Mackie Mix5 Owners Manual - Page 11

Owner's Manual Moderation During EQ With EQ, you can also upset things royally. We've designed a lot of boost and cut into each equalizer circuit, because we know everyone will occasionally need that. But if you max the EQs on every channel, you'll get mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). Very few multi-platinum-record-album engineers ever use more than about 3 dB of EQ. If you need more than that, there's usually a better way to get it, such as placing a mic differently (or using a different kind of mic or singer entirely). 9. Low Cut Switch [Mix12FX only, channels 1-4] Each low-cut switch, often referred to as a high-pass filter (all depends on how you look at it), cuts bass frequencies below 75 Hz at a rate of 18 dB per octave. We recommend that you use low-cut on ­every microphone application except kick drum, bass guitar, or bassy synth patches. 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. Not only that, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve amplifier power. Another way to consider low-cut's function is that it actually adds flexibility during live performances. With the ­addition of low-cut, you can safely use low equalization on vocals. Many times, bass shelving EQ can really benefit voices. Trouble is, adding low EQ also boosts stage rumble, mic handling clunks and breath pops. Applying low-cut ­removes all those problems, so you can add low EQ without losing a woofer. 5 10. +4 / -10 Switch [Mix12FX only, channels 5/6 - 11/12] This two position switch sets the input level of the channel 5/6 - 11/12 inputs to either +4 dB (balanced input, switch disengaged) or -10 dB (unbalanced input, switch engaged). Use the +4 dB setting for professional equipment operating at the +4 dBu standard and use the -10 dB setting for consumer equipment operating at the -10 dBV standard. 11. Aux [Mix8 only] These knobs allow you to tap a portion of each channel's signal out to another source for parallel effects processing or stage monitoring. Aux send levels are controlled by these knobs and by the aux master. These are more than just effects and monitor sends. They can be used to generate separate mixes for recording or "mix-minuses" for broadcast, as well. The aux send level ranges from off through unity (the center position) on up to 15 dB of extra gain (when turned fully clockwise). Chances are you'll never need this extra gain, but it's nice to know it's there if you do. The channel 3/4-5/6 aux knobs control the mono sum of the channel's stereo signals for each aux send. For instance, channel 3 (L) and 4 (R) mix together to feed that channel's aux send knob. Aux sends are post-fader. This way, when changes are made, the "wet" signal moves up and down along with the "dry" signal, maintaining a balance between them. 12. FX [Mix12FX only] These knobs tap a portion of each channel's signal to set up a nice FX mix feeding the internal FX processor, and to feed external processors via the FX send. The FX feed from stereo channels is a mono sum of the left and right sides of these channels. 6 7 8 9 12 14 13 15 The controls are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15 dB of gain turned fully up. The FX signal reaching the internal FX processor and the FX send output jack, is the sum (mix) of all the channels whose FX control is set to 10 more than minimum. The FX signal from the internal FX processor is added to the main mix using the FX to main knob. FX sends are post-fader. This way, when changes are Owner's Manual 11