Sound Devices 302 Production Mixer User Guide

							Compact Production Mixer 
User Guide and Technical Information 
Sound Devices, LLC 
300 Wengel Drive 
Reedsburg, WI 53959 USA 
tel: +1 (608) 524-0625 
fax: +1 (608) 524-0655 
www.sounddevices.com 
[email protected]  
						

							page 2 302 Compact Production Mixer 
User Guide and Technical Information 
TABLE OF CONTENTS 
 Quick Start Checklist   . . . . . . . . . . . . .3
Powering 
Interconnection 
Setting Output Gain Structure 
Setting Input Levels 
Monitoring 
Front Panel Descriptions  . . . . . . . . . . .4
Input Panel Descriptions  . . . . . . . . . . .5
Output Panel Descriptions   . . . . . . . . .5
Inputs  . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Mic/Line Level Selection 
Gain (Trim) 
Fader 
Phantom and T- Microphone Powering 
High-Pass Filters 
Pan Switches 
Input Limiters 
Peak and Limit LEDs 
Polarity Reverse - Input 2 
Stereo Linking of Inputs 1 and 2 
Inputs 4 & 5 
Outputs   . . . . . . . . . . . . . . . . . . . . . . . . .9
XLR Outputs 
XLR Output Level 
Tape Out (Mix Output) 
Output Limiters 
Headphone Monitoring   . . . . . . . . . . . .11
HP Monitor Selection 
Headphone Level and Overload LED 
Return Monitoring 
Tone Oscillator/Slate Microphone  . . . .12
Tone Oscillator 
Slate Microphone 
The Meter  . . . . . . . . . . . . . . . . . . . . . . . .12
Source 
Scale 
Ballistics 
Illumination Intensity 
Mixer Linking   . . . . . . . . . . . . . . . . . . . .14
Powering  . . . . . . . . . . . . . . . . . . . . . . . .14
Power Switch and LED 
Internal Batteries 
External DC Sources 
Power Metering 
Power Consumption 
The Setup Menu   . . . . . . . . . . . . . . . . . .15
Entering the Setup Menu 
Setup Example 
User Default 
Output Limiter Adjustment 
Specifi cations  . . . . . . . . . . . . . . . . . . . .17
Inputs 
Outputs 
Accessories   . . . . . . . . . . . . . . . . . . . . .18
Warranty & Approvals   . . . . . . . . . . . . .19
Warranty 
FCC Statement 
CE Conformity Statement 
Gain Structure and Interconnection  . .20
Full Scale Tone 
Setup Menu (v 1.0.3)  . . . . . . . . . . . . . . .21
T
he 302 is the essential portable mixer for production companies and camera operators wanting to take 
control of their audio. The 302 is stunning in size, fl  exibility, control and performance; it is the most com-
pact and cost-effective battery-powered professional audio mixer in its class. 
With important features to accommodate nearly any over-the-shoulder production, the 302 can interface 
with any professional microphone, wireless system, or camera/recorder input. Its microphone inputs share 
the same superb circuitry of all Sound Devices fi  eld production tools. 
With many of the controls of Sound Devices fl  agship 442 mixer, the 302 has a complete feature-set in a 
compact, functional design. All controls are accessible on its three main surfaces. Its high-effi ciency power 
circuitry runs the mixer from either three internal AA batteries or external 5–18 VDC. 
The 302 is part of Sound Devices family of fi  eld production audio tools, which includes mixers, preampli-
fi  ers, computer interfaces, recorders, and their accessories. 
						

							302 Compact Production Mixer 
User Guide and Technical Information page 3 
 QUICK STA RT CHECKLIST 
Proper setup of sound sources and input devices is quick and easy with the 302. Follow the steps outlined 
below for basic interconnection. 
Powering 
1.  Insert three AA-batteries with + side fi  rst into the mixer battery tube. 
2.  Switch on the mixer power by sliding the power switch to INT. The power LED will illuminate solid 
green with good batteries. 
Interconnection 
1.  Connect the output XLR connectors of the 302 to the destination recorder, camera, or other input. 
2.  Connect microphones, wireless receivers, or other signal sources to the input XLR connectors.
3.  Switch phantom or T-power on, as need by microphone sources. 
Setting Output Gain Structure 
1.  Determine the required input level of the destination. If a line level connection is required, no further out-
put level adjustment is needed on the 302. If the input level requires less than line level, such as micro-
phone or a –10 dBu level, adjust the master output level accordingly (see Output Level Control). 
2.  Turn on the 302’s tone oscillator. Adjust the input sensitivity on the destination device so that the 302 
output is at an average level with suffi  cient headroom to accommodate signal peaks. For many digital 
cameras and recorders, this is often a range between –20 and –12 dBFS as read on the recorder or cam-
era’s peak meter. With analog devices, setting input sensitivites so that tone is near 0 VU is typical. 
Setting Input Levels 
1.  Select the overall level, mic or line, for the input channel. 
2.  Set the channel fader to the unity gain position. 
3.  Raise the gain control (push-up trim) while talk-testing inputs so that signal indicates on both the 302’s 
level meter and the recorder/camera level meter. 
Monitoring 
1.  Connect headphones to the headphone connector located on the input panel. 
2.  Set the headphone source to ST to monitor stereo program. Raise the headphone volume level to the 
required level. NOTE: The 302 headphone output is capable of producing ear-damaging levels. Turn 
down levels before switching headphone sources. 
3.  Monitor individual sources by moving the headphone selection switch to the 1, 2, or 3 positions.  
						

							page 4 302 Compact Production Mixer 
User Guide and Technical Information 
FRONT PANEL DESCRIPTIONS 
3 45
6 7
8910
14 2
11 1213 1
15 16 1718
1.   Gain (Trim) 
The coarse gain control. Sets the input sensitivity 
so that the Fader can be used for fi  ne gain control 
with the channel fader. 
2. Fader 
The primary control for input adjusting level 
during operation. 
3. Pan Switch 
Assigns the input channel to the output bus. Left-
only, Center (equal left and right), or Right-only. 
4. Peak LED 
When illuminated, indicates that the channel is 
very near overload. 
5. Limiter LED 
When illuminated, indicates that the channel 
limiter is operating and reducing channel gain to 
prevent overload. 
6.  High-Pass Filter (Low Cut) 
Three-position switch engages the high-pass fi l-
ter. Used to reduce excessive low frequencies. 12 
dB per octave at 80 Hz or 160 Hz. Center position 
is off. 
7.  Polarity Reverse Switch – Input 2 
When engaged, the polarity of Input 2 is reverse 
(180° out-of-phase) with respect to inputs 1 and 
3. Useful to fl  ip the stereo image with MS stereo. 
8.  Stereo Link LED (Inputs 1 & 2) 
Indicates that inputs 1 and 2 are linked as a 
stereo pair. Controlled in the Setup Menu. In L/R 
stereo link input 2 Fader controls overall stereo 
level. When in MS position input 1 Fader con-
trols Mid, input 2 Fader controls the amount of 
stereo (Side) information. 
9. Limiter Switch 
Activates both input and output limiters. ON 
is dual-mono limiter operation, LINK is stereo 
operation. Output limiter threshold controlled in 
Setup Menu. 10. Output Meter 
Sunlight-viewable, 20-segment LED meter. Cali-
brated in dBu when peak-reading. 
11. Meter Brightness 
Controls the brightness of the LED output meter. 
Each push selects among four brightness levels. 
12. Meter Ballistics 
Toggles among the available meter ballistic 
options: VU-only, peak-only, combo peak/VU, 
peak-hold/VU. 
13.  Slate Mic/Tone Switch 
Two-position switch activates the slate micro-
phone in the left (momentary) position, or the 
tone oscillator in the right (latched) position. Ad-
ditional options available in the Setup Menu. 
14.  Headphone Selector Switch
Sets the signal source sent to headphones. Op-
tions include: input PFL 1, 2, 3; left output bus; 
right output bus; Mono (summed left and right); 
STereo master; RTN - stereo monitor return; MS-
mono; MS-stereo; RTN-MS. 
15. Headphone Volume 
Adjusts the overall volume of the headphones. 
NOTE: the headphone output is capable of 
ear-damaging levels. Take care when adjusting 
among signal sources. 
16. Headphone LED 
Indicates overload of the headphone circuit and 
RTN circuit. 
17. Power Switch/LED 
Three-position switch selects between internal 
battery power or external DC sources. Power 
LED illuminates when power is on. LED fl ashes 
when voltage reaches low limit (see Powering). 
18.  Battery Check Button 
Hold to show the internal and external battery 
levels on the output meter. Battery level remains 
for two seconds after button release.  
						

							302 Compact Production Mixer 
User Guide and Technical Information page 5 
INPUT PANEL DESCRIPTIONS 
 
22
19 20
21
23
OUTPUT PANEL DESCRIPTIONS 
24
25 27 26
29 28
3031
32
19. Transformer-Balanced Inputs 
Can be used unbalanced by grounding pin-3 to 
pin-1 of the XLR connector. Pin-1 = ground; pin-2 
= ‘hot’; pin-3 = ‘cold’. 
20.  Mic/Line Channel Switch 
Selects the input level of the adjacent connector. 
Mic level has 40 dB more gain than line level. 
21. Phantom/DYNamic/T-Power Selection 
Selects the microphone powering type of the 
adjacent input. DYN position turns off all micro-
phone powering. Mic powering is selected per 
input.   NOTE: Use T-Powering only for T-Powered 
microphones. 
22. Phantom Voltage Selection 
Selects between 48 V or 12 V phantom voltage 
for the input channels. The three-position switch 
uses two positions for 12 V—there is no differ-
ence between these positions. 
23. Headphone Output 
3.5 mm TRS stereo headphone output. Can drive 
headphones from 8 to 2000 ohms to required 
monitoring levels. 
24. XLR  Master  Outputs 
Active-balanced outputs. Pin-1 = ground; pin-2 = 
‘hot’; pin 3 = ‘cold’. Can be unbalanced by using 
pin-2 for signal and pin-1 for ground. 
25. Output Attenuation LED 
When illuminated, indicates that the XLR output 
connectors are set for a level other than the fac-
tory default of line level. See Setup Menu to set 
XLR output levels. 
26.  Return Level (Channel 4/5 Level) Control 
Adjusts the gain of the return feed to balance 
program and monitor signals in headphones. 27.  Channel 4/5 Activation LED 
When illuminated, indicates that the return con-
nector is now set as an input 4 and 5 connections. 
28.  Tape Out / Mix Out 
Unbalanced stereo output on TA3-type connec-
tor. Same program as master output. Pin-1 = 
ground, pin-2 = left, pin-3 = right. Also used to 
link to the Mix In of a 442 or 302. 
29.  Return (Channel 4/5) Input 
Unbalanced stereo 3.5-mm input connector for 
return monitor audio. 3.5-mm wired tip = left,  
						

							page 6 302 Compact Production Mixer 
User Guide and Technical Information 
INPUTS 
The inputs of the 302 consist of three, full-featured microphone preamplifi  ers. Each input has a wide gain 
range to accommodate nearly all signal types. The 302 easily accepts signals from low-sensitivity ribbon and 
dynamic microphones, medium level wireless and condenser mic outputs, and “hot” line-level signals. 
302 inputs are transformer-balanced. The isolation characteristics of transformers are superior to other 
balancing techniques for the hostile and uncontrolled environments of fi  eld production. Transformers 
provide galvanic isolation from the driving source, meaning there is no direct electrical connection. Signals 
are “transformed” magnetically. The input transformers in the 302 use premium magnetic core material to 
achieve high signal handling capability (especially at low frequencies) while keeping distortion to a mini-
mum. Because of their inherently high common mode impedance, transformers are unrivaled by any other 
type of input for common-mode noise rejection. 
The inputs of the 302 can be used balanced or unbalanced. When unbalancing, ground pin-3 to pin-1 of the 
XLR connector. There is no change in gain between unbalanced and balanced connections into the 302. 
Mic/Line Level Selection 
The Mic/Line switch on the input panel is used to select the general level for each input. Taking into ac-
count all gain stages, the 302 has 75 dB of available gain from mic input to line output. When inputs are set 
to the LINE position, the input sensitivity is reduced by 40 dB. 
Gain (Trim) 
Like traditional mixing consoles, the 302’s input sensitivity is set using the Gain (trim) control. The Gain 
control adjusts the input sensitivity so that the channel Fader can used near its unity, or 0, position. Once 
set, the Gain is typically kept at the set level and all mixing is performed with the Fader control. The Gain 
control features a pop-up knob so that it can be adjusted easily and then hidden from the mixing surface.
Fader 
While both the Gain and the Fader control the level of an input, the Fader is the primary level control used 
during mixer operation. The Gain can be thought of as a “coarse” level adjustment to be adjusted during 
set up, and the Fader as a “fi  ne” level adjustment to be adjusted during operation. With a properly set Gain, 
the Fader can be set to its unity gain postion at 12 o’clock. With the Fader at unity, the dynamic range of 
the mixer is maximized. By setting both the Gain control and Fader inputs with varied sensitivities can be 
controlled with similar positions on the input Faders. ring = right, sleeve = ground. Connection used 
for inputs 4 & 5 when selected in Setup Menu. 
30. Mix In 
An input to the master bus designed exclu-
sively to link the Tape Out/ Mix Out of 302, 442, 
MixPre, or MP-2 to the 302 for additional inputs. 
Pin-1 = ground, pin-2 = left, pin-3 = right. Shell 
of TA3 connector must be grounded to pin-1 to 
open connection. 
31. Battery Tube
Holds three-AA batteries for internal powering. Accepts alkaline, lithium, or NiHM rechargeable 
cells. 
32. DC Input 
Accepts DC voltages from 5–18 VDC for mixer 
powering. Four-pin Hirose connector wired 
pin-1 negative (–), pin-4 positive (+). Ext DC is 
completely isolated (fl  oating) from the rest of the 
circuitry.  
						

							302 Compact Production Mixer 
User Guide and Technical Information page 7 
Phantom and T- Microphone Powering 
 
The 302 can provide either phantom power or T-power to each input and is selected individually. If neither 
phantom or T-power are required, for instance with dynamic microphones, it is good practice to turn off 
microphone powering (DYN position).
Phantom Power 
Phantom powering is a fi  xed DC voltage between 12 and 48 volts. This voltage is resistively applied to pin-2 
and pin-3 of an XLR connector relative to pin-1. (Note that as there is no voltage difference between the 
signal pins-2 and -3—a dynamic mic can operate just fi  ne in the presence of phantom powering.)
When phantom is selected, the 302 can provide up to 10 mA to each input at 48 V, suffi  cient for the most 
power-hungry condenser microphones. When acceptable, using 12 V phantom is recommended to extend 
battery runtime. Many microphones do not require 48 V phantom and can be properly powered from 12 V 
phantom power. The phantom voltage level is globally selected for all inputs—either 12 V or 48 V. 
T-Powering 
T-powering is a microphone powering scheme used by several European condenser microphone manufac-
turers. Today, T-powered microphones are not as common as phantom powered microphones, but many are 
still in regular use. Unlike phantom power, T-power resistively applies 12 V between the signal pins -2 and 
-3. T-power can be selected for each input. The 302 provides positive T-power, where pin-2 on the three-pin 
XLR connector has +12 volts relative to pin-3. When using “red dot” T-powered microphones (reverse polar-
ity T-power) use a polarity-reversing adapter on the input, otherwise damage to the microphone may occur. 
NOTE: Phantom and T-powering are not interchangeable. Use T-powering only for T-powered micro-
phones.
It is generally good practice to turn off phantom power when not using a phantom powered mic, as phan-
tom power can capacitively couple noise into the mic inputs with poor mic cables. Also, turn phantom 
power off when using ribbon microphones since an improperly wired cable can permanently damage the 
microphone. The DYN (dynamic) position applies no voltage to the microphone input. 
High-Pass Filters 
 
Each channel of the 302 has a two-position high-pass fi  lter. High-pass (or low-cut/low roll-off) fi lters are 
useful for removing excess low frequency energy in audio signals. Wind noise is a common unwanted low 
frequency signal and a high-pass fi  lter is effective for reducing wind noise. For most audio applications 
engaging the high-pass fi  lter is benefi  cial, since little usable audio information exists below 80 Hz, especially 
for speech reproduction. 
The 302’s high-pass fi  lters features a 12 dB/octave slope with either 80 Hz or 160 Hz corner (–3 dB) frequen-
cies. The 160 Hz settings is used when aggressive fi  ltering is required. The 302’s high-pass circuit is unique 
because of its placement before any electronic amplifi  cation. Most mixer ’s high-pass circuits are placed after 
the mic preamp, where all of the high-energy low-frequency signals get amplifi  ed. Because the 302’s circuit 
cuts low-frequency signals before amplifying, higher headroom is achieved in presence of signals with a lot 
of low-frequency energy. 
Where possible, attempt to equalize at the sound source with microphone selection, use of windscreens, 
microphone placement, and on-board microphone fi  ltering. Many microphones have on-board high pass fi l-
ters, and the high-pass fi  lters on the 302 can be used in conjunction with the microphone’s fi  lters to increase 
the fi lter ’s slope. 
The high-pass fi  lter are defeated when the switch in the center position.  
						

							page 8 302 Compact Production Mixer 
User Guide and Technical Information 
Pan Switches 
The pan switches assign inputs to output buses. Inputs can be sent to the left, right, or both outputs equally. 
The 302 features excellent “off-attenuation” in the left and right positions. Using the pan switches a separate 
mix of sources can be sent to the left and right outputs. For instance, a summed mono mix of all three inputs 
can be sent to the right output while an isolated mix of one input can be sent to the left output. 
Input Limiters 
The 302 input limiters act solely as “safety” limiters, and are enabled when the output limiters are enabled 
with the front-panel “LIM” switch (see Setup Menu to defeat Input Limiters entirely). In normal operation 
with properly set input levels, the threshold of the input limiter will rarely be reached. If extremely high in-
put signal levels are approached, such as in high SPL environments or with misadjusted settings, the input 
limiter(s) will activate to prevent overload. Without this limiter, “hot” signals could overload the mixer and 
cause distortion. It is recommended that the input limiters be used at all times. Below the factory-set thresh-
old (just below clipping), the limiter has no effect on audio. There is no user-adjustments to the input limiter 
threshold or its envelope. 
When inputs 1 & 2 are linked as a stereo pair, their limiters also link to perform the same gain reduction to 
both inputs equally. Each input has an amber limiter LED which illuminates in proportion to the amount of 
limiting. If the orange LED for a channel comes on regularly, it is recommended to turn down the Gain. 
Peak and Limit LEDs 
 
Each input has an indication of peak signal activity. When an input nears its clipping level (3 dB below), 
the red Peak LED illuminates. If the Peak LED comes on often, it is recommended to turn down the Gain. If 
limiters are active, the amber input limiter LED illuminates during limiting.
Polarity Reverse - Input 2 
 
Engaging the polarity reverse switch inverts the polarity of input 2. Polarity reversal is often used to quickly 
reverse the stereo fi  eld in MS recording. The normal position is OFF, with polarity reversal occurring when 
the switch is in the ”Ø” position. 
NOTE: Be advised that an audible pop occurs when the polarity switch changes states. 
Stereo Linking of Inputs 1 and 2 
Stereo linking allows inputs 1 and 2 to be controlled as a single, stereo input. This is useful when stereo mi-
crophones or stereo line level signals are used with the 302 and the operator wants a single knob for control-
ling the overall signal. 
There are two modes of operation for stereo linking, X/Y link and MS stereo. In both cases, inputs 1 and 2 
are used for the inputs. Stereo linking is activated in the Setup Menu. 
X/Y Stereo Link
Inputs 1 and 2 can be linked as a stereo pair to simplify control with stereo microphones. X/Y stereo linking 
is set in the Setup Menu. When in X/Y stereo link operation, inputs 1 and 2 pan switches still control signal 
routing. Fader 2 controls the overall level of the pair. Each input Gain and high-pass controls still function 
on their respective inputs. 
In X/Y Stereo linking, the limiters for inputs 1 and 2 are linked to operate identically on each signal. 
MS Stereo Linking 
When MS stereo linking is set in the Setup Menu, inputs 1 and 2 are linked as an MS (mid-side) stereo pair.  
						

							302 Compact Production Mixer 
User Guide and Technical Information page 9 
MS is a popular stereo confi  guration because of its good spatial placement, mono-compatibility, and sur-
round compatibility. 
The 302’s MS matrix uses input 1 for the Mid signal and input 2 for the side signal. The input 2 Fader con-
trols overall gain. Input 1 fader and input 2 pans are disabled. The Gain and high-pass fi  lters still act indi-
vidually. The Gain control for inputs 1 and 2 is used to vary the Mid and Side levels respectively. Using the 
input 2 Gain is an effective way to control stereo spread. 
Inputs 4 & 5 
 
When additional inputs are needed, such as when multiple wireless receivers are used, the Return connec-
tor can be reassigned to act as an input connector for channels 4 and 5. This functionality is set in the Setup 
Menu (see Setup Menu). 
Several options are available for inputs 4 and 5. Either or both inputs 4 and 5 can be sent to the left, right, or 
left and right output bus. The sensitivity of inputs 4 and 5 is controlled by the trim control adjacent to their 
3.5-mm connector. Note, this unbalanced input is suitable for tape or line level devices only. There are no 
microphone preamps on inputs 4 and 5. 
To indicate that the Return connector is now used for inputs 4 and 5, the 4/5 Channel Enabled LED (on the 
output panel) illuminates. 
OUTPUTS 
The 302 is a two-bus mixer. Because each input can be “hard panned” between the left and right output bus 
the 302 is easily used in either stereo or dual-mono operation. With dialog often recorded in mono, each 
output connector can be used to feed a separate camera or recorder. XLR Outputs and Tape Outputs share 
the same program content. 
The 302 has no master level control. The master is factory-set to unity gain, or “0” dB. 
XLR Outputs 
The two XLR outputs are active-balanced connections, each capable of driving long lines. These connections 
can be used either balanced or unbalanced. When unbalancing, use pin-2 for (+) and pin-1 for ground; fl oat 
(leave open) pin-3. 
XLR Output Level 
With no external mic/line level switch the 302 output level is adjusted in the Setup Menu (see Setup Menu 
for details). From the factory, the 302 is set for Line Level outputs. Adjacent to the XLR outputs, the Output 
Attenuation LED indicates if the XLR outputs are at a level other that Line Level. 
if illuminated, XLR 
output level is set 
below line level 
 
Line-Level or Mic-Level (or somewhere in between) 
By adjusting the attenuation level in the setup menu (see Setup Menu for adjustment) the output level of  
						

							page 10 302 Compact Production Mixer 
User Guide and Technical Information 
the 302 can be adjusted from line level down to mic level. Both left and right XLR outputs are adjusts at the 
same time—there is no ability to adjust left/right independently. Additionally, operating levels between mic 
and line level can be set. Attenuation is set from 0 to 16 dB in 2 dB increments, and 40 to 56 dB in 2 dB incre-
ments. The common attenuation levels of –10 (aux level) and –40 (hot mic-level) and –56 (low mic-level) are 
available. 
When setting the output attenuation, determine how much attenuation is applied by adding the values 
shown of the solid LEDs. For instance, to set 40 dB of attenuation the values of –30 (right meter) and –10 
(left) meter will be indicated. 
Output levels are set depending on the device (camera, recorder, transmitter, etc.) that the outputs are con-
nected. This unique control is ideal since the gain structure can be precisely set for any given piece of equip-
ment. 
To change the mixer from line level to mic level perform the following steps: 
1.  Turn off the mixer, if already on. 
2.  Press and hold the Peak/VU selection button while switching power on. Continue to hold down the 
PK/VU button until the –30 LED begins fl  ashing at the left meter. 
3.  The Setup Menu is now entered and Output Attenuation is the fi  rst setup (the –30 left LED is fl ashing 
and the 0 LEDs are lit). 
4.  Use the brightness (down) button to apply attenuation. Successively press the down button until the 
–30 LED (right meter) and the –10 LED (left meter) are illuminated. 
5.  Step through all setups using the PK/VU button until the meters “dance”. 
The setting is now saved and the Output Attenuation LED should now be lit. 
Tape Out (Mix Output) 
 
The 302 has an unbalanced, two-channel tape level output on a single, locking Switchcraft TA3M-type 
connector. Tape output program is the same as the XLR Output. The Tape Out level is fi  xed at its –15 dBu 
nominal level and is electrically isolated from the XLR Outputs. 
The 302 Tape Out is used to connect the 302 to numerous inputs, including: MiniDiscs, DATs, compact cas-
sette recorders, and wireless transmitters. Additionally, the Tape Output functions as the Mix Out to link 
multiple Sound Devices mixer (see Mixer Linking). 
Output Limiters 
In addition to the limiters on each input channel, the 302 has a software-controlled Output Limiter. Output 
limiters are used to prevent overloading of recorders, cameras, and wireless transmitters connected to the 
302. The Output Limiters on the 302 use an optoisolator-based peak limiting circuit. The Output Limiter 
threshold is set in the Setup Menu. The Output Limiter can be set in one of two positions, Link or LIM. 
Link (Stereo Operation) 
When set in the link position, the Output Limiter acts identically on each (left/right) output bus. If one 
output causes the limiter to engage, the other bus will follow suit. This is useful when using the 302 in ste-
reo—limiter operation will not affect the stereo image. 
LIM (Dual-Mono) 
When using each output bus separately the output limiter should be set to the ON position. This position