Mackie ProFX8v2 Owners Manual - Page 12

ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Channel Equalization (EQ) All ProFXv2 mono channels - except for the ProFX4v2, which is covered in its own owner's manual - have 3-band EQ with shelving hi, peaking mid with adjustable mid frequency [ProFX16v2, ProFX22v2, ProFX30v2] and shelving low. The stereo channels have a peaking mid EQ control in addition to the shelving hi and shelving low EQ controls. 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 continuing down to the lowest note you never heard. Peaking means that certain frequencies form a "hill" around the center frequency. 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 a lot of boost or cut, consider altering the sound source, such as placing a mic differently, trying a different kind of mic, a different vocalist, changing the strings, or gargling. 13 14 14. Mid EQ 15. Freq [ProFX16v2, ProFX22v2, ProFX30v2] The mono channels employ +15 a semi-parametric mid-sweep +10 EQ. The gain (up to 15 dB +5 0 of boost or cut) is set via the -5 mid EQ, and then "aimed" at -10 a specific frequency, from -15 20Hz 100Hz 1kHz 10kHz 20kHz 100 Hz to 8 kHz, via the freq control. 16. Mid EQ Short for "midrange," this +15 knob provides up to 15 dB of +10 boost or cut, centered at +5 0 2.5 kHz, also flat at the center -5 detent. Midrange EQ is often -10 thought of as the most -15 20Hz 100Hz 1kHz 10kHz 20kHz dynamic, because the frequencies that 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. 17. Low EQ The low EQ provides up to +15 15 dB of boost or cut below +10 80 Hz. The circuit is flat at +5 the center detent position. 0 -5 This frequency represents the -10 punch in bass drums, bass -15 20Hz 100Hz 1kHz 10kHz 20kHz guitar, fat synth patches, and some really serious male singers who eat raw beef for breakfast. 16 15 17 18. Aux Mon These knobs tap a portion of each channel's signal to set up a nice monitor mix feeding stage monitors, independent of the main mix. Adjust these controls on each channel until the band is happy with the stage monitor mix. The controls are off when fully turned down, deliver unity gain at the center detent, and can provide up to 15 dB of gain turned fully up. 13. Hi EQ The hi EQ provides up to +15 15 dB of boost or cut above +10 12 kHz, and it is also flat +5 (no boost or cut) at the 0 -5 detent. Use it to add sizzle -10 to cymbals, an overall sense -15 20Hz 100Hz 1kHz 10kHz 20kHz of transparency, or an edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss. The pan, mute and channel fader do not affect the monitor output, but the other channel controls will. The aux mon is pre-fader. The overall output level may be adjusted with the aux master mon controls and monitor 1's EQ tweaked with the graphic EQ if the main mix/mon 1 switch is engaged. Internal FX may also be added to the monitor mix with the internal FX to mon knobs. 12 ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2