Lg Electronics MIC/LINE MIXERS Manual Do Utilizador

16

jacks and engage the 

BREAK SWITCH. In-

stantly, the entire main mix is switched off and
the intermission entertainment is switched on.

Even if you just want silence during the

breaks, this switch can act as a “Master Mute”
switch, simply by plugging nothing into 

TAPE

INPUT 

.

After the 

MAIN MIX Fader 

, the mix is

sent through this knob, allowing you to set
headphone levels as desired without disturbing
the main mix level.

When a channel’s 

SOLO PFL 

 is engaged,

the main mix will be replaced by the solo sig-
nal, allowing the engineer to audition channels
without disturbing the main mix.

The stereo 

PHONES jack 

 can drive any

standard headphones to very loud levels.
Walkperson-type phones can also be used with
an appropriate adapter.

Note: Please see the “Safety Instructions”

on page 2 for information on hearing protection.

After the 

MAIN MIX Fader 

, the mix is

sent through this knob, allowing you to set the
levels at the 

UTILITY OUT 

 as desired with-

out disturbing the main mix level.

The typical exit for channel signals is through

one or more sub mixes. The sub mix signal is
first controlled by this fader, which provides 10
dB of gain fully up, unity gain at the “

U” mark,

and is effectively muted fully down.

From here, the signal goes to two very differ-

ent locations: 

SUB OUT 

 sends the sub mix

directly out of the mixer via its TRS jacks; and
SUB ASSIGN 

 sends it to the 

MAIN MIX

Fader 

.

As discussed in 

ASSIGN 

, the only way to

get channel outputs to the main mix is via the
sub mixes, and this switch is the key.

Continuing the assumption made in 

ASSIGN

, Subs 1 and 2 are the left-right stereo path

from the channels to 

SUB Faders 

 

1 and 2,

with 

SUB 1 carrying the left signal and SUB 2

carrying the right. Engage 

SUB 1 ASSIGN LEFT

and 

SUB 2 ASSIGN RIGHT, and you’re done.

Take a look at the block diagram on page 22 —
it’ll explain this and more, but in hieroglyphics.

15

15

5

10

0

5

10

15

15

5

10

0

5

10

CFX 12 MIXER

STEREO GRAPHIC EQ

1K

500

250

63

125

16K

2K

4K

8K

12 CHANNEL COMPACT INTEGRATED LIVE SOUND MIXER 

ZE

LEV

SE

TAPE LEVEL

O

O

MAX

PHONES LEVEL

UTILITY OUT LEVEL

BREAK SWITCH

(MUTES ALL CHANNELS)

U

+20

O

O

U

+20

O

O

U

+10

O

O

EFX  

1 

RETURN

SUB

1

RIGHT

LEFT

dB

30

20

10

O

O

40
50

5

5

U

60

10

d

ASSIGN

3. Slowly turn up the 

MAIN MIX Fader 

until feedback just begins to occur. BE
CAREFUL! Feedback can occur quickly
and become very LOUD, very fast.

4. Cut the appropriate slider until feedback

stops.

•

For better vocal sound, set the 125, 250,
and 16K sliders to +5.
Note: Make sure the singer is within 3 to 6
inches of the microphone. No amount of
EQ can save a wandering minstrel.

•

For more presence, set the 4K and 8K
sliders to +5.

•

To warm up the overall sound, set the 2K
slider to –5.

•

REMEMBER, LESS IS BETTER.

You can adjust the incoming level of your in-

termission entertainment, independent of the
main mix level controls, via this feature. Here’s
how: Patch the stereo device into the 

TAPE IN-

PUT 

. Put the device in play. Engage the

BREAK SWITCH 

 and set the 

TAPE LEVEL

 knob as desired. Assuming the 

MAIN MIX

Fader 

 is set, you should hear the device.

No, when we say 

BREAK SWITCH, we’re not

asking you to break the switch, we’re offering
you a very handy feature. When it’s time for the
talent to take a break, the engineer usually
wants to stretch his legs. But walking away
from a live mixer in a crowded club can be
somewhat unnerving — what if some goon
starts dinking around with the faders?

No problem. Just plug in your intermission

entertainment device to the 

TAPE INPUT