Mackie SR24•4 Owner's Manual page 19

the blend of the frequencies in the midrange,
where most of the fundamental frequencies
and most of the stronger harmonics lie.
Be subtle with midrange EQ. A small boost
or dip is often all you'll need; too much will
completely change the sound. Of course, if
what you want is to completely change the
sound, go for it.
Since the MID EQ on the SR24•4 is vari-
able across a range of frequencies, you must
decide which area you would like to adjust.
Here's an idea: set the peak or dip to maxi-
mum ( 15dB) and sweep the frequency knob
across its range. What you will hear may not
be pleasant, but it will often show you what
tones you hate (so dip them) or love (so boost
them, but perhaps not this much).
Try combinations of EQ on different inputs.
A small boost at the particular frequency on
one instrument combined with a small dip in
the same area on a second instrument can
greatly help blend the mix (similar to volume
adjustments).
LOW EQ
The LOW section [11] is a fixed 80Hz shelv-
ing EQ with 15dB of equalization available. It's
a fine bass control, with the same range as the
LO EQ in the Mackie 8•Bus console.
+15
+10
+5
0
–5
–10
–15
20 100 1k 10k
Hz Hz Hz
ing on bass drum and bass guitar, fattening up (or
thinning out) a piano or contouring an entire mix.
LO CUT
The LO CUT switch [12] inserts an 18dB/
octave low-cut (high-pass) filter with a cut-off
frequency of 75Hz into the signal path.
+15
+10
+5
0
–5
–10
–15
20
Hz
wanted very-low-frequency sounds. It also
saves amplifier power, which might be useful
if you don't have a 100,000-watt quint-ampli-
fied PA system. LO CUT can also be combined
with LO EQ boosts to produce interesting bass
curves, as shown above.
be engaged for closely held vocal micro-
phones, especially in a live SR situation. It will
minimize the bassy "proximity effect" of many
cardioid microphones, and also reduce han-
dling noise and breath noise.
nel signal to an aux send bus in order to route
it to one or more auxiliary devices. Aux sends
are generally used to provide mixes for stage
monitors, headphone cueing duties, and for
effects sends. Aux send settings do not di-
rectly affect the signal routed to the main and
A low fre-
submix buses. (See Aux Returns.)
quency shelving
equalizer will
trols (routed to six Aux Send buses) on every
add or remove
channel strip.
bass in a
smooth, musi-
cal fashion.
20k
Hz Hz
Good for work-
the off position to unity gain ("U"). This
first half of the control's range corre-
sponds to the full range of most
non-Mackie mixers. The second half of the
control's rotation provides you with even more
gain, from unity to +15dB. For example, when
you want a sound very "wet" (mostly reverb),
this extra gain allows you to bring the channel
fader down (and the AUX send way up) so
that the sound is composed of predominantly
reverb with just a touch of "dry" signal.
100 1k 10k 20k
Hz Hz Hz
It is highly recommended that this switch
AUX SENDS
The auxiliary (aux) sends tap off the chan-
The SR24•4 has six mono AUX Send con-
NOTE: All of the SR24•4
AUX sends have a very
wide range of gain. The
first half of the control's
rotation reaches from
A low-cut
filter is handy
to get rid of
room rumble,
traffic noise,
wind noise,
P-popping and
Hz
other un-
17
Layout
and Function