PAN
L R
MUTE ALT 3/4
Stereo Channel

Another way to use the Low Cut filter

is in combination with the LOW EQ on

vocals during live performances. Many

times, bass shelving EQ can really ben-

efit voices. Trouble is, adding LOW EQ also boosts stage rumble, mic handling clunks, and breath pops. Low Cut removes all those prob-

lems so you can add LOW EQ without losing a woofer.

8. EQ IN/OUT Switch

This is a true hardware bypass of the Perkins EQ circuitry to insure that there is no coloration of the signal if the EQ is not needed. When this button is out, the EQ controls have no effect on the signal. You can use this switch to

LINE IN 5-6

(MONO)

L

BAL/

UNBAL

R

U

s’Owner

+15

+10

+5

0

–5

–10

–15

20Hz

100Hz

1kHz

10kHz 20kHz

Here’s what the combination of LOW EQ and Low Cut looks like in terms of frequency curves.

make an A/B comparison between the EQ’d signal and the signal without EQ.

We have completely redesigned the EQ

-20dB

+20dB

 

 

GAIN

 

 

 

OUT

EQ

 

IN

 

 

U

 

 

 

 

HIGH

 

 

 

12kHz

-15

+15

 

 

 

U

 

 

 

 

 

MID

Manual

Low Cut with Low EQ Boosted

6.48V Phantom Power Switch (Channels 1-4)

Most professional condenser microphones require phantom power, which is a low-current DC voltage delivered to the microphone on pins 2 and 3 of the XLR microphone connector. Push in the 48V button if your microphone needs phantom power. An LED lights just above the button to indicate that phantom power is active on that channel.

Dynamic microphones, like Shure’s SM57 and SM58, do not require phantom power. However, phantom

circuits in the

Onyx Series of mixers, based on the designs of Cal Perkins, an

industry-leader in audio engineering for over three decades and long-time Mackie collaborator. This “neo-classic” design provides the sweet musicality of the British EQ sound, while still maintaining 15 dB of boost and cut with optimum Q and minimum phase shift (in other words, it gives you plenty of control and is pleasing to the ear!).

 

2.5kHz

-15

+15

 

U

 

LOW

 

80Hz

-15

+15

 

AUX

 

1

OO

MAX

 

2

OO

MAX

power will not harm most dynamic microphones should you accidentally plug one in while the phantom power is turned on. Be careful with older ribbon microphones. Check the manual for your microphone to find out for sure whether or not phantom power can damage it.

Note: Be sure the MAIN MIX fader (36) is turned down when connecting microphones to the MIC Inputs, especially when phantom power is turned on, to prevent pops from getting through to the speakers.

7. GAIN Control

If you haven’t already, please read “Set the Levels” on page 5.

The 3-band equalization has LOW shelving at 80 Hz, MID peaking (sweepable from 100 Hz to 8 kHz

on the mono channels, fixed at 2.5 kHz on the stereo channels), and

HIGH shelving at 12 kHz. “Shelving”

means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, rotating the LOW EQ knob 15 dB to the right boosts bass frequencies starting at 80 Hz and continuing on down to the lowest note you ever heard. “Peaking” means that the frequencies around the center frequency are less affected by the EQ the further away they are.

9. HIGH EQ

The GAIN control adjusts the input sensitivity of the mic and line inputs. This allows the signal from the outside world to be adjusted to optimal internal operating levels.

If the signal is plugged into the XLR jack, there is 0 dB of gain (unity gain) with the knob turned all the way down, ramping up to 60 dB of gain fully up.

When connected to the 1/4" jack, there is 20 dB of attenuation all the way down, and 40 dB of gain fully up, with a “U” (unity gain) mark at about 10:00. (On the stereo channels, the GAIN range is –20 dB to +20 dB with unity in the center.)

This control gives you up to 15 dB boost or cut at 12 kHz, and it is also flat at the center detent.

Use it to add sizzle to cymbals, and an overall sense of transparency or edge to the keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss.

+15

+10

+5

0

–5

–10

–15

20Hz

100Hz

1kHz

10kHz 20kHz

High EQ

Owner’s Manual

11