LOOK CLOSER A
LOOK CLOSER A

AUX

U

1

00+15

MON

U

2

00+15 U

3

5

00+15 U

4

6

00+15

5/6

SHIFT

0

HI

–15 +15

0

MID

2

–12 +12

0

LO

–15 +15

EQ

0

3

LR

PAN

SOLO

1

MUTE

ALT 3/4

OL

+20

U

00

•We recommend going into a stereo reverb in mono and returning in stereo. We have found that most “stereo” reverbs’ second input just ties up an extra AUX send and adds little or nothing to the sound.

•All send buses are isolated from each other and have separate mix amps.

AUX SENDS AND LIVE MIXING

When using microphones in a live performance, we recommend that AUX 1 be set to MONITOR position.

In MONITOR mode, the signal

is taken ahead of the EQ and Fader circuitry. When in AUX mode the signal will be taken downstream of the EQ and Fader circuitry. Remember that this means that the signal will reflect any changes brought about by settings made to EQ and channel fader controls, but still can be used.

2Equalization Controls

These three controls offer you a surprising amount of control over the sonic personality of your mix (although they are not intended to take the place of a parametric or 1/3-octave graphic equalizer).

Through the creative use of the CR-1604’s EQ controls, samplers and other instruments can be contoured to better reflect the real world sound signature they are trying to emu- late, mixes can be punched up, vocalists rescued from obscurity, etc.

We’ve carefully selected different points for our equalization and have used circuity which provides an extremely “musical” effect. Some heavy-duty pros have complemented us on how useful they are. So before you immediately plug in an outboard equalizer, give the controls a chance. If all you’ve used are conventional small mixers, you’re in for a pleasant surprise.

EQ HI

15dB boost or cut at 12kHz. There is no effect at the center detent position. This shelving control will affect the higher frequencies of the incoming signal. By shelving, we mean that the circuitry boosts or cuts all frequencies past the specified point, instead of just creating a bump or dip in response the way a graphic equalizer would. Use this control to add sizzle to cymbals and vocals and give a sense of transparency or edge to keyboards and guitars. It can also be turned down a little to reduce sssssibilance.

EQ MID

12dB boost or cut at 2.5 kHz with a 3.3 octave bandwidth (this is NOT a shelving control). Because the majority of musical in-

formation is contained in this range, a little midrange EQ goes a long way. It can increase presence of a mix, enhance intelligibility of a vocal or back off a strident instrument.

EQ LO

15dB boost or cut at 80Hz. This control affects the lower frequencies of your input sig- nal. It can be used to put punch in bass drums, bass guitar, fatten synth patches and add bottom end to male vocals. Cutting the LO EQ slightly can do wonders for muddy tracks and boomy room acoustics as well as helping fix poppy microphones.

3PAN

This control positions a signal within the stereo sound field. Also a way to “assign” a channel to just left or right for sub-grouping to the mono or ALT-3/4 outputs.

The Mackie CR-1604 incorporates constant- power pan pots which maintain constant acoustic power as you move the channel’s signal to left or right. This is a way cool feature which is explained in detail on the next page.

LECTURE TIME:

CONCERNING EQUALIZATION

MODERATION: Proper EQ can focus a mix. Improper EQ can cause distortion. Too much EQ results in mix mush.

The best EQ is none at all. In other words, in live recording situations, you should start by selecting the right mic, positioning it correctly and recording in the right acoustic environment.

When mixing direct inputs, time spent on tweaking with the synth patch, boldly going where the tone module preset hasn’t been before or adjusting the instrument’s own tone controls beats the heck out of “saving it in the mix.”

Save the CR-1604’s EQ for solving problems you can’t work out in advance — particularly in live PA situations (where anything can happen and probably will) or final mix where you’re going for a particular overall sound.

EQ POINTS: Some of you may have probably noticed that theCR-1604 does not have it’s EQ points in the usual (Yawn) “standard” frequency locations.

Why? You may ask.

Well, the story goes that sometime in the Sixties, “Zoltan” (Bureaucratic High Moron from the Drumless planet of Vocal Frustration) descended upon the mixing board designers in Countries to the East and proclaimed the proper EQ points for mixers:

“10kHz for HF and 100Hz for LF”

We can’t figure out why. 100Hz is too high and 10kHz is too low. They might be holdovers from really ancient mixing boards or radio equipment back in the days when recording bandwidth was a lot narrower. It’s irrational and not founded on any particular acoustic or musical principle...but then, Zoltan never visited us.

Being musicians ourselves (and having cursed Zoltanesque EQ in other boards for years), we decided to start from scratch and determine the points which sounded best from a musical stand- point. It goes without saying that Zoltan was not pleased with the Rebels From The Rainforest.

But we trust that you will be.

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