How does the slope of each channels gain compare with the long smooth slope on a Cooper vs. a short steep one on the Shure FP33 or Audio Developments 4.2?
Gain control is the essence of any mixer, and we were aware of the limitations with gain structures like Shure’s dual-stage pots when designing the 442. As in a traditional mixing console the 442 has an input trim control and a channel fader per channel. By setting input sensitivity on the trim control (and gross sensitivity with the mic/line switch), you can operate inputs with wide level differences at unity gain on the channel fader. This gives excellent, smooth gain control for all types of inputs – from low sensitivity ribbons/dynamics to hot condensers and wireless outputs. You will appreciate the difference mixing on the 442 versus mixing on an ENG mixer. However, some users not familiar with a mixing console may need some time to learn to set a gain structure with the 442. Q: I’m also curious about the feel of the rotary gain knobs. Hard plastic or soft cushioned grip that’s easy on the fingers especially in the cold of Chicago. We designed and custom-machine all of the knobs o
