Mackie 1640 User Manual download pdf (Page 11)

Owner’s Manual

HOWEVER: The HI-Z inputs are unbalanced,

so if you’re

doing a live show and running a long cord between the

instrument and the mixer (say over 25 or 30

feet), it is

best to use a direct box with a balanced output to avoid

picking up noise over the length of the cord.

4. GAIN Control

If you haven’t already, please read “Set the Levels” on

page 5.

The GAIN control adjusts the input sensitivity of the mic

and line inputs. This allows the signal from the outside

world to be adjusted to optimal internal operating levels.

If the signal is plugged into the XLR jack, there is 0 dB

of gain (unity gain) with the knob turned all the way

down, ramping up to 60 dB of gain fully up.

When connected to the 1/4" jack, there is 20 dB of

attenuation all the way down, and 40 dB of gain fully up,

with a “U” (unity gain) mark at about 10:00.

5. EQ IN/OUT Switch

This is a true hardware bypass of the Perkins EQ cir-

cuitry to insure that there is no coloration of the signal

if the EQ is not needed. When this button is out, the EQ

controls have no effect on the signal. You can use this

switch to make an A/B comparison between the EQ’d

signal and the signal without EQ.

We have completely redesigned the

EQ circuits in the Onyx Series of

mixers, based on the designs of Cal

Perkins, an industry-leader in audio

engineering for over three decades

and long-time Mackie collaborator.

This “neo-classic” design provides the sweet musicality

of the British EQ

sound, while still maintaining 15 dB of

boost and cut with optimum Q

and minimum phase shift

(in other words, it gives you plenty of control and is

pleasing to the ear!).

The 4-band equalization has LOW shelving at 80 Hz,

LOW MID peaking, sweepable from 100 Hz to 2 kHz,

HIGH MID peaking, sweepable from 400 Hz to 8 kHz,

and HIGH shelving at 12 kHz. “Shelving” means that the

circuitry boosts or cuts all frequencies past the speci-

ﬁ ed frequency. For example, rotating the LOW EQ knob

15 dB to the right boosts bass frequencies starting at 80

and continuing on down to the lowest note you ever

heard. “Peaking” means that the frequencies around the

center frequency are less affected by the EQ the further

away they are.

6. HIGH EQ

This control gives you

up to 15 dB boost or cut at

12 kHz, and it is also ﬂ at

at the center detent. Use

it to add sizzle to cymbals,

and an overall sense of

transparency or edge to

the keyboards, vocals, gui-

tar, and bacon frying. Turn

it down a little to reduce

sibilance, or to hide tape hiss.

7. HIGH MID EQ

Short for “midrange,”

this knob provides 15 dB

of boost or cut centered

at the frequency deter-

mined by its FREQ [9]

knob. Midrange EQ is

often thought of as the

most dynamic because the

frequencies that deﬁ ne any

particular sound are almost always found in this range.

The HIGH MID EQ range (400 Hz to 8 kHz) includes

the female vocal range as well as the fundamentals and

harmonics for many instruments.

8. LOW MID EQ

This is a second mid-

range EQ control that pro-

vides 15 dB of boost or cut

centered at the frequency

determined by its FREQ

knob. It extends down to

100 Hz, which includes

the male vocal range and

the fundamentals of some

lower instruments (guitar, lower brass).

9. FREQ

This knob ranges from

100 Hz to 2 kHz for the

LOW MID EQ, and 400

Hz to 8 kHz for the HIGH

MID EQ. This determines

the center frequency for

the EQ ﬁ lter, and allows

you to zero in on the

precise narrow band of

frequencies you want to have affected by the LOW MID

and HIGH MID EQ.

100

10k

20k

–15

–10

–5

+10

+15

High EQ

100

10k

20k

–15

–10

–5

+10

+15

High Mid EQ

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

Mid EQ Freq Sweep

100

10k

20k

–15

–10

–5

+10

+15

Low Mid EQ

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Mackie 1640 User Manual Page 11

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