Mackie SR244-VLZ PRO, SR324-VLZ 28. HI, 33. LOW, 34. LOW CUT, EQ: (28 through 34), 29. MID and 30. FREQ, 31. HI MID and 32. LOW MID

Mono Stereo channels channels

	-10	d
		BV	TRIM	U	TRIM
	MIC	AIN
	G
U			20		21
					22

060

+15dB -45dB		-20	+20
U	AUX	U	AUX
	1		1
	PRE		PRE
OO	+15	OO	+15
U		U
	2		2
	PRE		PRE
OO	+15	OO	+15
U		U
	3		3
OO	+15	OO	+15
U		U
	4		4
OO	+15	OO	+15
U	PRE	U	PRE
	5		5
	POST		POST
OO	+15	OO	+15
U		U
	6		6
	POST		POST
OO	+15	OO	+15
U	EQ	U	EQ
	HI		HI
	12k		12k
-15	+15	-15	+15
U		U
	MID		HI
			MID
			3k
-15	+15	-15	+15

600U

150	1.5k FREQ		LOW
			MID
			800Hz
100	8k	-15	+15
	U		U
	LOW		LOW
	80Hz		80Hz
-15	+15	-15	+15

LOW CUT

75Hz

18dB/OCT

		OL			OL
L	R	-20	L	R	-20
	PAN			PAN
	20		21 22
MUTE			MUTE
		MUTE/			MUTE/
		SOLO			SOLO
dB			dB
10		SOLO	10		SOLO
5			5
U		1-2	U		1-2
5		3-4	5		3-4
10			10
20		L-R	20		L-R
30			30
40			40
50			50
60			60
OO			OO

EQ: (28 through 34)

The mixer has low shelving, mid

peaking and high shelving EQ. “Shelv- ing” means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, boosting the LOW EQ knob boosts bass frequencies at 80Hz and below. “Peaking” means that only a selected “hill” of frequencies surrounding a center “hilltop” frequency is affected by the EQ control.

All EQ gain controls provide up to 15dB of boost (clockwise) or cut (counter-clockwise). They are flat (no boost or cut) at their center detents, effectively bypassing their circuits.

Note: EQ boost is a form of level boost. With excessive amounts, the signal may become too hot and overload subsequent circuitry. Should this hap- pen, either back off the EQ gain, or repeat the SET THE LEVELS on page 8.

The following graphs show how the frequency response changes when the various controls are adjusted.(The graphs are simplified for entertainment and enlightenment purposes only).

28. HI

This control is centered at 12kHz and above. Boost it to add sizzle and definition to sounds with high-frequency transients, such as cymbals. Reduce it to attenuate sibilance or to mask tape hiss.

+15

+10

+5

0 HI

–5
–10
–15
20Hz	100Hz	1kHz	10kHz 20kHz

29. MID and 30. FREQ

The mono channels employ a semi- parametric mid-sweep EQ. The gain is set via MID (29), and then “aimed” at a specific frequency, from 100Hz to 8kHz, via FREQ (30).

+15

+10

+5
0			MID
–5
–10
–15
20Hz	100Hz	1kHz	10kHz 20kHz

FREQ

31. HI MID and 32. LOW MID

The stereo channels employ a 2-stage fixed- frequency midrange EQ:

+15
+10				LOW MID is
+5
0			LOW MID	centered at
–5				800Hz.
–10
–15
20Hz	100Hz	1kHz	10kHz 20kHz
+15
+10				HI MID is
+5
0			HI MID	centered at
–5				3kHz
–10
–15
20Hz	100Hz	1kHz	10kHz 20kHz

Midrange EQ is often considered the most dynamic, because the frequencies that define any sound are almost always found in this range.

33. LOW

This control is centered at 80Hz and below. This frequency represents the punch in kick drums, bass guitar and fat synth patches.

+15			This graph
+10			shows various
+5			settings of the
0
			LOW
–5			LOW control,
–10			with LOW CUT
–15			not engaged.
20Hz100Hz	1kHz	10kHz 20kHz

34. LOW CUT

This switch (only on the mono channels) cuts the bass frequencies below 75Hz at a rate of 18dB per octave. Low Cut is also known as High Pass (low cut dress=high pass rate).

To prevent muddy mixes, use low cut on every mono channel except those which carry kick drum, bass guitar or other bass-intensive sounds. Low cut can also help reduce the possibility of feedback in live situations and it helps to conserve amplifier power.

+15			This graph
+10			shows various
+5
			LOW settings of the
0
–5			LOW control,
–10			with LOW CUT
–15			engaged.
20Hz100Hz	1kHz	10kHz 20kHz

Desirable low frequencies can be boosted whilst undesirable lower frequency stage rumble, mic handling clunks and P-p-pops are attenuated.

20