Mackie PPM1008 Owner's Manual - Page 17

Owner's Manual 21. MON 1 23. HIGH EQ This control allows you set up a nice monitor mix, independent of the main mix or the monitor 2 mix. Adjust these controls on each channel until your band is happy with the stage monitor mix. 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. Adjustments to the channel level or main mix level will not affect the monitor output, but channel EQ and gain [32] will. One of the powered mixer's internal amplifiers can power passive stage monitors if you set the power amp mode switch [4] on the rear panel. Mon 1 send [17] is a line-level output if you want to connect external power amplifiers and passive stage monitors, or powered stage monitors. 22. FX/MON 2 The high EQ provides up to +15 15 dB of boost or cut above +10 +5 12 kHz, and it is also flat at 0 the detent. Use it to add sizzle -5 to cymbals, an overall sense -10 of transparency, or an edge -15 20Hz 100Hz 1kHz 10kHz 20kHz to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss. 24. MID EQ LEVEL (Ch. 1 to 6) The mid knob sets the +15 amount of boost or cut, up +10 to 15 dB, and is effectively +5 0 bypassed at the center detent. -5 The frequency at which the cut -10 or boost occurs is set by the -15 20Hz 100Hz 1kHz 10kHz 20kHz frequency control [25]. These controls allow you to send a sample of each channel's signal to the internal FX processor, and to 25. MID EQ FREQUENCY (Ch. 1 to 6) the FX/mon 2 line-level output [15] to run external This knob sets the center +15 processors, or a second set of stage monitors. frequency of the mid EQ control +10 Carefully adjust each control to set up the FX or monitor 2 mix. The controls are off when turned fully [24]. This is sweepable from +5 0 100 Hz to 8 kHz. -5 -10 down, deliver unity gain at the center detent, and can Once this is set, the mid EQ -15 provide up to 15 dB of gain turned fully up. level can be adjusted with the 20Hz 100Hz 1kHz 10kHz 20kHz The dual nature of this knob (FX or mon 2) is mid EQ level control [24]. determined by the setting of the FX send /mon 2 send Most of the root and lower harmonics that define switch [51]. More FX/mon 2 details are shown on page a sound are located in the 100 Hz-8 kHz frequency 14 and page 23 (item 51). range, and you can create drastic changes with these two knobs. Many engineers use mid EQ to cut midrange CHANNEL EQUALIZATION (EQ) frequencies, not boost them. One popular trick is to The PPM1008 mono channels have 3-band equalization: low shelving, mid peaking with adjustable frequency, and high shelving. The stereo channels have 4-band EQ: low shelving, low-mid and high-mid peaking, and high shelving. It's probably all the EQ you'll ever set the mid fully up, turn the frequency knob until you find a point where it sounds just terrible, then back the mid down into the cut range, causing those terrible frequencies to disappear. Sounds silly, but it works. Sometimes. need! 26. HIGH MID EQ LEVEL (Ch. 7 and 8) Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, the low EQ boosts bass frequencies below 80 Hz and continues down to the lowest note you never heard. The high mid EQ provides up to 15 dB of boost or cut at 2.5 kHz, and it is also flat at the detent. This control is only available on stereo channels 7 and 8. Peaking means that certain frequencies form a "hill" around the center frequency. 27. LOW MID EQ LEVEL (Ch. 7 and 8) With too much EQ, you can really upset things. We've designed a lot of boost and cut into each equalizer circuit because we know The low mid EQ provides up to 15 dB of boost or cut at 400 Hz, and it is also flat at the detent. This control is only available on stereo channels 7 and 8. that everyone will occasionally need that. But if you max the EQ on every channel, you'll get mix mush. 28. ICE CREAM DISPENSER Equalize subtly and use the left sides of the knobs This control is not there. It was going to be, but after (cut), as well as the right (boost). If you find yourself much discussion among the engineers, it was decided repeatedly using full boost or cut, consider altering the not to add it after all. It would have been good though. sound source, such as placing a mic differently, trying a different kind of mic, changing the strings, or gargling. Owner's Manual 17