18
1.3 Channel equalization
All monaural channels have an
active 3-band equalizing section
with parametric midrange. The
HIGH (Treble) control (8) works at
10 kHz with ±14dB boost/cut, the
LOW (Bass) (11) control works at
60 Hz, also with ±14 dB. The mid
f r e q u e n c y can be swept from 100 Hz
to 6.3 kHz with the FREQ knob (9),
MID cut/boost range (10) is also
±14 dB. Each monaural channel is
also equipped with a switchable
LOW CUT filter (6) for the XLR micro-
phone input. This 12 dB/oct. filter
e l i m i n a t e s all frequencies below
80 Hz, which consist mostly of low-
frequency noise. Unless ultra-deep
low frequencies are wanted (most
unlikely for a microphone input), it
should always be kept engaged.
The stereo channels have a 3-band
equalization section with fixed
midrange frequencies:
HIGH (8) 10 kHz, ±14dB
MID (10) 3 kHz, ±14dB
LOW (11) 60 Hz, ±14dB
There's a golden rule for the use
of equalizers: try to get along
with as little as possible! Don't try
to use the EQ as an antidote
against poor microphones or
cheap PA speakers - you are likely
to end up with the EQ controls all
the way up and still get a muddy
sound. Use the channel EQ section
with thought to give the individual
instruments a happy place to live
within the overall sound.
One other advice: do not touch
the channel EQs (that means set
them to center position) before
you have calibrated the master EQ
to the room acoustics (see below).
This is also a good moment to de-
cide, whether you want to use the
built-in DYLOC+DTC sound processor
(see below for explanation).
As the channel EQ affects the
input gain readings of the PFL
function, it is always a good idea
to re-check the channel gain after
setting the EQ to avoid clipping.
1.4 Other channel controls
The MON control knob (12) deter-
mines the proportion of the chan-
nel signal in the monaural monitor
signal. Keep in mind that the monitor
signal is taken from the channel
signal before it meets the fader
(pre-fade). This means that a
channel might be audible in the
monitor, even when its fader is at
zero - a common source of confusion!
If you have stereo monitors and
want a duplicate of your stereo
front PA signal in them, use the
LINE OUT output with an external
amplifier (see 2.7).
The AUX control knob (13) feeds
the channel signal to the Aux bus.
It can be switched for PRE or POST
fade function (39) in the master
section, allowing to use it as an
additional monitor path (pre) or as
an effect loop (post).
Use the EFF (14) control to send a
variable portion of the channel
signal to the internal effect unit.
This control is post-fade, so that no
effect signal is produced for this
channel when its fader is down.
The PAN control (15) makes the
channel signal travel between left
and right, making it possible to
place the signal somewhere in the
stereo image. When in center
position, the channel signal is send
to the left and right side of the
master section in equal proportions.
If a channel is used stereo, the two
channel signals are stuck with their
assigned sides and cannot be
moved inside the stereo image. In
this case, the PAN control works
like the usual 'Balance' control on
your home stereo equipment.
The channel fader (19) provides
the final level control for the channel.
On stereo channels, both left and
right signals are controlled by one
fader simultaneously.
The PFL button (16) 'taps' the
channel signal just before the
fader and sends it to the master
LED chain (41) for gain control and
to the PHONE output (55) for
direct ear-control.
Owner`s manual PD 10.14 / MD 10.14 © Zeck Audio
Fig. 2
Stereo-
Input channel
1
4
5
7
8
10
11
12
13
14
15
16
17
18
19
