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EQ MID *
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INPUT TYPES
CHANNELS 1-4: MIC/LINE INPUTS
EQ HI
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EQ LOW
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dB
HPF
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dB
MICROPHONE INPUT (MIC)
This XLR connector will accept virtually any professional micro-
phone. It is designed for microphone level signals. If you have a line
level source with XLR output, you should get an XLR-to-¼" TRS
cable and plug it into the line input (below).
Some microphones, mostly condenser mics, need phantom
power to operate. Switch on phantom power on the right side of
the mixer. If you're unsure if your mic needs phantom power,
check the instructions or the manufacturer's website for informa-
tion. Phantom power should not hurt most microphones, except
for very old or damaged ribbon microphones.
Use the microphone preamp's gain control (explained below) to
bring the microphone up to a high enough level to use with the
mixer.
LINE INPUT (LINE)
This ¼" input is designed for line-level signals. It accepts either
balanced (TRS) or unbalanced (TS) cables. The level of this input is
also controlled by the gain control, explained below.
Do not use both the microphone and line inputs on the same
channel. The mixer will distort and the noise level will go up.
The line input is not designed to accept an instrument-level signal,
such as the output from an electric or acoustic guitar or bass. If
you want to plug your instrument into the mixer, you have to use
a direct box (also called a DI box) as an interfacing device.
GAIN
Gain controls the level of preamplifcation applied to the micro-
phone or line level signal plugged into the mixer. If the gain is set
too low, the output signal will be noisy when you turn it up at the
level control. If gain is set too high, it will distort.
For best performance, set the gain while looking at the meters.
Turn the Level control so that it's facing straight up. Then turn the
gain up until you see the first or second lights on the meters.
Don't set it too high – although you might not hear distortion
when playing by itself, when all of the channels are playing at that
level they may add together and distort the mixer.
AUX SEND
The Aux send is separate buss on the LMD1202FX mixer. This
means that you can have a different mix on the aux buss than you
do on the main outputs. This comes in handy in a few scenarios:
1) Sending different amounts to the effects section, so that some
instruments have more reverb than others
2) Setting up a headphone mix, so that a recording musician can
hear exactly what they want while you listen to your own mix
3) Creating a monitor mix on stage, so that band members can
hear what they need to perform while you mix for the rest of the
club
The LMD1202FX's aux send is post fader. This means that if the
Level is turned all the way down, you can't send anything to the aux
buss.
The aux send can be sent to different parts of the mixer, depend-
ing on what application you need it for. It always shows up at the
Aux Send output of the mixer, and you might plug that into the
input of a stage monitor or external effects processor. It also gets
sent to the internal effects processor.
Finally, you can send it to the Control Room and headphone
outputs by pressing the "Aux Send To Phones" button, next to the
Control Room/Phones level control. This allows a musician to
hear their own mix while recording with headphones.
If you would like to listen to a different mix through the Control
Room than your artist on headphones, you will need to plug the
Aux out into a headphone amplifier for the artist while you monitor
the main mix.
PAN
The Pan control moves the signal between the left and right
outputs. When turned fully to the left, that channel will only show
up on the left main output. When turned to the center, it will be
send in equal volume to the left and right outputs. Turned fully to
the right, you will only hear it through the right output.
PEAK
The Peak LED lights up when the level coming into that channel is
too loud. If you see this light flash, turn that channel's Gain control
down and the Level control up.
The high EQ control is a shelving EQ. What this means is
that it boosts or cuts from 12kHz and everything above
that. Turn it up to bring out the breath of a vocal or the
high overtones of the cymbals. Turn it down to reduce
finger squeaks on a guitar or bass.
USER MANUAL - LMD1202FX AUDIO MIXER
The mid EQ is a peaking EQ, centered at 2.5kHz. This boosts
or cuts the high midrange of your signal. You might turn it up
if your vocal isn't cutting through the mix, or turn it down if a
percussion part is too harsh.
This low EQ boosts or cuts everything from 80Hz or below.
You might bring it up for more bottom out of your kick or bass
guitar, and turn it down to reduce rumble from a vocal or wind
instrument.
The HPF is a High Pass Filter, centered at 75Hz. This means
that it cuts virtually everything below 75Hz. It can be useful for
reducing rumble or muddy low tones from an instrument, or
as a way to reduce hum in a channel. Try switching on the HPF
and boosting the Low EQ for some interesting sounds.
