20
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
Most of the root and lower harmonics that
define a sound are located in the 100Hz–8kHz
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 15dB boost or
cut at 12kHz, 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, gui-
tar and bacon frying. Turn it down a little to
reduce sibilance or to mask tape hiss.
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
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 know
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.
LOW CUT
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. This ain’t no thrown-in
dime-store filter — an 18dB per octave curve
requires an elaborate circuit. Nothing but the
best for you.
We recommend that you use
LOW CUT
on ev-
ery sound source except kick drum, bass guitar,
bassy synth patches, or recordings of earth-
quakes. 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 amplifier power.
With
LOW CUT
, you can safely boost
LOW
EQ
. Many times, bass shelving eq can really
benefit voices. Trouble is, adding
LOW EQ
also
boosts the subsonic debris: Stage rumble, mic
handling clunks, wind noise and breath pops.
LOW CUT
removes all that debris so you can
boost the
LOW EQ
without frying your woofer.
Here’s a frequency curve of
LOW EQ
combined
with
LOW CUT
:
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
AUX 1, 2, 3, & 4
These four knobs tap a portion of each
channel’s signal, mix them together and send
them to the
AUX SEND
outputs . They are
off when turned fully down, deliver unity gain
at the center detent, and can provide up to
15dB of gain turned fully up. Chances are you’ll
never need this extra gain, but it’s nice to
know it’s there if you do.
The
AUX SEND
output are then patched to
parallel effects processor inputs
or stage
monitor amp inputs.
AUX SENDS 1
and
2
lev-
els are controlled not only by the channel’s
AUX
knobs, but also by the
AUX SEND
mas-
ter knobs
.
AUX SENDS
can also be used to generate
separate mixes for recording or “mix-minuses”
for broadcast. By using
AUX 1
or
2
in the
PRE
mode , these mix levels can be obtained in-
dependently of a channel’s fader settings.
PAN
AUX
3
1
2
EQ
5
4
6
5/6
SHIFT
PRE
TRIM
1
SOLO
L - R
3–4
1–2
OL
-20
U
O
O
+15
U
O
O
+15
U
O
O
+15
U
+15
-15
U
+15
-15
800
2k
200
8k
U
+15
-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
100
U
O
O
+15
1
MUTE
MI
C GAIN
10
U
60
+10dB
-40dB
-10dBV
L
R
O
O
