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EQ Controls
BK-1632 STEREO MIXER
IB.
EQ CONTROLS
Equalization can be more simply described as
sophisticated tone control. The EQ circuits used in
the BK-1632 have a substantial amount of boost
and cut capability.
This wide range can be a bonus when dealing with
instrument signals, poor acoustics or other
problems. Use them sparingly, however, for the
best results.
1. HIGH EQ
10 kHz SHELVING TYPE
±15 dB
Controls the treble content of the input signal.
Turning the control counterclockwise decreases
the amount of treble, clockwise increases it.
2. MID EQ
3 kHz PEAK/DIP
±12 dB
Controls the midrange content of the input
signal. Turning the control counterclockwise
decreases
the
amount
of
midrange,
clockwise increases it.
3. LOW EQ
100 Hz SHELVING TYPE
±15 dB
Controls the bass content of the input signal.
Turning the control counterclockwise decreases
the amount of bass, clockwise increases it.
1C.
EFFECTS/REVERB SEND
The EFFECTS/REVERB send control determines
how much of that input signal is sent to the internal
spring reverb and/or external effects. It is affected
by the channel EQ controls (sec. IB) and the
channel fader (sec. 1 H).
Turning the control clockwise increases the amount
of reverb and/or effects applied to that input signal;
counterclockwise decreases the amount.
Since each channel has its own EFFECTS/REVERB
send, some channels can have reverb or effects
and others none. Note that since the internal reverb
and external effects share a common send, they
will always have the same sources. That is, it is not
possible to have only reverb on one input source
and only effects on another input source at the
same time (unless the insert point is used). It is
possible to have reverb and effects simultaneous¬
ly on both input channels, however.
The EFX/REVERB send may also be used as mono
send. This might be useful for a tape recorder send,
for instance.
I.D. MONITOR SEND
The monitor send control sets the level of that input
signal in the monitor mix. It is independent of all
input channel controls except TRIM control (sec.
1A). It is not affected by the channel EQ controls
or slide fader. Thus, it is independent of, and not
affected by, changes in the main or house mix.
IE. AUXILIARY SEND
The auxiliary send control sets the level of that input
signal in the auxiliary mix and is switchable PRE-
POST-EQ and fader. In the PRE position it serves
as another "MONITOR OUT" and in the POST
position, another "EFFECTS OUT."
The auxiliary send may also be used as a send for
recording.
IF.
PAN POT
Short for "panoramic potentiometer." This control
allows you to place the channel's input signal within
the stereo image by assiging more or less of the
signal to the left or right submaster controls.
Turning the panpot to the left of center moves the
apparent source toward the left channel, turning it
to the right moves the source toward the right chan¬
nel. Centering the control makes the apparent
source centered between the channels. If all inputs
are panned center, the result is mono. Proper use
of the PAN control cna sometimes help to control
acoustic feedback in a sound reinforcement system
by "panning" a mic away to the loudspeaker on
the opposite side of the stage.
IG. PFL
PFL (Pre-Fader Listen) allows the operator to
monitor any pre-fader signal individually or in com¬
binations, through the headphone output.
To activate the PFL simply depress the appropriate
switches. The status indicator will light indicating the
pre-fader signals being monitored.
In the normal position (all PFL switches off) the
headphone circuit monitors the output of the "Left"
and "Right" Submaster outputs.
The audio level at the HEADPHONE |ack (2 R) is
controlled by the PHONE GAIN control (2 Q)
IH.
CHANNEL FADER
The side fader controls the output level of the chan¬
nel as it is fed to the subgroups. The control should
be normally set at the "0" mark. With all controls
five
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