Mackie SR244 VLZ Pro / SR324 VLZ Pro VLZ Pro Owner's Manual - Page 20

OO OO OO OO OO OO OO OO OO OO OO OO Mono Stereo channels channels U M-I1C0GdBAVIN TRIM 20 0 60 +15dB -45dB U AUX 1 PRE +15 U 2 PRE +15 U 3 +15 U 4 +15 U -20 +20 U TRIM 21 22 AUX 1 PRE +15 U 2 PRE +15 U 3 +15 U 4 +15 U PRE +15 U 5 POST 6 POST +15 U EQ HI 12k -15 +15 U MID -15 +15 600 150 1.5k FREQ 100 8k U -15 +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz U PRE +15 U 5 POST 6 POST +15 U EQ -15 +15 U -15 +15 U -15 +15 U HI 12k HI MID 3k LOW MID 800Hz -15 +15 LOW 80Hz OL OL L R -20 L R -20 PAN PAN 20 MUTE 21 22 MUTE MUTE / SOLO MUTE / SOLO dB dB 10 SOLO 10 SOLO 5 5 U 1-2 U 1-2 5 5 3-4 3-4 10 10 20 L-R 20 L-R 30 30 40 40 50 50 60 60 OO OO 20 EQ: (28 through 34) The mixer has low shelving, mid peaking and high shelving EQ. "Shelving" means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, boosting the LOW EQ knob boosts bass frequencies at 80Hz and below. "Peaking" means that only a selected "hill" of frequencies surrounding a center "hilltop" frequency is affected by the EQ control. All EQ gain controls provide up to 15dB of boost (clockwise) or cut (counter-clockwise). They are flat (no boost or cut) at their center detents, effectively bypassing their circuits. Note: EQ boost is a form of level boost. With excessive amounts, the signal may become too hot and overload subsequent circuitry. Should this happen, either back off the EQ gain, or repeat the SET THE LEVELS on page 8. The following graphs show how the frequency response changes when the various controls are adjusted.(The graphs are simplified for entertainment and enlightenment purposes only). 28. HI This control is centered at 12kHz and above. Boost it to add sizzle and definition to sounds with high-frequency transients, such as cymbals. Reduce it to attenuate sibilance or to mask tape hiss. +15 +10 +5 0 HI -5 -10 -15 20Hz 100Hz 1kHz 10kHz 20kHz 29. MID and 30. FREQ The mono channels employ a semiparametric mid-sweep EQ. The gain is set via MID (29), and then "aimed" at a specific frequency, from 100Hz to 8kHz, via FREQ (30). +15 +10 +5 0 MID -5 -10 -15 20Hz 100Hz 1kHz 10kHz 20kHz FREQ 31. HI MID and 32. LOW MID The stereo channels employ a 2-stage fixedfrequency midrange EQ: +15 +10 LOW MID is +5 0 LOWMID centered at -5 800Hz. -10 -15 20Hz 100Hz 1kHz 10kHz 20kHz +15 +10 +5 HI MID is 0 HIMID centered at -5 -10 3kHz -15 20Hz 100Hz 1kHz 10kHz 20kHz Midrange EQ is often considered the most dynamic, because the frequencies that define any sound are almost always found in this range. 33. LOW This control is centered at 80Hz and below. This frequency represents the punch in kick drums, bass guitar and fat synth patches. +15 This graph +10 shows various +5 settings of the 0 LOW -5 LOW control, -10 with LOW CUT -15 20Hz 100Hz 1kHz 10kHz 20kHz not engaged. 34. LOW CUT This switch (only on the mono channels) cuts the bass frequencies below 75Hz at a rate of 18dB per octave. Low Cut is also known as High Pass (low cut dress=high pass rate). To prevent muddy mixes, use low cut on every mono channel except those which carry kick drum, bass guitar or other bass-intensive sounds. Low cut can also help reduce the possibility of feedback in live situations and it helps to conserve amplifier power. +15 This graph +10 shows various +5 0 LOW settings of the -5 LOW control, -10 -15 20Hz 100Hz 1kHz 10kHz 20kHz with LOW CUT engaged. Desirable low frequencies can be boosted whilst undesirable lower frequency stage rumble, mic handling clunks and P-p-pops are attenuated.