Mackie 16-8 BUS, Руководство пользователя

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Now you know some of the de-
sign philosophy behind our Hi
Mid EQ. It’s time to start experi-
menting with it yourself. Don’t
forget to try the control at its
bandwidth extremes — espe-
cially at the 3-octave end. You’ll
be pleasantly surprised.
Conversely, if you hate tech-
nology and yearn for the sound of
that old board you sold to buy an
8•Bus, you can achieve a semi-
parametric sound by leaving the
BANDWIDTH knob in the middle
at 2 octaves.
LO MID EQ
The LO MID EQ control (19)
is a semi-parametric (sweepable)
equalizer with a broad, fixed
bandwidth of 2 octaves,
±
15dB of
equalization and frequency
variable from 45Hz to 3kHz.
Boosting in this range can
put warmth and body into vocals
and instruments. Cutting can
really help the clarity of some
sounds by reducing boxy and
boomy tones.
HI EQ
The HI EQ control (20) is a
fixed 12kHz shelving equalizer
with
±
15dB of equalization
available. A great treble control,
it is switched with LO EQ into
the MIX-B circuit if the SPLIT
button is depressed.
Shelving equalizers work on a
very broad range of frequencies,
and consequently, are very musi-
cal. In a 12kHz shelf like this
section, that means that all the
upper harmonics of a sound are
raised evenly, basically keeping
their original musical relation-
ship to each other. A
high-frequency shelving EQ is
great for putting shimmer into
acoustic guitar and piano tracks
and sizzle into vocals.
LO EQ
The LO EQ control (20) is a
fixed 80Hz shelving equalizer
with
±
15dB of equalization
available. It’s a fine bass control,
and is switched with HI EQ into
the MIX-B circuit if the SPLIT
button is depressed.
A low-frequency shelving
equalizer will add or remove bass
in a smooth, musical fashion.
Good for working on bass drum
and bass guitar, fattening up (or
thinning out) a piano or contour-
ing an entire mix.
EQ IN/OUT
The IN switch (22) bypasses the
EQ (though not the LO CUT filter)
when
up . Depress it to enable equal-
ization.
LO CUT
The LO CUT switch (23) inserts
an 18dB/octave low-cut (high-pass)
filter with a –3dB point of 75Hz into
the main channel signal. The LO
CUT filter is unaffected by the EQ IN
switch.
A low-cut filter is handy to get rid
of room rumble, traffic noise, wind
noise, popping, and other unwanted
very-low-frequency sounds. It can
also be combined with LO EQ boosts
to produce some interesting bass
curves as shown in the last EQ
graph on this page.
It is highly rec-
ommended that this switch be
engaged for vocal microphones, es-
pecially in a live P. A. situation.
AUX SENDS
Auxiliary sends are generally used
to provide mixes for headphone cue-
ing and for effects sends, and in
Sound Reinforcement use, can be as-
signed monitor submix duties. The
8•Bus Series consoles provide 6
mono auxiliary sends with several
routing options.
Note: All of the 8•Bus Series AUX
sends have a very wide range of gain
(just like the MIX-B Level control
discussed earlier). The first half of
the control’s rotation reaches from
the
off
position to unity gain (U).
This half of the control’s range corre-
sponds to the full range of a
conventional mixer. The second half
of the control’s rotation provides you
+15
O O
U
12k
MIX-B
EQ
LOW CUT
EQ IN
LO
MID
HI
FREQ
75 Hz
18dB/oct
SOURCE
FLIP SW
CHANNEL
45 3k
PAN
LEVEL
BAND
WIDTH
OCTAVES
–15 +15
80
U
LO
SPLIT EQ
HI/LO EQ
TO MIX-B
MONITOR
L R
–15 +15
U
–15 +15
U
250
220 350
3
2
1
12
NORMAL
Lo Mid EQ
2 octave
±
15dB boost/cut
Lo Mid EQ sweeps
from 45Hz to 3kHz
Hi EQ
±
15dB boost/cut
above 12kHz
Lo EQ
±
15dB boost/cut
below 80Hz
Lo cut (high pass filter)
18dB/oct. at 75hz
Interaction of Lo Cut
with Lo EQ boost.
Verrry eenteresteeng, no?