Mackie 24.8Bus Owner's Manual - Page 9

MIX-B SPLIT +15 +10 The SPLIT switch (14) in the MIX-B section splits the EQ sec- +5 tion of the channel when 0 depressed. In the up position, all -5 four sections of EQ remain, if en- -10 gaged, in the primary channel -15 20Hz signal path feeding the channel fader and the 8-plus-2 buses. In this mode there is no equalization +15 in the MIX-B path. +10 When the SPLIT switch is de- pressed, the HI and LO shelving +5 sections of the EQ are removed 0 from the channel signal and in- -5 serted into the MIX-B signal -10 path. The HI-MID and LO-MID -15 20Hz parametric sections of the EQ re- main, if engaged, in the channel signal path. +15 The SPLIT function allows you to +10 EQ the channel's signal and its MIX- +5 B signal separately. 0 Note: When the EQ is split, the -5 main EQ IN/OUT switch only -10 switches the channel signal's para-15 metric sections. It does not affect 20Hz the shelving sections split to MIX-B. EQ SECTION +15 Each 8•Bus channel strip equal- +10 izer section has four bands (HI MID, +5 LO MID, LO, and HI) plus a low-cut 0 filter. The equalizer can be split be- -5 tween main channel signal and -10 MIX-B signal. -15 20Hz HI MID EQ The HI MID EQ section (15) is a true 3-control parametric design, +15 offering: A) bandwidth variable +10 from 3 octaves to 1/12 octave (16); +5 B) ± 15dB of equalization (17) and; 0 C) variable frequency center from -5 500Hz to 18kHz (18). -10 We spent a lot of time on this -15 part of the 8•Bus Series' EQ. One 20Hz of the things we've always noticed about lower-priced consoles was +15 how "drastic" their Hi Mid EQ +10 sounded. Even a little boost could +5 induce honkiness and nasality. Frankly, Hi Mid EQ on many 0 boards is not that useful in studio -5 applications for just this reason. -10 -15 20Hz When you put these consoles on the test bench, you see that the bandwidth of their EQ is simply too narrow - often around one octave. This is OK for extreme adjustments in live situations, but that's about it. It's just not 100Hz 1kHz Freq. center: 1k; 10kHz 20kHz wide enough to gently alter the Bandwidth: 1/12-octave; ±15dB boost/cut multiple octaves that voices and instruments span. This is just the opposite of "classic" big-studio consoles. Their EQ (including Hi Mid) can be adjusted to be extremely 100Hz 1kHz Freq. center: 1k; 10kHz 20kHz broad - three or more octaves Bandwidth: 1-octave; ±15dB boost/cut wide in many cases. When you apply this wideband EQ, it sounds far more "sweet" and "natural." Changes sound so gradual and smooth that you can add considerably more EQ than would ever be possible with nar- rower-band consoles, yet without compromising the overall sound. 100Hz 1kHz 10kHz 20kHz Freq. center: 1k; On the other hand, ultra-nar- Bandwidth: 3-octave; ±15dB boost/cut row-band EQ also has its place, both as a corrective tool and for special effects. So why not give you even tighter control than would be possible with a 1/3- octave graphic equalizer? Thus was born the 8•Bus' 1/12-octave to 3-octave width range. 100Hz 1kHz 10kHz 20kHz At this point, as we played Freq.: 500Hz-18kHz sweep; Bandwidth: 1/12-octave; around with the Bandwidth and ±15dB boost/cut Boost/Cut controls using actual music, we realized that to limit this circuit to just Hi Mid (typi- cally above 2.5kHz) would actually limit its usefulness. The flexibility that true parametric control provides is nice to have in the octaves below the Hi Mid re- 100Hz 1kHz 10kHz 20kHz gion as well. So we came up with Freq.: 500Hz-18kHz sweep; Bandwidth: 1-octave; what is probably the first console ±15dB boost/cut Hi Mid control that can be swept all the way down to 500Hz. If Hi Mid doesn't do it for you as a name, think of these three controls as the Roving- Parametric-Problem-Solver-O-Matic. O-Rama. 100Hz 1kHz 10kHz 20kHz Freq.: 500Hz-18kHz sweep; Bandwidth: 3-octave; ±15dB boost/cut 7 SHIFT 24 PRE CHANNEL MIX-B U SOURCE HI MID -15 +15 3k 1k 5k FREQ 500 18k 2 NORMAL 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