Aux Send - Mackie 1202 VLZ Owner's Manual

LOW EQ
This control gives you up to 15dB boost or
cut at 80Hz. The circuit is flat (no boost or
cut) at the center detent position. This fre-
quency represents the punch in bass drums,
bass guitar, fat synth patches, and some really
serious male singers.
+15
+10
+5
0
–5
–10
–15
20 100 1k 10k 20k
Hz Hz Hz Hz Hz
Low EQ
+15
+10
+5
0
–5
–10
–15
20 100 1k 10k 20k
Hz Hz Hz Hz Hz
Low EQ with Low Cut
+15
+10
+5
0
–5
–10
–15
20 100 1k 10k 20k
Hz Hz Hz Hz Hz
Mid EQ
+15
+10
+5
0
–5
–10
–15
20 100 1k 10k 20k
Hz Hz Hz Hz Hz
Hi EQ
equalizer circuit, because we know everyone
will occasionally need that. But if you max the
EQs on every channel, you'll get mix mush.
Equalize subtly and use the left sides of the
knobs (cut), as well as the right (boost). Very
few gold-record-album engineers ever use
INPUT TRIM LO CUT INSERT
"Pre vs. Post"
Signal Flow Diagram
20
Used in conjunction with the
LOW CUT switch
, you can boost
the LOW EQ without injecting a
ton of subsonic debris into the mix.
MID EQ
Short for "midrange," this knob
provides 12dB of boost or cut, cen-
tered at 2.5kHz, also flat at the
center detent. Midrange EQ is
often thought of as the most dy-
namic, because the frequencies
that define any particular sound
are almost always found in this
range. You can create many inter-
esting and useful EQ changes by
turning this knob down as well as
up.
HI EQ
This control gives you up to 15dB
boost or cut at 12kHz, and it is also
flat at the detent. Use it to add
sizzle to cymbals, and an overall
sense of transparency, or edge to
keyboards, vocals, guitar and bacon
frying. Turn it down a little to re-
duce sibilance, or to hide tape hiss.
Moderation during EQ
With EQ, you can also screw
things up royally. We've designed a
lot of boost and cut into each
GAIN
(FADER)
PAN
EQ
"POST" SIGNAL
"PRE" SIGNAL
more than about 3dB of EQ. If you need more
than that, there's usually a better way to get it,
such as placing a mic differently (or using a
different kind of mic entirely).

AUX SEND

These tap a portion of each channel signal
out to another source for parallel effects pro-
cessing or stage monitoring. AUX send levels
are controlled by the channel's AUX 1 and AUX
2 knobs and by the AUX 1 MASTER
These are more than just effects and moni-
tor sends. They can be used to generate
separate mixes for recording or "mix-minuses"
for broadcast. By using AUX 1 in the PRE
mode , these mix levels can be obtained in-
dependently of the channel's GAIN control.
AUX 1 in post mode
LOW CUT, post-EQ and post-GAIN. That is,
the sends obey the settings of these controls.
AUX 1 in PRE mode follows the EQ and LOW
CUT settings only. PAN and GAIN have no ef-
fect on the PRE send (see diagram below).
Each AUX send level ranges from off through
unity (the center detent position) on up to
15dB of extra gain (when turned fully clock-
wise). Chances are you'll never need this extra
gain, but it's nice to know it's there if you do.
Channel 5–12 AUX pots control the mono
sum of the channel's stereo signals for each
AUX send. For instance, channel 5 (L) and 6
(R) mix together to feed that channel's AUX
send knobs.
We recommend going into a stereo reverb
in mono and returning in stereo. We have
found that on most "stereo" reverbs the sec-
ond input just ties up an extra AUX send and
adds nothing to the sound. There are excep-
tions, so feel free to try it both ways. If your
effects device is true stereo all the way
through, use AUX 1 to feed its left input and
AUX 2 to feed the right input.
Still with us? Good for you. Here come the
tricky parts, where the mixing is really done.
MAIN / ALT
"POST" SIGNAL OBEYS
MUTE STATUS
AUX 2 KNOB
AUX 1 KNOB
.
and AUX 2 are post-
TO AUX SEND 2 LEVEL
TO AUX SEND 1 LEVEL
AUX SEND 1 PRE/POST SWITCH
(IN MASTER SECTION)