33. LOW CUT
This 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. This ain’t no
We recommend that you use this on every sound source except kick drum, bass guitar, bassy synth patch- es, 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:
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34. 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.
AUX SENDS can also be used to generate separate mixes for recording or
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, 3 or 5) to feed its left input and the “even” AUX (2, 4 or 6) 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.
35. 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 through 6 are always in post mode.
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In post mode (switch up), AUX 1 and 2 will follow the EQ [32], LOW CUT [33], 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.
36. 5/6 SHIFT
Don’t let the fact that there’s only four AUX knobs per channel fool you — the
[6].With this 5/6 SHIFT switch up, the knobs labeled AUX 3 and AUX 4 deliver their signals to AUX SEND 3 and 4 outputs. With this switch down, the signals appear at the AUX SEND 5 and 6 outputs.
We recommend that AUX SEND 3 and 4 be patched into your “utility” effects, like a short reverb and slap delay; effects you use all the time. Use AUX SEND 5 and 6 for “exotic” effects, like harmonizers and
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