Mackie 1642VLZ4 Musical Toy Instrument User Manual


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Owner’s Manual
Owner’s Manual
34. Low Cut
Thelowcutswitch(notpresentonchannels13-16),
oftenreferredtoasahighpasslter,cutsbassfrequen-
ciesbelow75Hzatarateof18dBperoctave.Thisain’t
nothrown-indime-storelter—an18dBperoctave
curverequiresanelaboratecircuit.Nothingbutthebest
foryou.
Werecommendthatyouusethisoneverysound
sourceexceptkickdrum,bassguitar,orbassysynth
patches.Theseaside,thereisn’tmuchdowntherethat
youwanttohear,andltering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amplier
power.
Withlowcut,youcansafelyboostlowEQ.Many
times,bassshelvingEQcanreallybenet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blowingyoursubwoofers.
Here’safrequencycurveoflowEQcombinedwith
lowcut:
35. 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[6]outputs.Theyareoffwhenturnedfullydown,
deliverunitygainatthecenterdetent,andcanprovide
upto15dB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outputsarethenpatchedtoparallel
effectsprocessorinputsorstagemonitorampinputs.
Auxsends1and2levelsarecontrollednotonlybythe
channel’sauxknobs,butalsobytheauxsend[49]
masterknobs.
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
34
35
36
33
Auxsendscanalsobeusedto
generateseparatemixesforrecording
or“mix-minuses”forbroadcast.
Byusingaux1or2inthepre[35]
mode,thesemixlevelscanbeobtained
independentlyofachannel’sfader[25]
settings.
Werecommendgoingintoa
stereoreverbinmonoand
returning in stereo. We have
foundthatonmost“stereo”reverbs,the
secondinputjusttiesupanextraaux
send and adds nothing to the sound.
Thereareexceptions,sofeelfreetotry
it both ways. Should you choose to use
twoauxsends,usethe“odd”aux(1or
3)tofeeditsleftinputandthe“even”
aux(2or4)tofeedtherightinput.
Remember,ifyou’realsodealingwith
astereosourcesignal,you’llwantto
followthesides—usetheoddauxon
thechannelcarryingtheleftsideand
theevenauxonthechannelcarryingtheright.
36. Pre
Thisswitchdeterminesthetappointofaux1and2.
Generally,“post”sendsareusedtofeedeffectsdevices,
and“pre”sendsareusedtofeedyourstagemonitors.
Seethe“Prevs.Post”diagrambelow.Aux3and4are
alwaysinpostmode.
Inpostmode(switchup),aux1and2willfollow
theEQ[32],lowcut[34],fader[25],andmute[30]
settings.Ifyoufadethechannel,youfadethesend.
Thisisamustforeffectssends,sinceyouwant
thelevelsofyour“wet”signalstofollowthelevel
ofthe“dry.”
Inpremode(switchdown),aux1and2followthe
gainandlowcutsettingsonly.EQ,pan,fader,andmute
settingshavenoeffectonthepresends.Thisisthe
preferredmethodforsettingupstagemonitorfeeds
—they’llbecontrolledindependentlyofthefaderand
mutemoves.
INPUT TRIM INSERT
LOW
CUT
EQ
PAN ASSIGN
MUTE
FADER
'POST' SIGNAL
'PRE' SIGNAL
PRE SWITCH
AUX 1
AUX 2
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