3. LOW CUT (Channels 1–6)
Each LOW CUT switch, often referred to as a High Pass Filter (all depends on how you look at it), cuts bass frequencies below 75 Hz at a rate of 18 dB per octave.
We recommend that you use LOW CUT on every microphone application except kick drum, bass guitar, or bassy synth patches. 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 the amplifier power.
Another way to consider LOW CUT’s function is that it actually adds flexibility during live performances. With the addition of LOW CUT, you can safely use LOW equalization on vocals. Many times, bass shelving EQ can really benefit voices. Trouble is, adding LOW EQ also boosts stage rumble, mic handling clunks and breath pops. LOW CUT removes all those problems so you can add low EQ without losing a woofer.
Here’s what the combination of LOW EQ and LOW CUT looks like in terms of frequency curves:
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Low Cut |
| Low Cut with Low EQ |
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4. GAIN (Channels 1–6)
If you haven’t already, please read the
GAIN adjusts the input sensitivity of the mic and line inputs connected to channels 1 through 6. This allows signals from the outside world to be adjusted to optimal internal operating levels.
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with the knob fully down, ramping to 60 dB of gain fully up.
Through the 1⁄4" input, there is 15 dB of attenuation fully down and 45 dB
of gain fully up, with a “U” (unity gain) mark at 10:00. This 15 dB of attenuation can be very handy when you are inserting a very hot signal, or when you want to add a lot of EQ gain, or both. Without this “virtual pad,” this scenario might lead to channel clipping.
5. STEREO LINE INPUTS
(Channels 7–8, 9–10, 11–12 and 13–14)
These fully balanced inputs are designed for stereo or mono, balanced or unbalanced signals, from
In the stereo audio world, an
When connecting a mono device (just one cord), always use the LEFT (MONO) input (jacks 7, 9, 11, or 13) and plug nothing into the RIGHT input (jacks 8, 10, 12 or 14)— this way the signal will appear on both sides. This trick is called “jack normalling.”
6. +4/–10 LEVEL (Stereo Channels only)
This switch adjusts the input sensitivity of the line inputs on channels 7 to 14. If the sound source is a
EFFECTS: SERIAL OR PARALLEL?
The next two sections toss the terms “serial” and “parallel” around like hacky sacks. Here’s what we mean by them:
“Serial” means that the entire signal is routed through the effects device. Examples: compressor/limiters, graphic equalizers.
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| Send | Return |
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Dry Signal | (e.g., Compressor) | Processed |
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“Parallel” means that a portion of the signal in the mixer is tapped off to the device (AUX SEND), processed and returned to the mixer (STEREO RETURN) to be mixed with the original “dry” signal. This way, multiple channels can all make use of the same effects device. Examples: reverb, digital delay.
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| Mix | Processed |
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| Stage | Signal |
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Dry Signal(s) |
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Manual Owner’s
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