MACKIE ONYX 1640I - Manual (Page 16)

16 Onyx 1640i
31. HIGH MID EQ LEVEL
The high mid EQ provides
up to 15 dB of boost or cut
at 2.5 kHz, and it is fl at at
the detent. Midrange EQ is
often thought of as the most
dynamic because the
frequencies that defi ne any
particular sound are almost always found within this
range. For example, the female vocal range as well
as the fundamentals and harmonics of many
higher-timbred instruments.
32. LOW-MID EQ FREQUENCY
This knob ranges from 100 Hz to 2 kHz. This
determines the center frequency for the EQ fi lter, and
allows you to zero in on the precise narrow band of
frequencies you want to have affected by the low mid EQ
[33].
33. LOW MID EQ LEVEL
The low mid EQ provides up
to 15 dB of boost or cut at 400
Hz, and is fl at at the detent.
Frequencies affected typically
include the male vocal range
as well as the fundamentals
and harmonics of many
lower-timbred instruments.
34. LOW EQ
The low EQ provides up to
15 dB of boost or cut below
80 Hz. The circuit is fl at at
the center detent position.
This frequency represents the
punch in bass drums, bass
guitar, fat synth patches, and
some really serious male singers who eat raw beef for
breakfast.
35. AUX SENDS 1-6
These controls allow you to set up to six independent
mixes, typically for running stage monitors or external
effects processors.
The controls are off when turned fully down, deliver
unity gain at the center, and can provide up to 15 dB
of gain turned fully up. Chances are that you will never
need this extra gain, but it's nice to know that it's there
if you do.
28. EQ IN/OUT
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 may
use this switch to make an A/B comparison between the
EQ'd signal and the signal without EQ.
We have completely redesigned the EQ circuits
based upon the designs of Cal Perkins, an
industry-leader in audio engineering for over
three decades and long-time 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!).
The 4-band equalization has low shelving at 80 Hz, low
mid peaking, sweepable from 100 Hz to 2 kHz, high
mid peaking, sweepable from 400 Hz to 8 kHz, and
high shelving at 12 kHz. "Shelving" means that the
circuitry boosts or cuts all frequencies past the specifi ed
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.
29. HIGH EQ
The high EQ provides up to
15 dB of boost or cut above
12 kHz, and it is also fl at (no
boost or cut) at the detent.
Use it to add sizzle to cymbals,
an overall sense of
transparency, or an edge to
keyboards, vocals, guitar and bacon frying. Turn it down
a little to reduce sibilance or to mask tape hiss.
30. HIGH-MID EQ FREQUENCY
This knob ranges from 400 Hz to 8 kHz. This
determines the center frequency for the EQ fi lter, and
allows you to zero in on the precise narrow band of
frequencies you want to have affected by the high mid
EQ [31].
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15