Mackie 1604-VLZ Manuel du propriétaire télécharger pdf (Page 7)

AUX

+1500

5/6

SHIFT

+15–15

MID

+12–12

PAN

SOLO

MUTE

ALT 3/4

+20

MON

formation is contained in this range, a little

midrange EQ goes a long way. It can increase

presence of a mix, enhance intelligibility of a

vocal or back off a strident instrument.

EQ LO

15dB boost or cut at 80Hz. This control

affects the lower frequencies of your input sig-

nal. It can be used to put punch in bass drums,

bass guitar, fatten synth patches and add bot-

tom end to male vocals. Cutting the LO EQ

slightly can do wonders for muddy tracks and

boomy room acoustics as well as helping fix

poppy microphones.

PAN

This control positions a signal within the

stereo sound field. Also a way to “assign” a

channel to just left or right for sub-grouping

to the mono or ALT-3/4 outputs.

The Mackie CR-1604 incorporates constant-

power pan pots which maintain constant

acoustic power as you move the channel’s sig-

nal to left or right. This is a way cool feature

which is explained in detail on the next page.

• We recommend going into a stereo reverb

in mono and returning in stereo. We have

found that most “stereo” reverbs’ second

input just ties up an extra AUX send and

adds little or nothing to the sound.

• All send buses are isolated from each other

and have separate mix amps.

Equalization Controls

These three controls offer you a surprising

amount of control over the sonic personality

of your mix (although they are not intended

to take the place of a parametric or

-octave

graphic equalizer).

Through the creative use of the CR-1604’s

EQ controls, samplers and other instruments

can be contoured to better reflect the real

world sound signature they are trying to emu-

late, mixes can be punched up, vocalists

rescued from obscurity, etc.

We’ve carefully selected different points for

our equalization and have used circuity which

provides an extremely “musical” effect. Some

heavy-duty pros have complemented us on

how useful they are. So before you immedi-

ately plug in an outboard equalizer, give the

controls a chance. If all you’ve used are con-

ventional small mixers, you’re in for a

pleasant surprise.

EQ HI

15dB boost or cut at 12kHz. There is no effect

at the center detent position. This shelving con-

trol will affect the higher frequencies of the

incoming signal. By shelving, we mean that the

circuitry boosts or cuts all frequencies past the

specified point, instead of just creating a bump

or dip in response the way a graphic equalizer

would. Use this control to add sizzle to cymbals

and vocals and give a sense of transparency or

edge to keyboards and guitars. It can also be

turned down a little to reduce sssssibilance.

EQ MID

12dB boost or cut at 2.5 kHz with a 3.3

octave bandwidth (this is NOT a shelving

control). Because the majority of musical in-

A CLOSER LOOK

AUX SENDS AND LIVE MIXING

When using microphones in a

live performance, we recommend

that AUX 1 be set to MONITOR

position.

In MONITOR mode, the signal

is taken ahead of the EQ and Fader circuitry.

When in AUX mode the signal will be taken down-

stream of the EQ and Fader circuitry. Remember

that this means that the signal will reflect any

changes brought about by settings made to EQ and

channel fader controls, but still can be used.

LECTURE TIME:

CONCERNING EQUALIZATION

MODERATION: Proper EQ

can focus a mix. Improper EQ

can cause distortion. Too much

EQ results in mix mush.

The best EQ is none at all. In other words, in

live recording situations, you should start by se-

lecting the right mic, positioning it correctly and

recording in the right acoustic environment.

When mixing direct inputs, time spent on tweak-

ing with the synth patch, boldly going where the

tone module preset hasn’t been before or adjust-

ing the instrument’s own tone controls beats the

heck out of “saving it in the mix.”

Save the CR-1604’s EQ for solving problems

you can’t work out in advance — particularly in

live PA situations (where anything can happen

and probably will) or final mix where you’re going

for a particular overall sound.

EQ POINTS: Some of you may have probably no-

ticed that theCR-1604 does not have it’s EQ points in

the usual (Yawn) “standard” frequency locations.

Why? You may ask.

Well, the story goes that sometime in the Sixties,

“Zoltan” (Bureaucratic High Moron from the Drumless

planet of Vocal Frustration) descended upon the mix-

ing board designers in Countries to the East and

proclaimed the proper EQ points for mixers:

“10kHz for HF and 100Hz for LF”

We can’t figure out why. 100Hz is too high and

10kHz is too low. They might be holdovers from re-

ally ancient mixing boards or radio equipment

back in the days when recording bandwidth was a

lot narrower. It’s irrational and not founded on

any particular acoustic or musical principle...but

then, Zoltan never visited us.

Being musicians ourselves (and having cursed

Zoltanesque EQ in other boards for years), we de-

cided to start from scratch and determine the

points which sounded best from a musical stand-

point. It goes without saying that Zoltan was not

pleased with the Rebels From The Rainforest.

But we trust that you will be.

A CLOSER LOOK

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Mackie 1604-VLZ Manuel du propriétaire Page 7

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