Mackie PPM608 Owner's Manual - Page 17

Owner's Manual 21. MON 1 CHANNEL EQUALIZATION (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 [28] will. The PPM608 channels have 3-band equalization: low shelving, mid peaking, and high shelving. It's probably all the EQ you'll ever need! 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. Peaking means that certain frequencies form a "hill" around the center frequency. 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 These controls allow you to send a sample of each channel's signal to the internal FX processor, and to the FX/mon 2 line-level output [15] to run external processors, or a second set of stage monitors. Carefully adjust each control to set up the FX or monitor 2 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. The dual nature of this knob (FX or mon 2) is determined by the setting of the FX send /mon 2 send switch [47]. More FX/mon 2 details are shown on page 14 and page 23 (item 47). 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 that everyone will occasionally need that. But if you max the EQ 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). If you find yourself repeatedly using full boost or cut, consider altering the sound source, such as placing a mic differently, trying a different kind of mic, changing the strings, or gargling. 23. HIGH EQ The high EQ provides up to +15 15 dB of boost or cut above +10 +5 12 kHz, and is flat at the center 0 detent. Use it to add sizzle to -5 cymbals, an overall sense of -10 transparency, or an edge to -15 20Hz 100Hz 1kHz 10kHz 20kHz keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss. 24. MID EQ The mid EQ provides up to +15 15 dB of boost or cut at +10 2.5 kHz, and is flat at the center +5 0 detent. Midrange EQ is often -5 thought of as the most dynamic, -10 because the frequencies that -15 20Hz 100Hz 1kHz 10kHz 20kHz define any particular sound are almost always found in this range. You can create many interesting and useful EQ changes by turning this knob down, as well as up. 25. LOW EQ The low EQ provides up to +15 15 dB of boost or cut below +10 +5 80 Hz. The circuit is flat (no 0 boost or cut) at the center -5 detent position. This frequency -10 -15 represents the punch in bass 20Hz 100Hz 1kHz 10kHz 20kHz drums, bass guitar, fat synth patches, and some really serious male singers who eat raw beef for breakfast. Owner's Manual 17