Alto LIVE 1202 Guia Del Usuario página 5

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17. Aux Send: Use 1/4" TRS cables to
connect these outputs to the inputs of
an external amplifier or active monitor.
Use the Monitor Knob (Mon) on each
channel to control the level of the signal
sent to Aux Send 1. This is useful for
creating a custom monitor mix for
onstage musicians.
18. Aux Return (Aux Rtn): Connect the
outputs of an external device to these
inputs with 1/4" mono cables. If your
source is mono, plug it into the left jack
and it will be heard on both the left and
right sides.
19. Aux Return Fader (Aux Rtn): Controls
the audio level sent into the Aux
Return (Aux Rtn) inputs.
20. Graphic Equalizer: When the EQ
On/Off switch is on (depressed), you
can use these controls to adjust the
equalization of the main mix.
21. EQ On/Off: Enables or disables the
Graphic Equalizer.
22. Main Out / Monitor Out: When this
button is raised, the Graphic Equalizer
will affect the signal sent to the Main
Mix Outputs. When this button is
depressed, the Graphic Equalizer will
affect the signal sent to the Aux 1
(Mon) Output.
23. Effect Selector: This knob determines
what effect the mixer's internal effects
processor will apply to the various
channels. Turn the knob to change the
effect number, and push the knob to
select it. The display next to the DFX
Mute button will show the preset
number.
Each
different
levels
processor by adjusting its DFX Knob.
See
the
Effects
explanation of the available effects.
24. DFX Mute: Press this button to
mute/unmute the effects.
25. DFX Peak LED: The LED will flash if
the signal is clipping. If this happens,
decrease the setting of your source
channels' DFX Knobs. When the effects processor is muted, the LED will be solidly lit.
26. DFX Return Fader (DFX Rtn): Adjusts the volume of the audio sent from the mixer's
effects processor.
27. DFX Bypass: You can connect a standard 1/4" latching-style footswitch (sold separately)
to this input and use it to bypass the mixer's internal effects processor (when the
footswitch is in its "closed" position).
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