Okay, so now we come to the master section, which is in the center of the desk on this desk. The first thing we've got is we've got the subgroups, which are these red faders are their audio subgroups. So we can root channels to the subgroups, and then from the subgroups, we can send it to the masters. This groups the audio together, it's like a mini mixer inside the mixer. And it's incredibly useful if you want to treat a selection of channels with something like a compressor. So you can route all the drums to a subgroup and then stick a compressor over that, or even if you just want to turn them up and down with two faders.

And so we say route the drums into one and to push one or two up pan, group one to the left, Pan group one to the right, and we've now got a stereo subgroup, which is then we send to the stereo, we actually have to choose to send it to the stereo on the desk. So it's quite useful because gives you the option to not do. And that's got some mute buttons on it as well. You can also this insert in our buttons on the subgroups as well so that if we do put a compressor OR gate, across the subgroup, we can check the inserts working switch in and out. And we can also send the subgroups to something called a matrix section. A matrix is like having another mixing desk built into the output section of the mixer.

And it gives us a chance to achieve lots of different mixes very easily and quickly using either the left and the right output of the desk, the various groups or any on this desk any external inputs we want to put in, which means that we can send off lots of different things to different places. And today, we're using it to route the signal from the desk to the video recorder that we're using to record this section because obviously, the left and the right is going to the big PA. So we're using a matrix sending off the left and the right, which we're then sending to our recorder that we're using to record this presentation. And media, we can attenuate the level to the right level for the recorder. And it's an easy way of us getting a left and right mix without using the main master.

This This says you got two sets of stereo masters. It's got an alternative stereo up here. And the main stereo masters are down here. So it's pretty comprehensive. There's lots of ways to get sound in and out of this desk. After the red section, which is the eight so groups, we've got the auxiliary sense which are the white green and blue, which correlates the strange white faders there but gray knobs here, but that's the the stereo sense here.

The joke eccentrics, then the green of the next fork, so there is and the blue of the forks loose after that. So we need to have these up to send out to the various effects units. Because this is an in house system. We've actually got four FX units in the rack here, which are connected to the four bottom sends. So on the bottom sent here, we've actually got an echo unit Then we've got the lexicon 91 reverb, then the bottom of the SPX is and the top of the SPX is I'll show you those in a rack in a second when we finished with the desk. So we need to have those up and on, make sure they're not muted.

We also because they're sense, we have to make sure they're not, we've got the option to, to use these a sense to the master, so we have to make sure they're not going to go to the stereo. So this they're switched out of stereo. Because otherwise when we send something to accelerate, I should make it louder in the PA. So make sure they're just going to be used as effects sense. So we make sure that all the knobs on those four as well are set to post so that perfect disappears when we pull the fader down. Then the very far side we've got a top here we got an alternative stereo outputs.

And below we've got our main stereo output, which is quite handy. Moving along from this section, which is our subgroups and auxiliaries are stay out. We've got A whole selection of sort of routing things, we've got something called pink noise generator, we use pink noise earlier, there's actually a pink noise generator built into the desk, which is very handy for checking things and we can use it to send out. So one of the first things we do is we'd use it to send out to the various effects units in the rack, and check they're actually working. So we do that by making sure the levels down start with, we can choose between using pink noise or a tone. Pink Noise is actually a much better way of checking things because as we say, it's it's all the frequencies that we need, rather than just having a plain tone.

So it's a good way of checking reverbs and it gives you something more to listen to. So we'll set it to pink noise. We'll turn the outputs and we'll set the oscillator or the pink noise to the different groups. The one first one too, so we'll try group 12 and we'll turn it up And check, it's going out to group child, group 12 comes out, and we can see that it's going in to the digital delay here. details coming back on these stereo channels, the stereo channels are exactly the same as the mono channels, and they've got the same EQ, but there's two inputs and their patent can be panned left and right down the bottom here. So on this job concentric, we've got one side of the pan left the other side, Pan, right, same EQ, and it's coming back here, so we just get a bit more level going in.

I'll just check it with my headphones. Yep. And I can hear the pink noise coming back through. So that's effects first effects units working. Try number 11, which is the PCM 91 here to send a tiny bit more and that's coming back. Okay.

So it's p 791. On the second stereo channel. Turn okay. See that? The 990 here. And it's going back here.

And I've got level there. And last but not least the second 996 coming in here and coming back here. So I now know all my visitors are fine. I'll turn the pink noise down and turn it off. So it doesn't appear during the middle of the gig when I actually press the wrong button, which I have done before. So I know I've got all my service working, I've got my effects.

So I think it's time to move on to the effects right, really. So let's have a look at the facts right