Mackie MIC/LINE MIXERS Owner'S Manual & Warranty Download Page 18

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EMAC

effects, with their levels already deter-

mined by the channels’

EFX 2 (EXT)

knob, you’ll

typically set this knob near the “

” mark and

then leave it alone.

EFFECTS TO MONITOR

This works just like the channel

AUX

knobs, but here, the source signal is the

EFX 2

RETURN

and the

EMAC

output. Typically, this

knob is used to add effects to the stage monitors.

Turned fully up, it provides 15 dB of addi-

tional gain, the center “

” mark is unity gain,

and fully down is off.

PRESET SELECT

Rotate this detented switch to select the

preset effect you want to use.

Preset Effects Descriptions

Reverbs

The reverbs are designed to provide a wide

variety of reverb sounds for vocal and instru-
ment applications. In the following description,

tail

refers to the reflections that follow the initial

sound event, also referred to as

decay range

Pre-delay

is the amount of time between the

initial sound event and the first reflection.

TIME/RATE

controls the length of the

tail, with the shortest tail at the

position and

the longest tail at

DAMPING/DEPTH

controls the damping, with the darkest tone at

and the brightest tone at

. The

WIDE

switch is very effective at increasing the stereo
image of the reverb effect.

REVERSE:

Standard reverse reverb, simulat-

ing a tail-first effect
increasing to the original
note. Decay range is ad-
justable from 35ms to
515ms. No pre-delay.

GATED:

Standard

gated reverb, where the
reverb tail is cut off
sharply after the preset
decay length. Decay
range is adjustable from
35ms to 515ms. No pre-
delay.

CATHEDRAL:

Dense,

smooth reverb with very
long tail, long pre-delay,
and late reflections. Tails
are very warm with some
additional high-end
reflections imitating the
stone walls of a cathedral.

A very dramatic effect that works well with wind
instruments such as flute, slow finger picking on
acoustic guitar, and quiet vocal group harmony
and choirs. Also works well with keyboards and
drums using short decay. Decay range is adjust-
able from 2 seconds to 10 seconds. Pre-delay set
at 75ms.

LG. HALL:

Dense, smooth reverb with long

tail, long pre-delay, and some early reflections.
Tails are warm with more apparent high end.
Works well with vocals and electric and acoustic
guitar. Decay range is adjustable from 1 second
to 5 seconds. Pre-delay set at 75ms.

MD. HALL:

Dense, smooth reverb with nor-

mal tail, normal pre-delay, and increased early
reflections. Tails are warm with more apparent
high end. Works well with vocals and electric
and acoustic guitar. Decay range is adjustable
from 750ms to 2.5 seconds. Pre-delay set at 65ms.

LG. PLATE:

Good early reflections and no

pre-delay. Tails are normal and warm with
strong high end for increased presence. Perfect
for vocals and snare. Decay range is adjustable
from 1 second to 5 seconds. No pre-delay.

MD. PLATE:

Good early reflections and no

pre-delay. Tails are short and warm with strong
high end for increased presence. Perfect for
tight vocals and snare. Decay range is adjust-
able from 750ms to 2.5 seconds. No pre-delay.

SM. ROOM:

Reverb featuring very fast and

scattered early reflections with a short pre-delay.
Tails are very short and warm with normal high-
end imitating absorbent wall materials and
audience. Good for tight vocal effects. Decay
range is adjustable from 250ms to 1 second.
Pre-delay set at 30ms.

SPRING:

Mimics the

vintage 60’s-style wet
spring reverb effect. Tails
are normal with strong
high end and a slight wa-
ver imitating the slow
flutter of the mechanical
spring system. Very good
with acoustic guitar.
Decay range is adjust-
able from 1 second to 5
seconds. No pre-delay.

Delays

There are four delays

available with one, two,
three, and four repeats.

TIME/RATE

controls

the time between repeats,
with the fastest repeats
at the

position and the

CLIP

WIDE

BYPASS

REVERBS

DELAYS