11
Another way to consider
LOW CUT
’s function is that it
actually
adds
flexibility during
live performances. With the
addition of
LOW CUT
, you can
safely use
LOW
equalization on
vocals.
Many times, bass
shelving
EQ
can really benefit
voices. Trouble is, adding
LOW EQ
also boosts
stage rumble, mic handling clunks and breath
pops.
LOW CUT
removes all those problems so
you can add low
EQ
without losing a woofer.
Here’s what the combination of
LOW EQ
and
LOW CUT
looks like in terms of
frequency curves.
TRIM (Channels 1–4)
If you haven’t already, please read the
Level-
Setting Procedure
.
TRIM
adjusts the input sensitivity of the mic
and line inputs connected to channels
1
through
4
. This allows signals from the outside
world to be adjusted to optimal internal oper-
ating levels.
If the signal originates through the XLR
jack, there will be 10dB of gain with the knob
fully down, ramping to 60dB of gain fully up.
Through the
1
⁄
4
" input, there is 10dB of
attenuation fully down and 40dB of gain fully
up, with a “
U
” (unity gain) mark at 9:00. This
10dB of attenuation can be very handy when
you are inserting a signal that is very hot, or
when you want to add a lot of
EQ
gain, or both.
Without this “virtual pad,” a scenario like that
might lead to channel clipping.
To connect balanced lines to these inputs,
use a
1
⁄
4
" Tip-Ring-Sleeve (TRS) plug, the type
found on stereo headphones:
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve = Shield or ground
To connect unbalanced lines to these
inputs, use a
1
⁄
4
" mono (TS) phone plug or
standard instrument cable:
Tip = Signal
Sleeve = Ground
LINE IN
inputs
1
–
4
are a good place to con-
nect older instruments that need more gain.
You can correct weak levels by adjusting the
corresponding channel’s
TRIM
control .
LOW CUT (Channels 1–4)
The
LOW CUT
switch, often referred to as a
High Pass Filter (all depends on how you look
at it), cuts bass frequencies below 75Hz at a
rate of 18dB per octave.
We recommend that you use
LOW CUT
on
every microphone application except kick
drum, bass guitar, bassy synth patches, or
recordings of earthquakes. These aside, there
isn’t much down there that you want to hear,
and filtering it out makes the low stuff you
do
want much more crisp and tasty. Not only that,
but
LOW CUT
can help reduce the possibility
of feedback in live situations and it helps to
conserve the amplifier power.
SLEEVE
TIP
SLEEVE
TIP
RING
RING
TIP
SLEEVE
RING
SLEEVE
TIP
TIP
SLEEVE
TIP
SLEEVE
Low Cut with Low EQ
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
Low Cut
