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18
ENGLISH
TONE CONTROLS HI, MID & LO
The controls marked HI, MID and LO are very useful for changing the characteristics or tone of the
sound. For simplicity or for new users set these controls to the centre position, which effectively
turns off or bypasses the tone control section (and you will not need to worry about these controls
until you feel more confident).
However to get the best out of your audio system or if you just want to experiment read on:
adding a high frequencies can add brightness to the sound. For microphones increasing the MID
ranges tends to ‘lift’ the vocal adding clarity to the voice. Adding low frequencies LO makes the
bass section more prominent. For microphones doing the opposite and removing a little bass
helps stop the ‘popping’or ‘boomy’sound often apparent when a microphone is used too dose to
the mouth. For best results, don’t be over enthusiastic with the tone controls as this can make the
sound un natural more extreme tone settings can be used to create sound effects.
FEATURES - STEREO CHANNELS
11. MIC GAIN
- Sets the level of the incoming MIC signal. The MIC GAIN range is 10 to 50dB.
12. LINE LEVEL
- This sets the level of the incoming STEREO LINE signal. In the out (or up) position
the GAIN structure is optimised for +4dB operation. The in (or down) position matches the input
channel to signal levels of -1 OdBV.
The GAIN control (or LEVEL switch) allows the signal coming into the
MX 1822
to be matched
(as close as possible) to the internal operating level helping to preserve the ‘signal to noise ratio’
throughout the
MX 1822
. The LINE level switch will also increase the GAIN of the MIC signal. This
can be useful if the MIC GAIN at maximum is not enough in certain situations.
13. HI
- High frequency control providing 15dB of cut or boost at 12kHz. This control has a
shelving response.
14. LO
- Low frequency control providing 15dB of cut or boost at 45Hz. This control has a shelving
response.
15. AUX A
- The AUX A control is assigned postFader for use with external effects units such as
delays or reverbs.
First the effects unit has to be connected to the
MX 1822
. The socket marked AUX A POST on
the
MX 1822
connects to the input of the effects unit. The output of the effects unit is then
connected to the AUX input STEREO return 39 or an unused channel. As the AUX A control is
turned clockwise, the sound from that channel is routed, via the AUX A POST control 23 , through
to the AUX A POST socket and out to the effects unit. The effected or treated sound comes out of
the effects unit and back to the
MX 1822
.
Increasing the level of AUX Input or the channel FADER will now MIX the treated sound with the
original. This is called an effects loop as the sound has been taken out to an effect, returned and
joined with the original sound. (To change the signal source - see Options section, page 23)
16. AUX B
-
The AUX B control can be used when an additional or different MIX of sound is
required (such as using stage monitor speakers).
As the AUX B control is turned clockwise more of the sound in the channel is routed, via the AUX
B PRE control 24 , to the AUX B PRE socket on the rear panel. This would then be connected to an
amplifier to power the stage monitor speakers (or headphone system).
AUX 1 and AUX 2 controls are very similar except that adjusting the channel FADER does not
affect the sound at the AUX 2. Musicians listening to the sound from the AUX 2 do not want it
changing when a channel FADER is adjusted. The opposite is required when an effects loop is
used, the effect needs to change with the position of the channel FADER. This keeps the blend of
original and treated signal constant.
(To change the signal source - see Options section, page 23)
Summary of Contents for MX 1822
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Page 27: ...27 APPENDICE APPENDIX BLOCK DIAGRAM MX 1822 ...
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