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1 CONTROLS, FEATURES, AND A FEW HELPFUL HINTS...............2 FRONT PANEL......................2 REAR PANEL.......................5 CONNECTION DIAGRAM ..............6 BEGINNING A MULTITRACK RECORDING SYSTEM................7 SOME APPLICATION EXAMPLES.........7 SPECIFICATIONS....................8 BLOCK DIAGRAM ...................9 PRE-USE CAUTIONS • Be sure to turn down all faders when making input/output connections. • Do not expose the MM30 to direct sunlight or other sources of heat such as radiators, etc. • Irreparable damage may result from opening the MM30 cabinet or attempting to alter the internal circuitry. • Avoid dropping your MM30 or subjecting it to any type of shock, as impaired performance may result. • Do not attempt to clean the MM30 with benzine or other solvents, as these may cause discoloration or deformation of the cabinet. Clean the unit with a soft, dry cloth. 1 CONTROLS, FEATURES, AND A FEW HELPFUL HINTS Before connecting and turning on your MM30, study the descriptions of its controls and features given in this section in order to become familiar with their basic operation. It may also be a good idea to refer to the block diagram at the back of this manual to get an idea of how the controls and features fit in with the internal signal routing scheme. The descriptions in this section also include a number of hints on how, when and why to make use of the controls. FRONT PANEL VAMftUA PERSONAL STUDIO SYSTEM THRIHIln >')»1&|; i MXb - ¿WMÜ3© O INPUT SELECTOR This selector has three positions: TAPE, LINE and MIC. The input selector is set according to the source which is required to be fed to the respective input channel. When a line-level source (600 ohms to 10 k-ohms, —10 dB nominal) such as an electronic keyboard, effects unit or a Producer Series component such as the MR 10 Drum Machine or MA10 Headphone Amplifier is connected to one of the MM30's INPUT jacks, the input selector should be set to LINE. If the input source is a microphone, then the selector should be set to MIC. When performing a mixdown (or "remix") from a four-channel multitrack tape deck or monitoring from a stereo cassette deck the input selectors of the appropriate channels should be set to TAPE. In this case the outputs from the deck are connected to the MM30 TAPE IN jacks. @ TONE CONTROL This control gives you basic tonal control over the source fed to each channel. Technically speaking, the tone control is a 10 kHz shelving type with a ±12 dB boost/cut range. When TONE is set to its center position the overall frequency response of the respective input channel is essentially flat. That is, the frequency contour of the input signal is not altered in any way. Rotating TONE clockwise boosts the high frequency range, thereby creating a brighter sound. Rotating TONE counterclockwise de-emphasizes the high frequency range, thereby creating a rounder, more mellow tone. Use the tone control for overall response tailoring as needed. 2 TONE FREQUENCY RESPONSE 100 IK I0K FREQUENCY (Hr) @ ECHO CONTROL Most electronic instruments including keyboards and electric guitars sound too "dry" when simply amplified and fed to a speaker system. Even acoustic instruments and vocals can sound dull and lifeless if recorded in a "dead" room that does not have much natural reverberation. That's why you sound so good when you sing in the shower--bath-rooms generally have lots of natural reverb thanks to the hard, shiny tiled walls and lack of sound absorbing material. Of course, it's a little inconvenient to record in your bathroom to get a reverberant sound (although some bathrooms sound really good). And just try crowding your band into the bathroom for rehearsal. The MM30 provides the answer to this problem with a built-in BBD (Bucket Brigade Delay) unit that provides a high-quality reverb-like echo effect. The ECHO controls determine how much echo is added to the signal at each channel. Just a touch of echo is nice with voice, a considerable amount can be applied to electric guitar, and bass guitar is generally better off with none. o PAN CONTROL One of the more "conventional" functions that a stereo mixer performs is to permit acoustic placement 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 performed using "pan pots"-PAN on the MM30. 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 counterclockwise 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 effec...