FRONT PANEL CONTROLS (top row)
MIC/DI - LINE
This switch selects between the transformer balanced microphone input and the transformer
balanced +4 line level input. The associated XLR connectors appear on the rear panel.
MIC/DI GAIN
Provides continuously variable gain of the microphone and direct instrument (DI) inputs. When
used in conjunction with the output level control the input gain can be adjusted to create clean
gain or to slightly overdrive the front end. When LINE input mode is selected, the MIC/DI con-
trol has no effect.
MIC/DI GAIN - OPERATIONAL NOTE:
The PAL is designed to give a broad range of textural and tonal possibilities. Setting MIC/DI
GAIN to lower levels with higher levels applied to the OUTPUT LEVEL will result in a cleaner
sound. If the setting is too low, you may not have sufficient level to drive the PEAK REDUC-
TION. With a little practice, you will get the feel for how best to “dial-in” the ideal sound and
how to balance the interaction of these functions:
•
MIC/DI GAIN and MIC/DI FEEDBACK drive the limiter.
•
LIMITER RESPONSE and PEAK REDUCTION control the limiter.
•
LIMITER FEEDBACK and OUTPUT LEVEL drive the output to recorder/mixer.
HI-PASS FILTER
Reduces rumble. This filter features a gentle slope with maximum reduction at 35Hz and below.
Designed to be as unobtrusive to audio quality as possible. In the LINE input mode the HI-
PASS switch has no effect.
MIC/DI FEEDBACK
Left to run freely, vacuum tubes tend to exhibit a considerable amount of harmonic generation
and other forms of distortion. For over half a century, negative feedback has been engineered
into circuits to “improve” the linearity of vacuum tubes when used in audio gain stages. How-
ever, best readings on a meter don’t always equate to the ideal sound (whatever that happens to
be). By making MIC/DI FEEDBACK an adjustable feature, harmonic content and texture are
put into the hands of the audio engineer and not the guy with the THD meter.
The MIC/DI FEEDBACK control provides continuously variable adjustment of the amount of
negative ‘local’ feedback in the MIC/DI gain stages. Set to ‘0’ the feedback is at the setting of the
original PAL with the maximum amount of feedback being applied. When set fully clockwise,
9dB of feedback is lifted from the stage, allowing the tube (12AY7) to run in its ‘less than linear’
state with a great deal more harmonic content present in the audio. Upper harmonics will have
additional intermodulation distortion. In the Line mode the MIC/DI FEEDBACK control has
no effect.
THE PAL PLUS MKIII
R e q u i s i t e A u d i o E n g i n e e r i n g! L2M MkIII
4
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