33
EURORACK MX3242X
(or 2x mono pre-fader monitor). If you need a stereo post-fader send, simply modify the console accordingly.
Then you can, for example, drive a stereo effects device in true stereo mode.
J33 through J40: changing Meters from POST FADER to PRE FADER.
When shipped from the factory, the level meters in the main input channels are set post-fader, as this is
necessary for recording purposes. However, during a live gig it may be better to have the level meters read
the pre-fader signal, so that you can quickly detect any level changes on stage and correct the input gain
appropriately, without having to use the PFL/SOLO function. In this case, you should consider this type of
modification.
5. TECHNICAL BACKGROUND
5.1 Mixing
5.1.1 Equalization
Few people buying a mixer will need to be told how an Equalizer works. But how to get the best out of it? Well,
thats another story.
In the beginning EQ was an instrument for removing unwanted frequencies, or compensating for imperfect
microphone response curves, or bumps in a studios acoustic. It was a corrective device. Tamla Motown
turned that notion upside down in the sixties with the novel idea that you try to find for each instrument a
characteristic frequency not shared by the other instruments in the mix. Then you whack up its Gain. This
makes individual voices punch through a mix in a slightly unnatural but exciting way.
In general corrective EQ usually involves broadband (slope) contouring, together with narrowband notching
of unwanted resonances. The narrower the notch or Q, the less the total signal will be affected.
Finding bad resonances is made easier by first frequency sweeping in BOOST mode.
Motown EQ is achieved by applying boost in a fairly broadband way. The broader the band, the more
musical but less instrument-specific the effect. Applying boost over a narrow bandwidth will sound honky.
For sounds which require drastic corrective EQ, it is advisable to have a couple of channels of fully
comprehensive Parametric Equalization in your rack. (You can always bounce tracks though the outboard EQ,
freeing up the unit for the next task).
Check out the BEHRINGER ULTRA-CURVE PRO DSP8024, a superlative digital stereo Equalizer and much,
much more. Or our ULTRA-Q PRO PEQ2200 5-band Constant-Q state-variable analog EQ.
For Advanced Equalization, EQ might be applied to a signal as follows: First, trim the LF and HF shelves to
achieve the required slope or loudness. Now use a parametric EQ band to boost the most significant
frequency for each instrument or tape track. Over all channels, if two or more of these frequencies coincide,
then you might have to settle for second best in some cases, if you want to achieve optimum separation in the
mix. Really nasty frequencies will need notching out.
A good vocal signal can be enhanced by applying a significant boost in the 12 kHz region or higher, above
the nasty sibilance region. This is especially effective if youve got a De-Esser patched post-EQ.
+
Use the Lo Cut to tighten up channels in a mix: maybe remove it only for the bass, kick drum,
toms, tablas, didgeridoo and other deliberate subsonics (when recording classical music
ignore this advice).
With the LF set to boost, and the Lo Cut switch activated, you have pretty much got a peak response rather
than shelving at the bottom. Good for tight but deep bass.
Remember EQ contouring can be done with cut as well as with boost. Cutting away the top and bottom, then
pushing up the Gain is equivalent to mid range boost! EQ is not a one way street!
Always re set a channels input Gain (or external devices output level) after altering the amount of desk EQ
cut or boost applied.
5. TECHNICAL BACKGROUND
