
31. PAN
This adjusts the amount of channel signal sent to the left versus the right outputs. PAN determines the fate of the
Stereo Sources
Your life will be easier if you follow this standard con- vention: When patching stereo sound sources to a mixer, always plug the left signal into an “odd” channel (1, 3, 5, etc.) and the right signal into the adjacent “even” channel (2, 4, 6, etc.). Then pan the odd channel hard left and the even channel hard right.
CONSTANT LOUDNESS ! ! !
The
sign called “Constant Loudness.” It has noth-
ing to do with living next to a freeway. As you turn the PAN knob from left to right (thereby causing the sound to move from the left to the center to
the right), the sound will appear to remain at the same volume (or loudness).
If you have a channel panned hard left (or right) and reading 0 dB, it must dip down about 4 dB on the left (or right) when panned center. To do otherwise, like those Brand X mixers, would make the sound appear much louder when panned center.
32. 3-BAND MID-SWEEP EQ
The
The LOW EQ provides up to 15 dB boost or cut below 80 Hz. The circuit is flat (no boost or cut) at the center detent posi- tion. This frequency represents
the punch in bass drums, bass 20Hz100Hz1kHz10kHz 20kHz guitar, fat synth patches, and some really serious male singers who eat broken glass for breakfast.
Used in conjunction with the LOW CUT [33] switch, you can boost the LOW EQ without injecting a ton of subsonic debris into the mix. We recommend using the LOW CUT feature on all channels, except low frequency signals, like kick drums and bass guitars.
The MID EQ , or “midrange,” has a fixed bandwidth of
1 octave. The MID knob sets the amount of boost or cut, up to 15 dB, and is effectively bypassed at the center detent. The frequency knob sets the center frequency, sweepable from 100 Hz to 8 kHz.
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20Hz | 100Hz | 1kHz | 10kHz 20kHz | 20Hz | 100Hz | 1kHz | 10kHz 20kHz |
Most of the root and lower harmonics that define a sound are located in the 100
The HI EQ provides you up to 15 dB boost or cut above 12
kHz, 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.
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 love you, and know that 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.
Manual Owner’s
Owner’s Manual | 17 |