Mackie 1202 Manuel du propriétaire télécharger pdf (Page 20)

more than about 3dB of

. If you need more

than that, there’s usually a better way to get it,

such as placing a mic differently (or using a

different kind of mic entirely).

AUX SEND

These tap a portion of each channel signal

out to another source for parallel effects pro-

cessing or stage monitoring.

AUX

send levels

are controlled by the channel’s

AUX 1

and

AUX

knobs and by the

AUX 1 MASTER

These are more than just effects and moni-

tor sends. They can 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 the channel’s

GAIN

control.

AUX 1

in post mode and

AUX 2

are post-

LOW CUT

, post-

and post-

GAIN

. That is,

the sends obey the settings of these controls.

AUX 1

PRE

mode follows the

and

LOW

CUT

settings only.

PAN

and

GAIN

have no ef-

fect on the

PRE

send (see diagram below).

Each

AUX

send level ranges from off through

unity (the center detent position) on up to

15dB of extra gain (when turned fully clock-

wise). Chances are you’ll never need this extra

gain, but it’s nice to know it’s there if you do.

Channel

–

AUX

pots control the mono

sum of the channel’s stereo signals for each

AUX

send. For instance, channel

(

) and

(

) mix together to feed that channel’s

AUX

send knobs.

We recommend going into a stereo reverb

in mono and returning in stereo. We have

found that on most “stereo” reverbs the sec-

ond input just ties up an extra

AUX

send and

adds nothing to the sound. There are excep-

tions, so feel free to try it both ways. If your

effects device is true stereo all the way

through, use

AUX 1

to feed its left input and

AUX 2

to feed the right input.

Still with us? Good for you. Here come the

tricky parts, where the mixing is really done.

LOW EQ

This control gives you up to 15dB boost or

cut at 80Hz. The circuit is flat (no boost or

cut) at the center detent position. This fre-

quency represents the punch in bass drums,

bass guitar, fat synth patches, and some really

serious male singers.

Used in conjunction with the

LOW CUT

switch , you can boost

the

LOW EQ

without injecting a

ton of subsonic debris into the mix.

MID EQ

Short for “midrange,” this knob

provides 12dB of boost or cut, cen-

tered at 2.5kHz, also flat at the

center detent. Midrange

often thought of as the most dy-

namic, because the frequencies

that define any particular sound

are almost always found in this

range. You can create many inter-

esting and useful

changes by

turning this knob down as well as

up.

HI EQ

This control gives you up to 15dB

boost or cut at 12kHz, and it is also

flat at the detent. Use it to add

sizzle to cymbals, and an overall

sense of transparency, or edge to

keyboards, vocals, guitar and bacon

frying. Turn it down a little to re-

duce sibilance, or to hide tape hiss.

Moderation during EQ

With

, you can also 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

s 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). Very

few gold-record-album engineers ever use

TRIM

INSERTLO CUT

GAIN

(FADER)

PAN

MAIN / ALT

AUX 2 KNOB

"POST" SIGNAL

"PRE" SIGNAL

AUX 1 KNOB

"POST" SIGNAL OBEYS

MUTE STATUS

INPUT

AUX SEND 1 PRE/POST SWITCH

(IN MASTER SECTION)

TO AUX SEND 2 LEVEL

TO AUX SEND 1 LEVEL

100

10k

20k

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

“Pre vs. Post”

Signal Flow Diagram

Low EQ with Low Cut

Mid EQ

Low EQ

Hi EQ

1 2 ... 15 16 17 18 19 20 21 22 23 24 25 ... 49 50

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Mackie 1202 Manuel du propriétaire Page 20

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