+15 +10 +5
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 every sound source except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. 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 EQ . 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:
+15 +10 +5
0
TRIM
-10dBV GA MIC IN
U 10 +10dB 60 -40dB
1
�5 �10 �15 20Hz
100Hz
1kHz
10kHz 20kHz
AUX 1
O O
U
+15
+15
U
+10 +5
2
O O
+15
0
�5
5
PRE
U
3
O O
�10 �15 20Hz 100Hz 1kHz 10kHz 20kHz
+15
U
4
O O
6
+15
5/6 SHIFT
EQ
U
HI
12k
-15
U
+15
MID
-15
+15
800
200 100 U 8k
2k
LOW 80Hz
-15 LOW CUT 75 Hz 18dB/OCT
+15
PAN
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, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss.
0
�5 �10 �15 20Hz 100Hz 1kHz 10kHz 20kHz
L
R
1
MUTE
OL
+15
-20
+10 +5
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 2 levels are controlled not only by the channel�s AUX knobs, but also by the AUX SEND master knobs . 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 mode , these mix levels can be obtained independently of a channel�s fader settings.
SOLO
0
1�2
�5 �10
3 �4
�15
L-R
O O
20Hz
100Hz
1kHz
10kHz 20kHz
With too much EQ, 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 EQ 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.
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