SPL MixDream Model 2384 16x2 Analog Summing Mixer - Manual (Page 21)

MixDream 21
IMPORTANT: In the above cases you may find it necessary to
reduce levels substantially to prevent processor clipping. In
particular, tube processors produce widely varying sonic results
at different drive levels. Using the Insert in-out toggle switch,
you can quickly ascertain whether your settings (and results)
are correct.
The Stereo Expander can also add even greater width and
depth to your mix—as the panorama and width won by analog
summing can be undergo broadening effects from the “classic”
to the “astounding”.
As a final link in the chain, the analog Peak Limiter can play
a decisive roll in protecting the following A/D converter from
overs. On the one hand this limiter avoids clipping from peaks,
and on the other, it may allow for a generally higher loudness
level. The degree to which this may be applied depends greatly
on track characteristics. If the track has overall a narrower
dynamic range, then less limiting to avoid distortion is both
sensible and highly advisable. In tracks with large dynamic
peaks such as those from percussion, you can achieve up to a
6 dB overall loudness boost.
Summing with Single Channel Inserts
Using these individual channel inserts effectively means that
you are realizing the MixDream’s full potential. As the name
implies, you can employ a complete spectrum of analog proces-
sors (EQ, compression, gates, etc.) to each individual channel.
But to be as simple and effective as possible, you must also
coordinate this processing and MixDream assignments in the
most logical way. One example we have mentioned is the use of
channels 1-6 mono switching capabilities, a more specific case
of which might be an SPL Transient Designer for kick drum and
snare on channels 1-2, compression for bass on channel 3 and
compressor/EQ on a channel 4 vocal (in the last case, you see
that chained processing is possible for individual channels). >
Applications and Modes of Operation