Mackie DFX 12 Owner's Manual - Page 12

LEVEL SET MIC U 1 CHANNEL STRIP FEATURES OVERVIEW 18. LOW CUT MIN-20dB +50 +30dB GAIN The channel strips are independent of each The LOW CUT circuit, often referred to as a other, and allow you to adjust, tweak and other- high-pass filter, cuts the bass frequencies wise beautify the sound coming from your below 75 Hz at a rate of 18 dB per octave. LOW CUT 75 Hz U EQ different microphones, guitars and other instruments. The Faders and Pans let you adjust how much of each channel is sent to the main We recommend that you use LOW CUT on every microphone application except kick drum, bass guitar, or bass-heavy synth patches. -15 +15 U HI 12k LOW 80Hz mix. The Auxes let you adjust how much of each channel goes to your stage monitors or out to external or internal effects. The channel strips come in two flavors: Mono and Stereo. In addition, the DFX•12 has LOW CUT can also help reduce the possibility of feedback in live situations and it helps to conserve amplifier power. 2-BAND CHANNEL EQ -15 +15 two line-level-only stereo channels. The DFX Mixers use "shelving" equalization. AUX 1 U MON +6 16. GAIN If you haven't already, please read "SET THE LEVELS" on page 5. The GAIN control adjusts the input sensitiv- This boosts or cuts all frequencies past a specified frequency. For example, turning the LOW EQ (20) knob clockwise will boost the bass frequencies at 80 Hz and below. Although you can bring sound to life with OO OO OO 2 ity of the mic and line inputs on each channel. proper EQ, you can also mess things up. If you U EFX This allows signals from the outside world to be max the EQs on every channel, you'll get mix +6 adjusted to optimal internal operating levels. mush, not to mention driving your mix levels Through the mono channel MIC (XLR) in- near or beyond clipping. So equalize subtly; puts, there is 50 dB of gain fully up. For stereo use cut as well as boost. channel MIC inputs, this is +40 dB. Adjusting the channel EQ will affect your Through the mono channel LINE IN (TRS) main mix and the AUX 2/EFX (8) output, but L PAN R inputs, there is 20 dB of attenuation fully down not the AUX 1/MON (7) output. and +30 dB of gain fully up, with a "U" (unity 1 MUTE gain) mark halfway up. The stereo channel 19. HI EQ LINE INs have a maximum gain of +20 dB. Having 20 dB of line-level attenuation can This control provides up to +15 +10 15 dB of boost, or 15 dB of cut +5 dB be very handy when you are injecting a signal at 12 kHz and above. There is 0 HI 10 -5 that is very hot, or when you want to add a lot OL no boost or cut at the center -10 5 of EQ boost, or both. Without this "pad," it detent position. -15 20Hz 100Hz 1kHz 10kHz 20kHz would be very difficult to control the line sig- Use this wisely to add sizzle to cymbals or U nal and might lead to channel clipping. an overall sense of transparency or edge to 5 17. LEVEL SET LED keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance or 10 This LED (Light Emitting Dohickey) lets hide tape hiss. you know that the signals going into the mixer 20 are adjusted to the correct level, not too strong 20. LOW EQ 30 40 50 60 Mono Channel to cause distortion and not too weak to be lost in noise. After you connect a microphone or linelevel component to the mixer, do a sound test and adjust the GAIN (16) control until this handy LED flickers just occasionally. If it is glowing constantly, turn the GAIN down. If the LED is doing almost nothing, turn it up. This control provides up +15 +10 to 15 dB of boost, or 15 dB of +5 cut at 80 Hz and below. 0 -5 There is no boost or cut at -10 the center detent position. -15 20Hz 100Hz 1kHz Frequencies of 80 Hz and below represents the punch in bass drums, bass guitar, fat synth patches, and LOW 10kHz 20kHz high-testosterone male singers. While adding boost, also engaging the LOW CUT (18) switch can create an audible low frequency boost without boosting stage rumble, mic-handling clunks, and breath pops. 12