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External Reverb or Effects
For applications that demand a more sophisticated
or variable reverb effect, an external device can be
connected to the Passport through the Rev/Aux send
and return circuit.
The level sent to the Rev/Aux output is derived from
the Rev/Aux bus and is monophonic. The return
signal from a mono or stereo external device is routed
to the left and right mix busses respectively. The
return/input connector should be wired to route the
left return signal to the tip of the 1/4” two circuit jack
plug, and the right return signal to the ring. Ground
is to the sleeve.
Send level is set on the channel Rev/Aux send
controls. Return level is set on the output of the
external device. The internal digital reverb continues
to be active and can be muted or mix in via the
Reverb Master control.
System EQ ∆
The Passport System is
designed to be used in a wide
variety of applications with
distinctly different needs. The
System EQ control allows the
overall sound of the system to be
varied to suit particular uses and environments. For
public address applications where voice
communication is paramount, the control can be
rotated clockwise into the blue section, where the
frequency range is “tilted” upwards towards the mid
& high frequencies. At the same time vocal
articulation is enhanced, the low frequency range is
reduced to improve the available system headroom.
Conversely in distant miked applications where, for
example a panel meeting is amplified to a wide
audience, there may be need to control the mid to
high frequency content of the signal. Rotating the
System EQ control counter clockwise progressively
tilts downward the mid & high frequency content.
Whatever the job, careful use of this control will
significantly enhance the effectiveness of your
Passport System. Carefully consider the needs of
the particular event you are amplifying and the
acoustics of the room.
**Remember: There is no control on any mixer, at any
price, that can compensate for poorly positioned
speakers or badly positioned or applied
microphones. Use your judgment and experience to
find the best system interface with the room.
Experiment and evaluate!
Microphone Inputs, 1 - 4:
Input is via an XLR type connector. Wired
for pin 2 hi/pos, pin 3 low/neg, and pin 1
ground. These inputs are intended for low
level signals such as microphones. Use
only high quality microphones, such as the
Fender P-51 for optimum performance.
Line Inputs, 1 - 4:
Input is via a 1/4” TRS ( two circuit/stereo)
phone connector. This is also a balanced
input, designed to receive line level input
signals from playback devices, direct
boxes and keyboards. The 1/4” inputs can also
accept unbalanced sources, however when used
with an unbalanced source, any balanced source
connected to the microphone inputs at the same
time will not operate.
Stereo Inputs, 5 - 6:
Input is via either a pair of standard RCA
stereo jacks or a Stereo 1/4” phone jack.
If using a 1/4” phone jack, the jack should
be wired for Tip=Left, Ring=Right and
Sleeve=Ground. (This is the standard
format of commercially available cables). The
sensitivity of these inputs is suited for playback
devices such as CDs, Cassettes, DAT or Mini Disc.
Outputs from instruments such as keyboards can
also be accommodated. A mono source input to
these channels will require different cabling. Use a
two circuit (stereo) phone plug and wire the signal to
both the Tip and Ring, with the ground to sleeve.
INPUT / OUTPUT CONNECTIONS