SEIKAKU TECHNICAL GROUP LYNX-MIXER Compact Integrated Live Sound Mixer with Digital Effects User Manual

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LTO
USER'S MANUAL
LYNX-MIX USB SERIES
12/16/20-CH COMPACT INTEGRATED LIVE SOUND
MIXER WITH DIGITAL EFFECTS
10-1
SEIKAKU TECHNICAL GROUP LIMITED
NO. 1, Lane 17, Sec. 2, Han Shi West Road, Taichung 40151, Taiwan
http://www.altoproaudio.com Tel: 886-4-22313737
email: alto@altoproaudio.com Fax: 886-4-22346757
All rights reserved to ALTO. All features and content might be changed
without prior notice. Any photocopy, translation, or reproduction of part of this
manual without written permission is forbidden. Copyright c 2007 Seikaku Group
www.altoproaudio.com
Version 2.0 OCT. 2007
English
IMPORTANT SAFETY INSTRUCTION
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
TO REDUCE THE RISK OF ELECTRIC SHOCK
PLEASE DO NOT REMOVE THE COVER OR
THE BACK PANEL OF THIS EQUIPMENT.
THERE ARE NO PARTS NEEDED BY USER
INSIDE THE EQUIPMENT. FOR SERVICE,
PLEASE CONTACT QUALIFIED SERVICE
CENTERS.
WARNING
To reduce the risk of electric shock
and fire, do not expose this equipment
to moisture or rain.
Dispose of this product should
not be placed in municipal waste
and should be separate collection.
11. Move this Equipment only with a cart,
stand, tripod, or bracket,
This symbol, wherever used, alerts you to the
specified by the
presence of un-insulated and dangerous voltages
manufacturer, or
within the product enclosure. These are voltages that
sold with the
may be sufficient to constitute the risk of electric
Equipment. When
shock or death.
a cart is used, use
This symbol, wherever used, alerts you to
caution when
important operating and maintenance instructions.
moving the cart /
Please read.
equipment
Protective Ground Terminal
combination to
AC mains (Alternating Current)
avoid possible
Hazardous Live Terminal
injury from tip-over.
ON: Denotes the product is turned on.
12. Permanent hearing loss may be caused by
OFF: Denotes the product is turned off.
exposure to \ extremely high noise levels.
CAUTION
The US. Government's Occupational Safety
Describes precautions that should be observed to
and Health Administration (OSHA) has
prevent damage to the product.
specified the permissible exposure to noise
1. Read this Manual carefully before operation.
level.
2. Keep this Manual in a safe place.
These are shown in the following chart:
3. Be aware of all warnings reported
with this symbol.
HOURS X DAY SPL EXAMPLE
4. Keep this Equipment away from water and
90 Small gig
moisture.
92 train
5. Clean it only with dry cloth. Do not use
95 Subway train
solvent or other chemicals.
97 High level desktop monitors
6. Do not damp or cover any cooling opening.
100 Classic music concert
Install the equipment only in accordance with
the Manufacturer's instructions.
102
1,5
105
7. Power Cords are designed for your safety. Do
110
0,5
not remove Ground connections! If the plug
does not fit your AC outlet, seek advice from
Rock concert
0,25 or less 115
a qualified electrician. Protect the power
According to OSHA, an exposure to high SPL in
cord and plug from any physical stress to
excess of these limits may result in the loss of
avoid risk of electric shock. Do not place
heat. To avoid the potential damage of heat, it is
heavy objects on the power cord. This could
cause electric shock or fire.
recommended that Personnel exposed to
equipment capable of generating high SPL use
8. Unplug this equipment when unused for long
hearing protection while such equipment is
periods of time or during a storm.
under operation.
Refer
all
service
to
qualified
service
personnel
9.
The apparatus shall be connected to a mains
only. Do not perform any servicing other than
those instructions contained within the
socket outlet with a protective earthing
User's Manual.
connection.
10. To prevent fire and damage to the product,
use only the recommended fuse type as
indicated in this manual. Do not short-circuit
the fuse holder. Before replacing the fuse,
make sure that the product is OFF and
disconnected from the AC outlet.
The mains plug or an appliance coupler is used
as the disconnect device, the disconnect device
shall remain readily operable.
FCC COMPLIANCE NOTICE
This device complies with Part 15 of the FCC Rules.
Operation is subject to the following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received,
including interference that may cause undesired operation.
WARNING: changes or modifications not expressly
approved by the party responsible for compliance could
void the user's authority to operate the equipment.
NOTE:This equipment has been tested and found to comply with the limits for a Class
B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to
provide reasonable protection against harmful interference in a residential installation.
This equipment generates, uses and can radiate radio frequency energy and, if not
installed and used in accordance with the instructions, may cause harmful interference
to radio communications. Howerver, there is no guarantee that interference will not
occur in a particular installation. If this equipment does cause harmful interference to
radio or television reception.
which can be determined by turning the equipment off and on, the user is encouraged
to try to correct the interference by one or more of the following measures:
--Reorient or relocate the receiving antenna.
--Increase the separation between the equipment and receiver.
--Connect the equipment into an outlet on a circuit different form that to which the
receiver is connected.
--consult the dealer or an experienced radio/TV technician for help.
9. WARRANTY
10-3
1. WARRANTY REGISTRATION CARD
To obtain Warranty Service, the buyer should first fill out and return the enclosed
Warranty Registration Card within 10 days of the Purchase Date.
All the information presented in this Warranty Registration Card gives the
manufacturer a better understanding of the sales status, so as to provide a
more effective and efficient after-sales warranty service. Please fill out all the
information carefully and genuinely, miswriting or absence of this card will void
your warranty service.
2. RETURN NOTICE
2.1 In case of return for any warranty service, please make sure that the product
is well packed in its original shipping carton, and it can protect your unit from
any other extra damage.
2.2 Please provide a copy of your sales receipt or other proof of purchase with
the returned machine, and give detail information about your return address
and contact telephone number.
2.3 A brief description of the defect will be appreciated.
2.4 Please prepay all the costs involved in the return shipping, handling and
insurance.
3. TERMS AND CONDITIONS
3.1 LTO warrants that this product will be free from any defects in materials
and/or workmanship for a period of 1 year from the purchase date if you
have completed the Warranty Registration Card in time.
3.2 The warranty service is only available to the original consumer, who purchased
this product directly from the retail dealer, and it can not be transferred.
3.3 During the warranty service, LTO may repair or replace this product at its
own option at no charge to you for parts or for labor in accordance with the
right side of this limited warranty.
3.4 This warranty does not apply to the damages to this product that occurred
as the following conditions:
Instead of operating in accordance with the user's manual thoroughly, any abuse
or misuse of this product.
Normal tear and wear.
The product has been altered or modified in any way.
Damage which may have been caused either directly or indirectly by another
product / force / etc.
Abnormal service or repairing by anyone other than the qualified personnel or
technician.
And in such cases, all the expenses will be charged to the buyer.
3.5 In no event shall LTO be liable for any incidental or consequential damages.
Some states do not allow the exclusion or limitation of incidental or
consequential damages, so the above exclusion or limitation may not apply to
you.
3.6 This warranty gives you the specific rights, and these rights are compatible
with the state laws, you may also have other statutory rights that may vary
from state to state.
24
IN THIS MANUAL
1.
2.
3.
4.
5.
6.
7.
8.
9.
INTRODUCTION................................................................................1
FEATURES.......................................................................................1
QUICK START..................................................................................3
CONTROL ELEMENTS......................................................................5
INSTALLATION & CONNECTION......................................................15
PRESET LIST.................................................................................19
BLOCK DIAGRAM..........................................................................20
TECHNICAL SPECIFICATIONS..........................................................22
WARRANTY..................................................................................24
1. INTRODUCTION
Thank you for your purchasing of the LTO LYNX-MIX124 USB 12-channel (16-channel
for LYNX-MIX164 USB, and 20-channel for LYNX-MIX204 USB) compact integrated mixer
with 24-bit digital multi-effect built-in. It is just one of the many LTO products that a
talented, multinational Team of Audio Engineers and Musicians have developed with their
great passion for music. Your LYNX-MIX USB Series is a remarkable compact mixer that
doesn't find many equals in the market today. With 6 microphone (10 microphone for
LYNX-MIX 164USB, 14 microphone for LYNX-MIX204 USB) and 4 stereo Line-level inputs
for serious live performances, your LYNX-MIX USB Series also includes a 24-bit digital
multi-effect with 16 Factory Presets and 16 variations for every preset, for a total of
256 different digital effects. There is a three bands EQ on mono input channels, four
bands EQ on stereo input channels. Use it for large Gigs, and for fixed PA installation.
Enjoy your LYNX-MIX USB Series and make sure to read this Manual carefully before
operation!
2. FEATURES
6 MIC (10 MIC for LYNX-MIX164 USB, 14 MIC for LYNX-MIX204 USB) inputs
with gold plated XLR and balanced TRS jack
4 Stereo input channels with balanced TRS jacks
Ultra-low noise discrete MIC preamps with +48 V Phantom Power
Each mic input channel with Mute, SOLO function, Peak LED and Low Cut filter
SUB1-2, SUB3-4 & MAIN L-R signal assignment switches
4 AUX Sends per channel: 2 PRE/POST faders switchable for monitoring
application effects & sound processor input; 2 POST faders as external send
or for internal digital DFX
With USB port, when it is in output mode, it can connect with the SUB1-2 or
MAIN MIX output; in the input mode, it can connect with the CH11/12 (for
LYNX-MIX124 USB, CH15/16 for LYNX-MIX164 USB, CH19/20 for LYNX-MIX204
USB) or MAIN MIX output
3-band EQ with sweepable MID on mono inputs; 4-band EQ on stereo inputs
Channel Inserts and Direct Outputs on each mono channel plus Main Insert
for flexible connection of outboard equipment
24-bit internal DSP with 256 effects, 16 presets by 16 variations with DSP
Mute switch and Peak LED
2-TRACK IN assignable to Main Mix, Control Room/Headphone outputs
SP
OT
IG
8. TECHNICAL SPECIFICATION
HT
LYNX-MIX124
10-4
Mono input channels
Microphone input
Frequency response
Distortion (THD & N)
Gain range
SNR (Signal to Noise Ratio)
Line input
Frequency response
Distortion (THD & N)
Sensitivity range
Stereo input channels
Line input
Frequency response
Distortion (THD & N)
Impedances
Microphone input
Channel Insert return
All other inputs
Tape out
All other output
Equalization
Hi-shelving
Mid bell (Mono)
Hi-Mid (Stereo)
Mid-Low (Stereo)
Low-shelving
Low Cut filter
DSP Section
A/D and D/A converters
DSP resolution
Type of effects
Presets
Controls
Main Mix Section
Noise (Bus noise)
Max output
AUX Returns gain range
AUX Sends max out
Power Supply
Main voltage
Power Consumption
Fuse
Main Connection
Physical
Dimension (W D H)
LYNX-MIX124USB
LYNX-MIX164USB
LYNX-MIX204USB
Net Weight
LYNX-MIX124USB
LYNX-MIX164USB
LYNX-MIX204USB
electronically balanced, discrete input configuration
10 Hz to 55 kHz, +/ 3 dB
0.005% at +4 dBu, 1 kHz
0 dB to 50 dB (MIC)
115 dB
electronically balanced
10 Hz to 55 kHz, +/ 3 dB
0.005% at +4 dBu, 1 kHz
+15 dBu to -35 dBu
Balanced/Unbalanced
10 Hz to 55 kHz, +/ 3 dB
0.005% at +4 dBu, 1 kHz
1.4 kOhm
2.5 kOhm
10 kOhm or greater
1 kOhm
120 Ohm
+/
+/
+/
+/
+/
75
15 dB
15 dB
15 dB
15 dB
15 dB
Hz, 18
@12 kHz
-frequency range 100 Hz~8 kHz
@ 3 kHz
@ 500 Hz
@ 80 Hz
dB/Oct.
24-bit
24-bit
Hall, Room, Vocal & Plate REVERBS
Mono & Stereo DELAY (max DELAY TIME 650ms)
Chorus, Flanger & Reverb MODULATIONS
REVERB+DELAY, REVERB+CHORUS,
REVERB+FLANGER combinations
256
16-position PRESET Selector
16-position VARIATION selector
DSP MUTE SWITCH with PEAK LED indicator
Fader 0 dB, channels muted: -100 dBr (ref.: +4 dBu)
Fader 0 dB, all input channels assigned and set to
UNITY gain: 90 dBr (ref.:+4 dBu)
+22 dBu balanced XLR
+22 dBu unbalanced, 1/4" jacks
- to +15 dB
+22 dBu
USA/Canada
100-120 V~,60 Hz
Europe
210-240 V~, 50 Hz
U.K./Australia
240 V~, 50 Hz
60 Watts
LYNX-MIX124USB
T500 mAL
LYNX-MIX164USB
T630 mAL
LYNX-MIX204USB
T750 mAL
Standard IEC receptacle
415 mm 400 mm 38/115 mm (16.34" 15.75" 1.49"/4.53")
518 mm 400 mm 38/115 mm (20.39" 15.75" 1.49"/4.53")
626 mm 400 mm 38/115 mm (24.64" 15.75" 1.49"/4.53")
5.65 Kg (12.5 lb)
6.87 Kg (15.1 lb)
8.15Kg (18 lb)
23
7. BLOCK DIAGRAM
SP
OT
IG
HT
LYNX-MIX164
10-5
22
MIC
LINE
+15
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
-60
SOLO
-25
-30
-40
-20
-60
MAIN L-R
-25
-30
-40
-20
SOLO
MAIN L-R
+15
10
dB
-60
-30
-40
-25
-20
-10
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
SOLO
MAIN L-R
SUB 3-4
SUB 1-2
RIGHT
+15
LEFT
-5
SUB 3-4
SUB 1-2
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
+15
50
-15
-5
-10
-10
SUB 3-4
PAN
100Hz
-15
-5
+15
DFX2
(INT)
DFX1
(EXT)
RIGHT
+15
POST
PRE
AUX
80Hz
LOW
FREQ
MID
MIC
LINE
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 3
10
dB
SUB 1-2
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
+15
50
-15
LEFT
100Hz
-15
10
MIC
LINE
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 2
dB
RIGHT
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
-15
LEFT
100Hz
-15
50
+15
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 1
MIC
LINE
+15
10
-60
-30
-40
-25
-20
-10
-5
dB
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
SOLO
MAIN L-R
SUB 3-4
SUB 1-2
RIGHT
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
-15
LEFT
100Hz
-15
50
+15
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 4
MIC
LINE
+15
10
-60
-30
-40
-25
-20
-10
-5
dB
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
SOLO
MAIN L-R
SUB 3-4
SUB 1-2
RIGHT
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
-15
LEFT
100Hz
-15
50
+15
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 5
MIC
LINE
+15
10
-60
-30
-40
-25
-20
-10
-5
dB
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
SOLO
MAIN L-R
SUB 3-4
SUB 1-2
RIGHT
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
-15
LEFT
100Hz
-15
50
+15
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 6
MIC 6
MIC
LINE
+15
10
-60
-30
-40
-25
-20
-10
-5
dB
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
SOLO
MAIN L-R
SUB 3-4
SUB 1-2
RIGHT
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
-15
LEFT
100Hz
-15
50
+15
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 7
MIC 7
MIC
LINE
+15
10
-60
-30
-40
-25
-20
-10
-5
dB
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
MIC
LINE
+15
10
SOLO
MAIN L-R
SUB 3-4
SUB 1-2
MIC
LINE
+15
10
-60
-30
-40
-25
-20
-10
-5
dB
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
SOLO
MAIN L-R
SUB 3-4
SUB 1-2
RIGHT
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
-15
LEFT
100Hz
-15
50
+15
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 10
MIC 10
MIC
LINE
+15
10
-15
11
12
-60
-60
SOLO
-25
-30
-40
-25
-30
-40
-20
-5
dB
10
LEFT
100Hz
-15
-20
MAIN L-R
MIC
LINE
800
50
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
SOLO
MAIN L-R
SUB 3-4
SUB 1-2
RIGHT
+15
+15
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
dB
+15 -35
-15
BAL/UNBAL
INSERT
-10
SUB 3-4
SUB 1-2
MIC 12
LINE IN 12
-10
-5
dB
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
RIGHT
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
-15
LEFT
100Hz
-15
50
+15
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 11
MIC 11
+15
+15
+15
BAL
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
MID-LOW
500Hz
HI-MID
3kHz
HI
12kHz
EQ
LEVEL
SET
TRIM
+15
+15
+15
+15
+15
EQ
BAL
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
MID-LOW
500Hz
HI-MID
3kHz
HI
12kHz
+15
+15
+15
+15
SUB1
-20
-20
13/14
15/16
SOLO
17/18
SOLO
19/20
SOLO
-60
SOLO
-25
-30
-40
-60
-25
-30
-40
-60
-25
-30
-40
-60
MAIN L-R
-20
-25
-30
-40
-60
-60
MAIN L-R
-20
-25
-30
-40
-25
-30
-40
MAIN L-R
-20
-20
MAIN L-R
-5
-10
-5
SUB 3-4
-10
-5
-10
-5
-10
-5
-10
-5
-10
SUB 3-4
SUB 3-4
SUB 3-4
10
dB
1K
+15
+15
SUB 3/4
-30
-40
-60
-25
-20
-10
-5
SUB3
SUBGROUPS
SUB2
10
dB
10
-30
-40
-60
-25
-20
-10
-5
dB
TO AUX
SEND2
TO AUX
SEND1
2K
MAIN MIX
RIGHT
LEFT
SUB4
8K
16K
2TK TO MIX
2TK IN
SUB 3-4
SUB 1-2
MAIN MIX
LEVEL SET
-30
-20
-10
-7
-4
-2
10
CLIP
MAX
CTRL ROOM
MAIN MIX
LEVEL
-30
-40
-60
-25
-20
-10
-5
dB
10
SOLO MODE L
PFL
AFL OUTPUT LEVEL
SOLO ACTIVE
-15
-10
-5
+5
+10
+15
MAX
PHONES
CTRL ROOM SOURCE
4K
AUX RETURNS SOLO
MAIN MIX
CTRL/R
SUB 1/2
SUBGROUPS ASSIGN TO MAIN MIX
+15
RIGHT
10
+15
+15
+15
RIGHT
dB
4-DFX2 RETURN
RIGHT
500
STEREO GRAPHIC EQ
250
STEREO AUX RETURNS
125
LEFT
SOLO
SOLO
SOLO
SOLO
63
9. SPRING REVERB
10. MONO DELAY
11. STEREO DELAY
12. FLANGER
13. CHORUS
14. REVERB + DELAY
15. REVERB + FLANGER
16. REVERB + CHORUS
DIGITAL STEREO EFFECTS PROCESSOR
VOCAL 1
VOCAL 2
LARGE HALL
SMALL HALL
LARGE ROOM
SMALL ROOM
PLATE
TAPE REVERB
24BITs
1.
2.
3.
4.
5.
6.
7.
8.
LEFT
10
204
LTO
20-CH COMPACT INTEGRATED LIVE SOUND MIXER WITH DIGITAL EFFECTS
LEFT
4-DFX2 SEND
AUX SENDS
EQ OFF -10
EQ ON
-15
-5
+5
dB
SUB 1-2
+15
+10
RIGHT
+15
+15
+15
+15
+15
+15
+15
LEVEL
SET
LINE
GAIN
10
SUB 1-2
+20
LINE
USB
-15
LEFT
-15
-15
-15
-20
dB
RIGHT
BAL
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
MID-LOW
500Hz
HI-MID
3kHz
HI
12kHz
EQ
LEVEL
SET
LINE
GAIN
PHONES
10
SUB 1-2
+15
+15
+15
+15
+15
+15
+20
-15
LEFT
-15
-15
-15
-20
RIGHT
LINE IN 20
LEFT
(MONO)
LINE IN 19
LAMP
12V 0.5A
dB
RIGHT
BAL
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
MID-LOW
500Hz
HI-MID
3kHz
HI
12kHz
EQ
LEVEL
SET
TRIM
RIGHT
LINE IN 18
LEFT
(MONO)
LINE IN 17
TAPE OUT
2-TRACK IN/OUT
TAPE IN
10
SUB 1-2
+15
+15
+15
+15
+15
+15
40
-15
-15
-15
LEFT
MIC
LINE
dB
+20 -20
-15
RIGHT
LINE IN 16
BAL/UNBAL
LEFT
(MONO)
LINE IN 15
MIC 14
dB
RIGHT
+15
+15
+15
+15
+15
40
-15
-15
-15
LEFT
MIC
LINE
dB
+20 -20
-15
RIGHT
LINE IN 14
BAL/UNBAL
LEFT
(MONO)
LINE IN 13
MIC 13
MONO DELAY
Reproduce the sound input on the output after a
lapse of time
11
STEREO DELAY
Recreate the input sound on the stereo output with
different time.
12
FLANGER
Simulate to play with another person carrying
out same the notes on the same instrument
Rate
0.16~2.79Hz
13
CHORUS
Recreate the illusion of more than one instrument
from a single instrument sound
Rate
0.5~5Hz
14
REV.+DELAY
Delay with room effect
10
-60
-30
-40
-25
-20
-10
-5
dB
PAN
DFX2
(INT)
DFX1
(EXT)
POST
PRE
AUX
80Hz
LOW
FREQ
MID
RIGHT
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
-15
LEFT
100Hz
-15
50
+15
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 9
MIC 9
10
15
SOLO
MAIN L-R
SUB 3-4
SUB 1-2
RIGHT
+15
+15
+15
EQ
LEVEL
SET
TRIM
HI
12kHz
8KHz
+15
+15
800
-15
LEFT
100Hz
-15
50
+15
dB
+15 -35
-15
INSERT
BAL/UNBAL
LINE IN 8
MIC 8
MIC 5
MIC 4
MIC 3
MIC 2
MIC 1
IG
10-6
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SP
HT
6. PRESET LIST
NO.
LYNX-MIX204
Preset
Description
16
Decay period
Rev.decay time
211~375ms
1.0~2.9s
REV.+FLANGER Stereo flanger and large room reverb
Flanger Rate
Rev.decay time
0.16~2.52Hz
1.5~2.9s
REV.+CHORUS
Chorus rate
Rev.decay time
0.5~4.74Hz
1.5~2.9s
Stereo chorus and large room reverb
Controllable Parameter
Parameter
Variable range
VOCAL1
Simulate a room with small delay time
Decay time
Pre-delay
0.8~1.1s
0~79ms
VOCAL2
Simulate a small space with slight decay time
Decay time
Pre-delay
0.8~2.5s
0~79ms
LARGE HALL
Simulate a large acoustic space of the sound
Decay time
Pre-delay
3.6~5.4s
23~55ms
SMALL HALL
Simulate a small acoustic space of the sound
Decay time
Pre-delay
1.0~2.9s
20~45ms
LARGE ROOM
Simulate a studio room with many early reflections
Decay time
Pre-delay
2.9~4.5s
23~55ms
SMALL ROOM
Simulate a bright studio room
Decay time
Pre-delay
0.7~2.1s
20~45ms
PLATE
Simulate the transducers sound like classic bright
vocal plate
Decay time
Pre-delay
0.6~6.1s
10ms
TAPE REVERB
Simulate a record head and multiple playback heads
at intervals along the tape
Decay time
Pre-delay
1.3~5.4s
0~84ms
Simulate the analog transducers' springs lightly
SPRING REVERB stretched sound
Decay time
Pre-delay
1.3~5.4s
0~35ms
Period
Period
Feedback
60~650ms
210~400ms
37~73%
21
3. QUICK START
5. INSTALLATION AND CONNECTION
This is the fastest way to get something out from your LYNX-MIX USB Series, if you
have a keyboard and a microphone.
Ring=Return Signal (Connected together)
To Channel Insert
Sleeve=Ground/Screen
Tip=Signal
To Tape or FX Input
Sleeve=Ground/Screen
'Tapped' Connection Direct Output Lead
(Enables the Insert to be used as a Direct Output
while maintaining the channel signal flow)
10-7
To Processor Input
a.
b.
c.
e.
f.
Plug the microphone into Channel 1 MIC IN.
Turn down AUX and LEVEL controls on the input channel.
Put the EQ controls on center position.
Turn on your LYNX-MIX USB Series.
Sing or speak into the microphone with normal volume and adjust the channel
LEVEL control of half.
g. If you like, you can adjust the EQ at this stage.
h. The LED on the Master LED meter should flash only occasionally, otherwise you
will hear distortion. If this LED is not active and you still hear distortion, please
turn down a little the input LEVEL control or reduce the output level of your
source instrument.
i. Connect your stereo keyboard into channel 5/6 and repeat the sequence.(for
LYNX-MIX124 USB)
Connect your stereo keyboard into channel 9/10 and repeat the sequence.(for
LYNX-MIX164 USB)
Connect your stereo keyboard into channel 13/14 and repeat the sequence.(for
LYNX-MIX204 USB)
Here you are. It is your first gig with your LYNX-MIX USB Series.
Sleeve=Ground/Screen
Tip=Send Signal
Tip
To Channel Insert
Sleeve
Ring
Ring=Return Signal
To Processor Output
Y-Stereo lead for insert Connection
(To be used when the processor does not employ a
single jack connection for the In/Out Connections)
USB Connection
20
HOOK
LARGE GIG HOOKUP DIAGRAM
5. INSTALLATION AND CONNECTION
UP
WIRELESS
MICROPHONE 1
MIC 1 MIC 2 MIC 3 MIC 4
CD PLAYER
WIRELESS
MICROPHONE 2
Sleeve
Tip
Tip=Signal
Strain Clamp
Sleeve=Ground/Screen
Use for Mono Line In, Mono 1/4"Jack Plugs
1/4" Mono (TS) Jack Plug
Sleeve
Ring=Return Signal
Tip
Ring
Strain Clamp
10-8
D/I BOX
GUITAR
BASS
HEADPHONE
KEYBOARD
DRUM MACHINE
Tip=Send Signal
Sleeve=Ground/Screen
ACTIVE SPEAKERS
Use for Insert Points
COMPUTER
1/4" Stereo (TRS) Jack Plug
2=Hot(+)
POWER
MAIN MIX OUTPUT (BAL/UNBAL)
PHANTOM
ON
USB
+4dBu
-30dBu
MAIN
OUTPUT
LEVEL
OFF
MAIN
CH
MIX. 15/16
RECORD
MAIN INSERT
MONO
CH8
CH7
CH5
CH6
MAIN
MIX.
PLAY BACK
CTRL OUT
DFX OUT
AUX RETURNS
SUBGROUPS OUT
+15
1=Ground/Screen
2=Hot(+)
1=Ground/Screen
CH4
CH3
CH2
CH1
3=Cold(-)
3=Cold(-)
Use for Balanced Mic Inputs
(For unbalanced use, connect pin 1 to 3)
Use for Main output
(For unbalanced use, leave pin3 unconnected)
Apparaten skall anslutas
till jordat uttag nar den
ansluts till ett natverk
DIRECT OUTS (BAL/UNBAL)
AUX SENDS
SUB
1/2
AC INPUT
100-240V 50/60Hz
Fuse: T1AL
RATED POWER CONSUMPTION: 65W
TIP SEND
(BAL/UNBAL)
RING RETURN
FOOT SWITCH
STAGE MONITOR
SUBGROUPS INSERT
3-pin XLR Male Plug
3-pin XLR Line Socket
(seen from soldering side)
(seen from soldering side)
CD PLAYER
ACTIVE SPEAKERS
19
5. INSTALLATION AND CONNECTION
10-9
Ok, you have got to this point and you are now in the position to successfully operate
your LYNX-MIX USB Series. However, we advise you to read the following section carefully
to be the real master of your own mix. Not paying enough attention to the input signal
level, the routing of the signal and the assignment of the signal will result in unwanted
distortion, a corrupted signal or no sound at all. So you should follow this procedure
for every single channel:
1. Turn down all Input and output gain controls.
2. Connect phantom powered microphones before switching on the +48 Volt phantom
power switch.
3. Set the output level of your LYNX-MIX USB Series or the connected power amplifier
at no more than 75%.
4. Now, set the CONTROL ROOM/PHONES level at no more than 50%. In this way you
will be able to hear later what you are doing connecting a pair of headphones or a pair
of powered studio monitor speakers.
5. Position EQ controls on middle position.
6. Position panoramic (PAN/BAL) control on center position.
7. With a pair of headphone or studio monitor speakers are connected, apply a Line Level
input signal so that the PEAK LED does not light up.
8. Increase the input gain properly for maintaining the good headroom and ideal dynamic
range.
9. Depending on the actual application, turn slowly the input and output level controls
for obtaining the maximum gain before distortion.
10. Now repeat the same sequence for all input channels. The main LED meter could
move up into the red section. In this case you can adjust the overall output level
through the main mix control.
Audio Connections
You can connect unbalanced equipment to balanced inputs and outputs. Simply follow
these schematics.
Sleeve
Tip
OT
IG
4. CONTROL ELEMENTS
HT
1 MONO MIC/LINE Channels
Your LYNX-MIX124 USB is equipped with
4 (8 for LYNX-MIX164 USB, 12 for LYNXMIX204 USB) low-noise microphone preamplifier with optional phantom power,
50 dB of Gain and over 115 dB of S/N
ratio. You can connect almost any type
of microphone. Dynamic microphones do
not need phantom power. Use phantom
power only with condenser microphones
but make sure that the phantom power
button is disengaged before connecting
the microphone. Phantom power will not
damage your dynamic microphones, so
make sure to read the microphone
instructions manual before engaging
phantom power. Use switch (49) to
activate/deactivate phantom power. These
channels are also equipped with 1/4" TRS
balanced/unbalanced LINE-IN plugs to
connect line-level instruments such as
keyboards, drum machines and effect
devices.
2 STEREO INPUTS
These are channels 5 through 12 (9 through 16 for LYNX-MIX164 USB, 13
through 20 for LYNX-MIX204 USB). They are organised in stereo pair and
provided with XLR sockets (channels 5~6 for LYNX-MIX124 USB, channels
9~10 for LYNX-MIX164 USB, channels 12~13 for LYNX-MIX204 USB) and
1/4" TRS phone jacks. If you connect only the left jack, the input will operate
in mono mode, that is the mono signal will appear on both input channels. You
can use these inputs with a stereo keyboard, drum machine, etc.
Ring=Right Signal
Ring
Tip=Left Signal
Strain Clamp
Sleeve=Ground/Screen
Use for Headphone
1/4" Stereo (TRS) Jack Plug
18
SP
3 MONO Channel INSERT
This is where you connect external sound processors such as compressorlimiter, equalizers, etc.. The insert point is available on the first 4 (8 for LYNXMIX164 USB, 12 for LYNX-MIX204 USB) MIC channels only.
4 TRIM
The TRIM control is applied in the mono MIC and stereo input channels. It
provides with 2 different indications: One is for the MIC and the other for LINE
levels. When you use a microphone, you shall read the MIC ring (0~50 for mono
SP
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SP
4. CONTROL ELEMENTS
HT
MIC input, 0~40 for stereo channels); when
you use a line level instrument, you shall read
the LINE ring (+15~-35 dB for mono MIC input,
+20~-20 dB for stereo channels). For optimum
operation you shall set this control in a way
that the PEAK LED (16) blinks only occasionally
in order to avoid distortion on the input channel.
5 LINE GAIN
When you use a line level instrument, you shall
read the ring (-20~+20 dB).For optimum
operation you shall set this control in a way
that the PEAK LED (16) blinks only occasionally
in order to avoid distortion on the input channel.
10-10
6 LEVEL SET LED
This LED will help you to detect the input level immediately. In this case the
research of the fault will become much faster!
OT
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3.
4. CONTROL
CONTROLELEMENTS
ELEMENTS
HT
59 DFX OUT Jack
This 1/4" phone jack is used to output the effect signal that comes from internal
DSP module and the signal level can be controlled by the EFFECTS OUT control.
60 FOOTSWITCH Jack
This 1/4" phone jack can be used to connect an external footswitch to turn on/
off the onboard effect module.
61 AUX SENDS Jacks
These 1/4" phone jacks are used to send out the signal from the AUX Bus to
external devices such as effect units and/or stage monitors.
62 AUX RETURNS Jacks
Use these stereo 1/4" phone jacks to return the stereo signal of an effect unit
to the Main Mix. Alternatively you can also use them as an extra auxiliary input
using the AUX RETURN level control as volume control. The signal will be sent
directly to MAIN MIX control.
7 LOW-CUT Button
By pressing this button you will activate a 75 Hz low frequency filter with a
slope of 18 dB per octave. You can use this facility to reduce the hum noise
infected by the mains power supply, or the stage rumble while using a
microphone.
63 DIRECT OUTS
8 LINE/USB Button
By pressing this button, it will switch to the USB mode, the USB signal will
send to this channel; when releasing this button, the LINE IN inputs signal
will send to the line input channels.
64 SUBGROUPS OUT Jacks
EQUALISER
There are 3-band EQ with sweepable MID on all mono input channel1-4 (1-8 for
LYNX-MIX164 USB, 1-12 for LYNX-MIX204 USB): HI, MID and LOW band. There
are 4-band fixed frequency EQ on the stereo channel5-12 (9-16 for LYNX-MIX164
USB, 13-20 for LYNX-MIX204 USB): HI, HI-MID, MID-LOW and LOW band. All bands
provide up to 15 dB of boost or cut.
65 SUBGROUPS INSERT
Each Mono MIC/LINE Channel (CH1-CH4 for LYNX-MIX124 USB, CH1-CH8 for
LYNX-MIX164 USB, CH1-12 for LYNX-MIX204 USB) is equipped with the 1/4"
phone jack for directing output. These jacks are used to send the signal from
the channel path to external device for recording function etc..
These 1/4" phone jacks are used to connect the inputs of deck or secondary in
a complicated PA live sound system. You will find it is the best tool when you
operate the SUBGROUPS OUT.
These 1/4" phone jacks are insert points. They are used to connect processors
such as compressor, limiter, EQ etc.. When insert external processor into
these jacks, the subgroup stereo signal will be taken out, then returned to
before subgroups fader. Of course, these used jacks must be stereo (Tip Send/
Ring Return).
9 HI
If you turn this control up, you will boost all the frequencies above 12 kHz (shelving
filter). You will add transparency to vocals and guitar and also make cymbals crispier.
Turn the control down to cut all frequencies above 12 kHz. In such way you can
reduce sibilances of human voice or reduce the hiss of a Tape player.
17
SP
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HT
50 MAIN MIX OUTPUT
These stereo outputs are supplied with both the XLR and 1/4" phone jacks
and it is controlled by the Main Mix Level.
51 MAIN OUTPUT LEVEL Button
This button sets the main mix output level to match the input of the device that
you are ready to connect. Engage this button to reduce the output level from
MAIN MIX OUTPUT by 30 dBu, it is used to match the semipro -30 dBu device,
on the contrary, to match the professional +4 dBu device.
52 USB PORT
This USB port is used to connect the unit to PC with the supplied transmission
line.
53 USB RECORD Switch
You can select SUB1/2 or MAIN MIX track to input the record signal to PC.
10-11
54 USB PLAYBACK Switch
You can select CH11/12 (CH15/16 for LYNX-MIX164 USB, CH19/20 FOR LYNXMIX204 USB) or MAIN MIX track to output the audio signal from PC.
55 MAIN INSERT
These two 1/4" phone jacks are stereo insert points and used to connect
processors such as compressors, equalisers etc.. When insert a external
processor into the jack, the Main stereo signal will be taken out after the EQ
and returned into the MAIN MIX output before the MAIN MIX fader.
56 MONO Level Control
This knob sets the level of mono mix output signal, which can be varied from
- to +15 dB.
57 MONO OUTPUT Jack
This 1/4" phone jack is balanced/unbalanced mono mix output connector, it can
be regarded as a sum output of the left and right of MAIN MIX.
58 CTRL OUT Jacks
These 1/4" phone jacks will be used to send the Control Room signal to the
studio monitor speakers or a second set of PA.
16
SP
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4. CONTROL ELEMENTS
HT
10 MID
This is a peaking filter and it will boost/cut frequencies from 100 Hz to 8 kHz
depending on the position of the MID freq control. This control will affect
especially upper male and lower female vocal ranges and also the harmonics
of most musical instruments.
11 HI-MID
This control gives you up to 15 dB boost/
cut at 3 kHz. It is useful for controlling
voice. It can accurately polish your
performance via adjusting this knob.
11
10
12 MID-LOW
This control gives you up to 15 dB boost
or cut at 500 Hz.
13
13 LOW
If you turn this control up, you will boost
all frequencies below 80 Hz. You will give
more punch to bass drum and bass guitar
and make the vocalist more "macho". Turn
it down, you will cut all the frequencies
below 80 Hz. In this way you can avoid
low-frequency vibrations and resonance
thus preserving the life of your woofers.
14
15
16
12
17
19
18
14 AUX SENDS Level Control
These four controls are used to adjust
the level of the respective signal sent
to AUX bus, AUX1 and AUX2 can be
switched to PRE/POST-FADER via the
PRE/POST button, so, generally, they
can be used for monitor application
and effects & sound processors input. AUX3 and AUX4 are configured as POSTFaders. In this typical compact unit, excluding sending out the signal directly
to the external effect or processor equipment, AUX SEND4 can also be
assigned to the internal onboard effect module.
15 PAN/BAL Control
Abbreviation of PANORAMA control for mono channels, or the stereo channels,
always says, BALANCE control. Keep this control in center position, then the
signal will be positioned in the middle of stage.
SP
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4. CONTROL ELEMENTS
HT
16 PEAK LED
Inside your LYNX-MIX USB Series the audio signal is monitored in several different
stages and then sent to the PEAK LED. When the LED is red illuminated, it warns
you that you are reaching signal saturation and possible distortion, then you should
reduce the input level for avoiding distortion.
17 MUTE Button & LED
Each channel is equipped with a MUTE button. Pressing this button is equal
to turning the fader down, which can mute the corresponding channel output
except for the channel INSERT send and SOLO (in PFL mode). And the MUTE
LED will illuminate.
SP
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4. CONTROL
CONTROLELEMENTS
ELEMENTS
3.
HT
45 PHONES Jack
These jacks will be used to send the signal to a pair
of headphone or to powered studio monitors.
46
46 LAMP
This lovable LAMP is very convenient for your operation,
it is located in the top right corner of the front panel,
and provides the 12V socket that can drive standard
BNC-type lamp.
45
Rear Panel
18 ASSIGNMENT Controls
19 FADER
This fader will adjust the overall level of this channel and set the amount of signal
send to the main output.
47
48
POWER
51 52
53 54 59 61
MAIN MIX OUTPUT (BAL/UNBAL)
PHANTOM
ON
USB
+4dBu
-30dBu
MAIN
OUTPUT
LEVEL
OFF
SUB
1/2
MAIN INSERT
MONO
63
DIRECT OUTS (BAL/UNBAL)
AUX SENDS
MAIN
CH
MIX. 15/16
RECORD
CH8
CH7
CH5
CH6
CH4
CH3
CH2
CH1
MAIN
MIX.
PLAY BACK
CTRL OUT
DFX OUT
AUX RETURNS
SUBGROUPS OUT
Apparaten skall anslutas
till jordat uttag nar den
ansluts till ett natverk
10-12
Each channel provides four push-buttons: SUB1-2, SUB3-4, MAIN L-R and SOLO.
Pressing the SOLO button, the corresponding SOLO LED will illuminate and the
SOLO signal will replace other signals send to the Headphone/Control Room and
Meters. Usually use the SOLO function in live work to preview channels before
they are let into the mix. It is useful to set an instrument's input level and EQ,
and you can also solo any channel that you want to. The SOLO switch never
affects any mix other than the Control Room. The other three buttons can be
considered as signal assignment switches. Pressing the SUB 1-2 will assign the
channel signal to Subgroup1/2, you can depend on the PAN switch to adjust the
amount of channel signal sent to the SUB1 versus SUB2, when turns the PAN
to completely left, then the signal can be only controlled by Subgroup1 and viceversa. In the same way, pressing the SUB 3-4 or MAIN L/R will assign the channel
signal to Subgroup3/4 or MAIN MIX L/R, and will also be affected by PAN.
+15
AC INPUT
100-240V 50/60Hz
Fuse: T1AL
RATED POWER CONSUMPTION: 65W
49
56
TIP SEND
(BAL/UNBAL)
RING RETURN
FOOT SWITCH
50 55 57 58 60 62
SUBGROUPS INSERT
65
64
47 POWER ON/OFF Switch
This switch is used to turn the main power ON and OFF.
48 +48 Volt Phantom Power
20 Control Room Source
You can choose to monitor any combination of MAIN MIX, SUB1-2, SUB 3-4 and
2TK IN via these Matrix switches. Engaging these switches, the stereo signals
will be delivered to the Phones, Control Room and Meters display.
Note: When any SOLO switch was engaged, the SOLO signal will replace other
signals, and also be sent to the Control Room, Phones and Meters.
21 PHONES/CTRL ROOM Controls
Rotate these knobs to adjust the stereo level of CTRL ROOM and PHONES
outputs separately, which can be varied from - to MAX.
10
It is available only to the XLR MIC sockets. Never plug in a microphone when
phantom power is already on. Before turning phantom power on, make sure
that all faders are totally down. In this way you will protect your stage
monitors and main loudspeakers.
49 AC Inlet with FUSE Holder
Use it to connect your LYNX-MIX USB Series to the main AC with the
supplied AC cord. Please check the voltage available in your country and how
the voltage for your LYNX-MIX USB Series is configured before attempting
to connect your LYNX-MIX USB Series to the main AC.
15
SP
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SP
3.
4. CONTROL
CONTROLELEMENTS
ELEMENTS
HT
This switch is used to activate/deactivate the effect facility. This LED lights up
when the input signal is too strong. In case of the digital effect module being
muted, this LED also lights up.
37
IG
4. CONTROL ELEMENTS
HT
22 Master AUX SENDS Controls
39 DSP MUTE Switch & PEAK LED
40 41
OT
38
39 42 43
The four controls are used to
determine the master AUX SEND
levels, which can be varied from to +15 dB. When the external effect
unit connected to mixer has no input
gain control, you can get a further
+15 dB gain available from these AUX
SEND outputs. As to the AUX4, it
can also provide the lovable level
adjustment for the internal effect
signal.
23 24 25 20 21
27
26
33
28
32
29
34
22
23 SOLO Button
10-13
40 EFFECTS OUT Control
Rotate this knob to adjust the level of effect signal that intercepted from
internal DSP processor and directly sent to DFX OUT, which can be varied
from - to +15 dB.
The function of these SOLO buttons
are the same as the channel SOLO
button, they can also be affected
by SOLO MODE switch. Press the
SOLO button, the corresponding
AUX send will be routed to CTRL
ROOM/PHONES outputs and Meters
display.
30
31
41 DFX2 (INT) RETURN EFFECTS TO MONITOR
The AUX1 and AUX2 controls are used to set the signal level from AUX
RETURN4, which signal will be sent to AUX SEND1 and AUX SEND2. The
adjustable range can be varied from - to +15 dB.
24 Master STEREO AUX RETURNS Controls
These four controls set the level of effects that received from the stereo AUX
RETURN connectors, which can be varied from - to +15 dB. They are used to
provide the further gain for low level effects.
42 POWER LED
The LED indicates when the Power is on in your LYNX-MIX USB Series.
The both rotary knobs assign the AUX RETURN signals to their respective
AUX SEND outputs: The TO AUX SEND1 assign the signal from AUX
RETURN1 to AUX SEND1 bus, and TO AUX SEND2 assign the signal from
AUX RETURN2 to AUX SEND2 bus. The adjustable range goes from - to
+15 dB.
43 PHANTOM LED
This LED indicates when the Phantom Power is switched on.
44 2-TRACK IN/OUT
-TAPE IN
Use the Tape input if you wish to listen to your mix
from a Tape Recorder or DAT.
26 MAIN MIX & CTRL/R Button
AUX RETURN3 is equipped with the MAIN MIX & CTRL/R button. Release the
button to send the stereo signal from AUX RETURN3 to MAIN MIX buses;
Engage the button, then the stereo signal will be sent to CTRL/R output.
- TAPE OUT
These RCA jacks will route the main mix into a tape
recorder.
14
25 TO AUX SEND1/2
44
11
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4. CONTROL ELEMENTS
HT
27 SUB1-2/SUB3-4/MAIN MIX Buttons
These three buttons are configured for AUX RETURN4, they can be regarded
as the signal assignment switches. When engaging the SUB1-2, the stereo
signal from AUX RETURN4 will be assigned to Subgroup1/2; in the same way,
SUB3-4 for Subgroup3/4, MAIN MIX for MAIN MIX buses.
28 AUX RETURNS SOLO Button
The function of AUX RETURN SOLO is like the channel SOLO button. Engaging
it sends the signal from AUX RETURN (1-4) to the CTRL OUT, PHONES outputs
and Meters display. It can also be affected by SOLO mode button, and the LED
next to the button will illuminate.
29 SUBGROUPS ASSIGN TO MAIN MIX
10-14
Through these switches, you can operate the subgroup faders as a master
control for assigning the subgroups to MAIN MIX. Engage the LEFT switch to
send the corresponding subgroup signal to MAIN MIX L, and the RIGHT switch
for MAIN MIX R. When engaging the both switches, the signal will be sent to
L/R of MAIN MIX.
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4. CONTROL ELEMENTS
HT
after the Level control, otherwise, release the button will output the soloed
signal before the Level control. Please note that the SOLO function can never
affect the mix at main recording output, and also can't be affected by channel's
MUTE switch.
35 EQ Switch
Engage this button to add the stereo graphic EQ into the main mix output circuit.
It can be used to modify the frequency "contour" of a sound. If you release the
button free, the stereo graphic EQ will be bypassed.
36 STEREO GRAPHIC EQ
Each one of these faders will boost or attenuate (+/-15 dB) the selected frequency
at a preset bandwidth. When all the faders are in the centre position, the output
of the equalizer is flat response.
30 SUBGROUPS Fader
These faders are used to control the levels of the signal send to the SUBGROUPS OUT, the adjustable range goes from - to +10 dB. Any channel
that is assigned to the subgroups, not muted and not turned down will be
assigned to the SUB OUTS.
35
36
31 MAIN MIX LEVEL Fader
This fader sets the amount of signal send either to the Main Mix Output or to
the Tape Output.
32 LED Meter
The stereo 12-segment LED Meter will indicate the signal level send to the
CTRL ROOM and PHONES outputs.
33 2TK TO MIX Button
Engaging this switch allows you to combine the 2 TRACK Output with the MAIN
MIX. In other words, feeds the 2 TRACK IN signals into MAIN L/R output.
34 SOLO MODE Button
This button provides two modes: up for PFL (Pre-Fader-Listen) mode, down for
AFL (After-Fader-Listen) mode. Engage the button, the soloed signal will output
12
DSP SECTION
There is a powerful 24-bit/256 preset multi-effects included in your LYNX-MIX USB
Series. Effects include reverbs, chorus, flanger, delay and combinations of the above.
37 PRESETS
Adjust this knob to select the right effect you wish to perform. There are total
16 options for you: several kinds of reverb, mono and stereo delay, effects with
modulation, and versatile two-effect combination.
38 VARIATIONS
Since you have selected the preferable effect, the next step, please go with the
fine consideration, there are also total 16 variations for each preset, and each
variation may be managed by several different factors.
13

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Modify Date                     : 2010:12:01 16:42:32+08:00
Create Date                     : 2008:04:28 08:18:11+08:00
Title                           : LYNX-MIX124 USB資料內容修改記錄表.doc
Author                          : pc98
Creator                         : LYNX-MIX124 USB資料內容修改記錄表 - Microsoft Word
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