Mackie CR1604 Owner's Manual download pdf (Page 20)

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

Most of the root and lower harmonics that

define a sound are located in the 100Hz–8kHz

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.

The

HI EQ

provides you up to 15dB boost or

cut at 12kHz, and it is also flat at the detent. Use

it to add sizzle to cymbals, an overall sense of

transparency, or an edge to keyboards, vocals, gui-

tar and bacon frying. Turn it down a little to

reduce sibilance or to mask tape hiss.

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

With too much

, you can screw things up

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

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.

LOW CUT

The

LOW CUT

switch, often referred to as a

high pass filter (all depends on how you look

at it), cuts bass frequencies below 75Hz at a

rate of 18dB per octave. This ain’t no thrown-in

dime-store filter — an 18dB per octave curve

requires an elaborate circuit. Nothing but the

best for you.

We recommend that you use

LOW CUT

on ev-

ery sound source except kick drum, bass guitar,

bassy synth patches, or recordings of earth-

quakes. 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.

With

LOW CUT

, you can safely boost

LOW

. Many times, bass shelving eq can really

benefit voices. Trouble is, adding

LOW EQ

also

boosts the subsonic debris: Stage rumble, mic

handling clunks, wind noise and breath pops.

LOW CUT

removes all that debris so you can

boost the

LOW EQ

without frying your woofer.

Here’s a frequency curve of

LOW EQ

combined

with

LOW CUT

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

AUX 1, 2, 3, & 4

These four knobs tap a portion of each

channel’s signal, mix them together and send

them to the

AUX SEND

outputs . They are

off when turned fully down, deliver unity gain

at the center detent, and can provide up to

15dB 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.

The

AUX SEND

output are then patched to

parallel effects processor inputs

or stage

monitor amp inputs.

AUX SENDS 1

and

lev-

els are controlled not only by the channel’s

AUX

knobs, but also by the

AUX SEND

mas-

ter knobs

AUX SENDS

can also be used to generate

separate mixes for recording or “mix-minuses”

for broadcast. By using

AUX 1

in the

PRE

mode , these mix levels can be obtained in-

dependently of a channel’s fader settings.

PAN

AUX

5/6

SHIFT

PRE

TRIM

SOLO

L - R

–

+15

+15-15

800

2k200

+15-15

12k

MID

80Hz

LOW CUT

75 Hz

18dB/OCT

LOW

10 0

+15

MUTE

+10dB -40dB

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Mackie CR1604 Owner's Manual Page 20

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