Yamaha RM602 - Manual (Page 6)

7. PAN
This control has the same effect as the monitor PAN
control, discussed above, except that the channel signal
is panned across the main program buss which feeds
the mixer's main stereo outputs.
Panning is one of the mor^ "conventional" functions
that a stereo mixer performs, permitting 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 per­
formed using "pan pots". 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 coun­
terclockwise 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.
8. INPUT FADER
The input faders are what provide the actual "mixing"
function in a mixer. They permit individual adjustment of
the levels of the six 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 minumum 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.
MASTER SECTION
9. TAPE OUT SWITCHES
Rather than always having input channels 1 through 4
feed the corresponding TAPE OUT jacks, these switches
make it possible to send the left stereo buss signal to
either the TAPE OUT 1 or 3 jacks, and the right stereo
buss signal to either the TAPE OUT 2 or 4 jacks. This
makes it possible to reconfigure the system to mix the
input channels down to stereo on the recorder con­
nected to the TAPE OUT jacks.
STEREO L Signal-
CH1 Signal-«“^
STEREO L Signal-
CHI Signal———
L»irÉ~li-»3
TAPE OUT LINE IN
-_@L_
STEREO R Signal-
CH2 Signal'
R»2l ED lR>-4
CH4 Signal'
STEREO R Signal'
10. EFFECTS RETURN
The output from the effects device you use (normally
echo or reverberation, fed by the EFFECTS SEND jack)
is returned to the EFFECTS RETURN jack and fed to
the stereo mixing buss via the EFFECTS RETURN con­
trol. In other words, this control determines how much
of the externally processed signal is mixed back into the
main stereo program.
11. AUX IN
The RM602 has a pair of AUX IN terminals that make it
possible to mix an extra stereo signal in with the sources
present at the six input channels. The AUX IN control
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.
3. Another possible use for this feature is as extra inputs
if the six main input channels are all in use. An elec­
tronic keyboard or other line-level source could be
connected to the AUX IN terminals with a phone-to-
RCA pin plug adaptor and mixed in with the, rest of
the program using the AUX control. Of course you
don't get any tone control or panning capability, but
if you need the extra inputs, they're available.