Sometimes it can be also very effective to combine the LO CUT filter with the VOICING filter. For
instance to provide a “thin” voice with more “body”, without getting additional low pitched noise.
Whenever the LO CUT is engaged, raising the bass level (LO EQ) provides you with a richer
sound, but no additional rumbling or popping noise.
Another welcome side effect is, that the power amplifier and the connected loudspeakers do not
get “polluted” with unnecessary low pitched noise. And the audience will be thankful for the use
of the LO CUT filter, too. Since in this way they can enjoy a truly clear, natural, and powerful sound
performance.
6. VOICING FILTER
This button activates an asymmetric micro-
phone filter, which can be used in addition
to the channel EQ. The VOICING filter en-
hances the first harmonic oscillation of the
human voice and slightly attenuates the mid
frequency range. This voice shaping me-
thod provides precisely audible, intelligible,
and powerful vocals that are clearly empha-
sized from the rest of the mix. An effect
which is not achievable using ordinary third
or octave equalizers.
The use of this filter is not restricted to vocals
only. Also horns, woodwinds, and other acoustic instruments can profit from the voicing filter.
We leave it entirely up to your creativity and imagination to try the filter with as many different
sound sources as you want. Normally, you do not have to fear any problems with the occurrence
of feedback.
7. EQ SECTION
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within
miscellaneous frequency bands. Turning one of the EQ level controls to the right enhances/am-
plifies the corresponding frequency range while turning them to the left lowers/attenuates the signal
of the specific frequency band. Before you begin to alter the sound, all EQ controls should be set
to their neutral position; that is: their marker points straight up (locked in place). Do not set the EQ
controls to extreme positions. Usually, minor changes are totally sufficient and produce the best
results in the overall sound. You should use the natural reproduction as an orientation mark and
rely on your musically trained ear, being the perfect instrument to judge the sound quality. The
moderate use of the MID control is the best remedy to avoid acoustical feedback. Especially in
this frequency range you should try to avoid excessive enhancement. Lowering the level more or
less in this band will provide you with high amplification rates without feedback.
Use the LO control according to your pleasing, to add more “punch” to the sound of a kick drum
or “body” to the vocals. Use the HI control in the same way to provide cymbals and the human
voice with more treble and a more transparent sound. The MID EQ section offers separate rotary
controls for the adjustment of the level (MID) and the frequency band (kHz) between 100 Hz and
8 kHz.
LOW-HI EQ MID EQ
INPUT/MONO
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