Mackie PPM1012 Owner's Manual - Page 19

Owner's Manual 27. HIGH EQ The high EQ provides up to 15 +15 +10 dB of boost or cut above 12 kHz, +5 and it is also flat at the detent. 0 Use it to add sizzle to cymbals, -5 an overall sense of transpar- -10 -15 ency, or an edge to keyboards, 20Hz 100Hz 1kHz 10kHz 20kHz vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss. 32. LOW EQ The low EQ provides up to 15 +15 +10 dB of boost or cut below 80 Hz. +5 The circuit is flat (no boost or 0 cut) at the center detent posi- -5 tion. This frequency represents -10 -15 the punch in bass drums, bass 20Hz 100Hz 1kHz 10kHz 20kHz guitar, fat synth patches, and some really serious male singers who eat raw beef for breakfast. 28. MID EQ LEVEL (Ch. 1 to 8) The mid EQ , or "midrange," +15 has a fixed bandwidth. The mid +10 +5 knob sets the amount of boost 0 or cut, up to 15 dB, and is ef- -5 fectively bypassed at the center -10 -15 detent. The frequency at which 20Hz 100Hz 1kHz 10kHz 20kHz the cut or boost occurs is set by the mid EQ frequency control [29]. 29. MID EQ FREQUENCY (Ch. 1 to 8) This knob sets the center +15 frequency of the mid EQ level +10 +5 control [28]. This is sweepable 0 from 100 Hz to 8 kHz. -5 -10 Once this is set, the mid EQ -15 20Hz 100Hz 1kHz 10kHz 20kHz level can be adjusted with the mid EQ level control. Most of the root and lower harmonics that define a sound are located in the 100 Hz-8 kHz frequency range, and you can create drastic changes with these two knobs. Many engineers use mid EQ to cut midrange frequencies, not boost them. One popular trick is to 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. 30. HIGH MID EQ LEVEL (Ch. 9/10 and 11/12) 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 the stereo channels. 33. MON 1 AUX SEND and 34. MON 2 AUX SEND These controls allow you set up two independent mixes for running stage monitors. 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, and can provide up to 15 dB of gain turned fully up. Chances are you'll never need this extra gain, but it's nice to know it's there if you do. Adjustments to the channel faders [40] or main mix fader [59] will not affect the monitor output, but channel EQ [27-32] and gain [23] will. One or both of the powered mixer's internal amplifiers can be used to power passive stage monitors if you set the power amp mode switch [53]. Mon 1 and mon 2 send [10] are line-level outputs, and are used if you want to connect powered stage monitors, or external power amps with passive stage monitors. 35. FX1 AUX SEND and 36. FX2 AUX SEND These controls allow you set up two independent mixes for the internal effects processors, or external effects processors. Adjust these controls on each channel until you have just the right level going to the internal processors. 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 fader [40], gain [23] and channel EQ [27-32] will affect the feed going to the internal effects processors. 31. LOW MID EQ LEVEL (Ch. 9/10 and 11/12) 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 the stereo channels. The FX1 and FX2 send [11] outputs are line-level, and are used if you want to connect external effects processors. If you plug something into these outputs, the feed to the internal processors is disconnected, and the FX1 and FX2 mixes feed the external processor(s) only. Owner's Manual 19