. The ECHO fader
determines
how
much
of the delayed
signal
(the
output from the internal BBD echo unit) is added to
the main stereo program signal. In other words, the
ECHO fader is sort of ап "overall" echo control.
Advertisement
Table of Contents
