16
1642VLZ4
164
2VLZ4
Constant Loudness ! ! !
The 1642VLZ4’s pan controls employ a design
called “Constant Loudness.” It has nothing to
do with living next to a freeway. As you turn
the pan knob from left to right (thereby causing the
sound to move from the left to the center to the right),
the sound will appear to remain at the same volume
(or loudness).
If you have a channel panned hard left (or right) and
reading 0 dB, it must dip down about 4 dB on the left
(or right) when panned center. To do otherwise, like
those Brand X mixers, would make the sound appear
much louder when panned center.
32. 3-Band Mid-Sweep EQ
The eight mono channels have a 3-band,
mid-sweep equalization: low shelving at 80
Hz, mid sweep peaking from 100 Hz to 8 kHz,
and hi shelving at 12 kHz. It’s probably all the
EQ you’ll ever need! (Shelving means that the
circuitry boosts or cuts all frequencies past
the specified frequency. For example, the
1642VLZ4’s low EQ boosts bass frequencies
below 80 Hz and continuing down to the
lowest note you never heard. Peaking means
that certain frequencies form a “hill” around
the center frequency.)
The low EQ
provides up to 15 dB
boost or cut below
80 Hz. The circuit is
flat (no boost
or cut) at the center
detent position. This frequency
represents the punch in bass drums, bass
guitar, fat synth patches, and some really
serious male singers who eat broken glass for
breakfast.
Used in conjunction with the low cut [34]
switch, you can boost the low EQ without
injecting a ton of subsonic debris into the
mix. We recommend using the low cut feature
on all channels, except low frequency signals,
like kick drums and bass guitars.
The mid EQ , or “midrange,” has a fixed bandwidth of
1 octave. The mid knob sets the amount of boost or cut,
up to 15 dB, and is effectively bypassed at the center
detent. The frequency knob sets the center frequency,
sweepable from 100 Hz to 8 kHz.
32
34
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Most of the root and lower harmonics that define a
sound are located in the 100 Hz–8 kHz frequency range,
and you can create drastic changes with these two
knobs. Many engineers use mid EQ to cut midrange
frequencies, not boost them. One popular trick is to
set the mid fully up, turn the frequency knob until
you find a point where it sounds just terrible, then
back the mid down into the cut range, causing those
terrible frequencies to disappear. Sounds silly, but
it works. Sometimes.
The hi EQ provides you up
to 15 dB boost or cut above
12 kHz, and it is also flat
at the detent. Use it to add
sizzle to cymbals, an overall
sense of transparency, or an
edge to keyboards, vocals,
guitar and bacon frying. Turn it down a little to reduce
sibilance or to mask tape hiss.
With too much EQ, you can screw things up royally.
We’ve designed a lot of boost and cut into each equalizer
circuit because we love you, and know that everyone
will occasionally need that. But if you max the EQ on
every channel, you’ll get mix mush. Equalize subtly and
use the left sides of the knobs (cut), as well as the right
(boost). If you find yourself repeatedly using full boost
or cut, consider altering the sound source, such
as placing a mic differently, trying a different kind of
mic, changing the strings, or gargling.
33. 4-Band Fixed-Frequency EQ
The stereo channels (9-16) have a 4-band,
fixed-frequency equalization: low shelving at 80 Hz,
low mid peaking at 400 Hz, hi mid peaking at 2.5 kHz,
and hi shelving at 12 kHz.
Each of these filters provides up to 15 dB of boost
or cut. As with the mono channels, the circuit is flat
(no boost or cut) at the center detent positions.
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