Mackie 24.8Bus Owner's Manual - Page 10

NORMAL 2 3 1 12 U BAND WIDTH OCTAVES LO MID -15 +15 250 220 350 FREQ 45 3k U HI 12k -15 +15 U LO 80 -15 +15 EQ 75 Hz 18dB/oct EQ IN LOW CUT PAN LR U LEVEL +15 HI/LO EQ TO MIX-B MIX-B MONITOR SPLIT EQ FLIP SW CHANNEL SOURCE OO Now you know some of the de- +15 sign philosophy behind our Hi +10 Mid EQ. It's time to start experi- +5 menting with it yourself. Don't 0 forget to try the control at its -5 bandwidth extremes - espe- -10 cially at the 3-octave end. You'll -15 be pleasantly surprised. 20Hz Conversely, if you hate tech- nology and yearn for the sound of that old board you sold to buy an +15 8•Bus, you can achieve a semi- +10 parametric sound by leaving the +5 BANDWIDTH knob in the middle 0 at 2 octaves. -5 LO MID EQ -10 -15 The LO MID EQ control (19) 20Hz is a semi-parametric (sweepable) equalizer with a broad, fixed +15 bandwidth of 2 octaves, ±15dB of +10 equalization and frequency variable from 45Hz to 3kHz. +5 Boosting in this range can put 0 warmth and body into vocals and -5 instruments. Cutting can really -10 help the clarity of some sounds -15 20Hz by reducing boxy and boomy tones. HI EQ +15 +10 The HI EQ control (20) is a +5 fixed 12kHz shelving equalizer 0 with ±15dB of equalization avail- able. A great treble control, it is -5 switched with LO EQ into the -10 MIX-B circuit if the SPLIT but- -15 20Hz ton is depressed. Shelving equalizers work on a very broad range of frequencies, +15 and consequently, are very musi- +10 cal. In a 12kHz shelf like this +5 section, that means that all the 0 upper harmonics of a sound are -5 raised evenly, basically keeping -10 their original musical relation- -15 ship to each other. A 20Hz high-frequency shelving EQ is great for putting shimmer into acoustic guitar and piano tracks +15 and sizzle into vocals. +10 +5 LO EQ 0 The LO EQ control (20) is a -5 fixed 80Hz shelving equalizer -10 with ±15dB of equalization avail- -15 20Hz 8 able. 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. 100Hz 1kHz 10kHz 20kHz Good for working on bass drum Lo Mid EQ 2 octave ±15dB boost/cut 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. 100Hz 1kHz Lo Mid EQ sweeps from 45Hz to 3kHz 10kHz 20kHz 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 100Hz 1kHz 10kHz 20kHz Hi EQ ±15dB boost/cut noise, popping, and other unwanted above 12kHz 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. 100Hz 1kHz AUX SENDS 10kHz 20kHz Lo EQ ±15dB boost/cut below 80Hz Auxiliary sends are generally used to provide mixes for head- phone cueing and for effects sends, and in Sound Reinforcement use, can be assigned monitor submix duties. The 8•Bus Series consoles provide 6 mono auxiliary sends with several routing options. 100Hz 1kHz 10kHz 20kHz Note: All of the 8•Bus Series Lo cut (high pass filter) 18dB/oct. at 75hz 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 corresponds to the full range of a conventional mixer. The second half of the control's 100Hz 1kHz 10kHz 20kHz rotation provides you with even Interaction of Lo Cut with Lo EQ boost. more gain, from unity to +15dB. Verrry eenteresteeng, no?