Yamaha RM602 - Manual (Page 5)

The -35 dB setting is most ideal for direct input from
electric guitars and basses. The -20 dB setting is the
"line level" setting, accepting output from most line-level
sources: some synthesizers and electronic keyboards, and
most standard audio sources (tape players, etc.).
The TAPE position on the first four input channels lets
you switch from the INPUT sources to the outputs from
a 4-channel multitrack recorder without having to repatch
cables. This is particularly handy when you want to
remix the recorded material on 4-track tape down to
standard stereo format.
The PHONO L and PHONO R positions on the channel
5 and 6 selectors direct the output from the RM602's
built-in phono equalizer amplifier (see rear panel) to
channels 5 and 6, subject to all the controls available
on those channels.
2. HIGH AND LOW EQ
The HIGH EQ and LOW EQ controls provide some tonal
control over the sound of each input channel. The HIGH
control provides plus or minus 15 dB of boost or cut in
the frequency range above 10 kHz ("shelving" EQ), while
the LOW control permits boosting or cutting frequencies
below 100 Hz by the same amount.
HIGH EQ is valuable for emphasising the high frequen­
cies of certain instruments—cymbals, for example —and
for reducing hiss and noise on channels in which the
source has no essential frequencies in the range above
10 kHz.
LOW EQ can be boosted to make a bass sound bassier,
or cut to minimize rumble or microphone proximity
effects.
3. EFFECTS SEND LEVEL
This control determines the amount of that channel's
signal which is sent to the internal effects mixing buss.
This effects buss feeds the rear-panel EFFECTS SEND
jack—via the master effects send level control (see
MASTER SECTION)—which normally feeds an external
echo or reverberation device. Having independent effects
send controls on each input channel means that the
amount of effect applied to the signal from each,
channel can be set independently.
The signal sent to the effects buss is "post EQ/fader",
meaning that it is taken from a point after the equalizer
and channel fader circuitry.
4. MONITOR PAN CONTROL
One of the more attractive features of the RM602 is
its independent stereo monitor buss which makes it
possible to monitor a completely indepedent stereo mix
of the input channel or tape signals. The monitor PAN
control determines the placement of that channel's sig­
nal in the stereo monitor sound field. Turning the pan
control fully to the left sends the signal only to the left
monitor buss—meaning that you hear the signal ony
from the left monitor speaker. Conversely, turning the
control all the way to the right sends the signal to the
right monitor buss only. Pan control positions in be­
tween extreme left and right send a corresponding
amount of the signal to both busses, causing the
signal to appear in the corresponding position in the
stereo sound field.
MONITOR POST/TAPE SELECTOR
(CHANNELS 1-4)
MONITOR POST/STEREO L OR STEREO R
SELECTOR (CHANNELS 5 & 6)
On channels 1 through 4 this selector determines
whether the channel input source (POST) or the cor­
responding tape input signal is sent to the monitor buss.
On channels 5 and 6 the choice is between the channel
input source or the left (CH 5) or right (CH 6) stereo
mixing buss signals. The fact that the channel signal
position is marked "POST" indicates that the channel
signal is derived from a point after the equalization and
fader stages.
6. MONITOR LEVEL
This control determines the amount of that channel's
signal (or the selected tape or stereo buss signal) which
is fed to the stereo monitor mixing buss via the monitor
PAN control discussed above. Independent monitor level
controls on each channels permit a monitor mix to be
set up independently from the input channel faders.
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