Rane MM 12 Manuel d'utilisateur télécharger pdf (Page 10)

IV-l. INPUT ASSIGNMENTS

A. SUBMlXING MULTIPLE INSTRUMENTS.

The MM 1

2 has 12 inputs but only 8 monitor

mix level controls above each output master level. The reason for this is to simplify monitor

mixing by doing some clever sub-mixing on the inputs. Most groups possess at least one

individual who plays more than one instrument (albeit never at the same time...), such as a

keyboard player, drummer, lead guitarist with 4 axes, etc. In such a situation, plug one

instrument into channel 8, a second instrument into 8a, a third into 8b and so on. Then adjust

the INPUT CAIN controls on channels 8, 8a, 8b, and 8c of the MM 12 such that all of the

instruments are of equal volume when monitored in headphones with MlX LEVEL control 8

turned up (you will also have to turn up channel 1 OUTPUT LEVEL control and depress the

CUE button just below it). Now the #8 MIX LEVEL knobs in the 6 output columns will control

any of the four instruments in the #8 submix group.

If the above instrumentalist (drummer, keyboardist, etc. also sings, be sure to route the vocal

through input channel #7 (N0T 8, 8a, 8b or 8c so that you maintain separate control on the

monitor mixes from the instruments.

Use input channels 1 and 1a in a similar fashion for a single instrumentalist with two

instruments; remember to keep any vocal on a separate channel.

8. RE-ASSIGNING SUBMIXES.

Instead of using the standard 4-into-1 submix, you might

have a situation where you need three submixes of 2-into-1, say for three guitar players or brass

players each having two separate instruments. The MM 12 may easily be re-patched to

accommodate this or similar set-ups. Use inputs 8 and 8a for one pair of instruments. Then

using two mono shielded 1/4" patch cables, plug the LOOP of 8b into the AUX input of

channel 7; similarly connect the LOOP of 8c into the AUX input of channel 6. Now you have

three separate 2-into-1 submixes: 8/8a, 7/8b, and 6/8c. Now the mix level controls 6, 7 and 8

in the OUTPUT columns each control either of two instruments, whichever is being played at

the time.

IV-2. USING THE MM 12 OUTPUT MIX MATRIX

The MM 12 is laid out differently from traditional monitor mixer designs. By being ”output

oriented” rather than input oriented, its use is more natural and logical, and therefore less

confusing and easier to learn. In using the output mix level controls, think in terms of each

vertical column of knobs controlling the content of each of the monitor speakers on stage.

For example, the large MASTER LEVEL control of output channel #1 sets the overall volume in

#1 monitor speaker. The eight MIX LEVEL controls above it determine the specific mix of

vocals and instruments (from the MM 12 inputs) to be heard in monitor speaker #1.

Making quick adjustments is very straightforward:

if the person listening to monitor #3 wants

more of his/her own vocal, which is input channel 5, simply go column #3 and turn up mix level

control #5.

IV-3. USING ‘THE PARAMETRIC OUTPUT EQUALIZERS.

The primary intention of the parametric output EQ is to minimize feedback problems which

inherently plague monitor systems. Although versatile and economical, parametric equalizers

can be a little tricky to use properly if you are not familiar with them. The following procedure is

a recommended method for quickly reducing feedback problems without adversely affecting

monitor sound quality.

Start with only ONE output MASTER LEVEL control turned up, say channel #1, and all

others turned fully down.

1 2 ... 5 6 7 8 9 10 11 12 13

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Rane MM 12 Manuel d'utilisateur Page 10

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