Mackie Mix 260FX Owners Manual - Page 9

0 CHANNEL CONTROLS The channel strips have various controls, depending on the model and whether it is a mic/line (mono) channel or a stereo channel. The output from each channel strip passes on to the left and right main mix. Two auxiliary signals can be tapped off and sent to monitors or effects processors. The block diagrams on pages 23-24 show how the signal flows through each mixer. LOOK UNITY GAIN The U symbol on most of the controls, stands for "unity gain," meaning there is no change CLOSER in signal level. Once you have adjusted the input signal to line- level, you can set every control at U, and your signals will travel through the mixer at optimal levels. EQUALIZATION Each EQ control provides up to 15 dB of boost and cut, with no change to the signal (0 dB) in the center position. The Mix.220FX has three-band EQ on all the channels, while the Mix.260FX has threeband EQ with variable mid on the mono channels, and four-band EQ on the stereo channels. Although you can bring a sound to life with proper EQ, you can also mess things up. If you max the EQs on every channel, you'll get mix mush, not to mention driving your mix levels near or beyond clipping. So equalize subtly; use cut as well as boost. 6. 75Hz Low-Cut Switch (Mono Channels only) This switch cuts the bass frequencies below 75 Hz. We recommend that you use the Low-Cut switch on every microphone application except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. These aside, there isn't much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. 7. HI EQ Turning this clockwise boosts the level of all frequencies above 12 kHz. Turning it counterclockwise cuts the levels. Use this wisely to add sizzle to cymbals or an overall sense of transparency or edge to keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance or hide tape hiss. 8. MID EQ Turning this clockwise boosts the level of frequencies at and around 2.5 kHz on the 220FX. Turning it counter-clockwise cuts the levels. 75Hz The 260FX has a sweepable MID EQ on the mono channels 1 U EQ (see 9 next), and two discrete MID EQ controls on the stereo 7 HIGH 12kHz channels, with center frequencies -15 +15 at 3 kHz and 500 Hz [8a]. The midrange frequencies 9 include the upper male and MID FREQ lower female vocal ranges, and the fundamentals 100 8k U and harmonics for many 8 MID instruments. -15 +15 U 9. MID FREQ (Mix.260FX Mono Channels 10 LOW 80Hz only) -15 +15 This allows you to change the center frequency for the AUX U SEND MID EQ filter so you can zero in 11 more accurately on the precise narrow band of frequencies you 1 (MONO) MON +15 L want to boost or cut. It ranges from 100 Hz to 8 kHz. 13 10. LOW EQ Turning this clockwise boosts 12 U BAL OR UNPBRAEL 2 FRX +15 the level of all frequencies Mix.260FX Mono Channel below 80 Hz. Turning it counterclockwise cuts the levels. Frequencies of 80 Hz and below represent the punch in bass drums, bass guitar, LINE +4 5 -10 L6 R EQ U fat synth patches, and hightestosterone male singers. AUXILIARY In addition to the main mix output, the mixer provides two auxiliary mixes, which you 7 HIGH 12kHz -15 +15 U 8 MID 3kHz 10 OL -15 +15 U 5 can send to parallel effects 8a processors and stage monitors. U MID 510-02Hz The AUX SEND knobs adjust how much of each channel is tapped off, added to the aux mix, and sent out via the AUX SEND [45] jacks. On the stereo channels, the AUX knob controls a mono sum of the channel's stereo signals. For instance, channel 5 (L) and 6 (R) mix together to feed that channel's AUX send knobs. -15 +15 U5 10 10 L8LO 0-RHWz -15 +1205 AUX U 30SEND SOLO 11 40 50 1 60 MON OO +15 12 U PRE 13 2 FX +15 Mix.260FX Stereo Channel 9 L R