Used in conjunction with the LOW CUTWith too much EQ, you can screw things up
TRIM
-10dBV
ICGAINswitch , you can boost the LOW EQ withoutroyally. WeOve designed a lot of boost and cutM1U
injecting a ton of subsonic debris into the mix.into each equalizer circuit because we know
060We recommend using the LOW CUT feature oneveryone will occasionally need that. But if you
+15dB-45dB
LOW CUTall channels, except low frequency signals, likemax the EQ on every channel, youOll get mix
75 Hz
18dB/OCT
kick drums and bass guitars.mush. Equalize subtly and use the left sides of
AUXU
The MID EQ , or Omidrange,� has a fixedthe knobs (cut), as well as the right (boost). If
1
bandwidth of 1.5 octaves. The MID knob setsyou find yourself repeatedly using full boost or
OO+15
Uthe amount of boost or cut, up to 15 dB, and iscut, consider altering the sound source, such
effectively bypassed at the center detent. Theas placing a mic differently, trying a different
2
OO+15frequency knob sets the center frequency,kind of mic, changing the strings, or gargling.
PRE
sweepable from 100Hz to 8kHz.
U
4-BAND FIXED-FREQUENCY EQ
3+15
The stereo channels (9-16) have a 4-band,
OO+15+10
Ufixed-frequency equalization: LOW shelving at
+5
480Hz, LOW MID peaking at 800Hz, HI MID
0
OO+15peaking at 3kHz, and HI shelving at 12kHz.
�5EQ
UEach of these filters provides up to 15 dB of
HI�10boost or cut. As with the mono channels, the
12k
�15circuit is flat (no boost or cut) at the center
-15 +15
U20Hz100Hz1kHz10kHz 20kHz
detent positions.
MID
+15
-15+15 LOW CUT
800+10
FREQThe LOW CUT switch (not present on
2002k+5
channels 13-16), often referred to as a high
1008k0
U
pass filter (all depends on how you look at it),
LOW�5
80Hzcuts bass frequencies below 75Hz at a rate of
-15 +15�10
18 dB per octave. This ainOt no thrown-in
PAN�15
dime-store filter N an 18 dB per octave curve
20Hz100Hz1kHz10kHz 20kHz
requires an elaborate circuit. Nothing but the
Most of the root and lower harmonics that
LRbest for you.
define a sound are located in the 100Hz�8kHz
1We recommend that you use LOW CUT on ev-
MUTE
frequency range, and you can create drastic
ery sound source except kick drum, bass guitar,
OLchanges with these two knobs. Many engineersdB
bassy synth patches, or recordings of earth-10
use MID EQ to cut midrange frequencies, not
quakes. These aside, there isnOt much down there
5-20boost them. One popular trick is to set the MID
that you want to hear, and filtering it out makes
Ufully up, turn the frequency knob until you find
the low stuff you do want much more crisp and
SOLO
5a point where it sounds just terrible, then back
tasty. Not only that, but low cut can help reduce
the MID down into the cut range, causing
10
1-2the possibility of feedback in live situations, and it
those terrible frequencies to disappear. Sounds
20helps to conserve amplifier power.
silly, but it works. Sometimes.
303-4With LOW CUT, you can safely boost LOW
The HI EQ provides you up to 15 dB boost or
40EQ . Many times, bass shelving eq can really
50cut at 12kHz, and it is also flat at the detent. Use
60L/Rbenefit voices. Trouble is, adding LOW EQ also
OOit to add sizzle to cymbals, an overall sense of
RECboosts the subsonic debris: Stage rumble, mic
1transparency, or an edge to keyboards, vocals, gui-
handling clunks, wind noise and breath pops.
tar and bacon frying. Turn it down a little to
LOW CUT removes all that debris so you can
Mono Channelreduce sibilance or to mask tape hiss.
boost the LOW EQ without frying your woofer.
+15
HereOs a frequency curve of LOW EQ combined
+10with LOW CUT:
+5
+15
0+10
�5+5
�100
�15�5
20Hz100Hz1kHz10kHz 20kHz
�10
�15
20Hz100Hz1kHz10kHz 20kHz
20 |
ACEC
