MACKIE PPM1008 - Manual (Page 17)

17
Owner’s Manual
Owner’
s Manual
21. MON 1
This control allows you set up a nice monitor mix,
independent of the main mix or the monitor 2 mix.
Adjust these controls on each channel until your band is
happy with the stage monitor mix. The controls are off
when turned fully down, deliver unity gain at the center
detent, and can provide up to 15 dB of gain turned fully
up. Adjustments to the channel level or main mix level
will not affect the monitor output, but channel EQ and
gain [32] will.
One of the powered mixer's internal amplifiers can
power passive stage monitors if you set the power amp
mode switch [4] on the rear panel. Mon 1 send [17] is a
line-level output if you want to connect external power
amplifiers and passive stage monitors, or powered stage
monitors.
22. FX/MON 2
These controls allow you to send a sample of each
channel's signal to the internal FX processor, and to
the FX/mon 2 line-level output [15] to run external
processors, or a second set of stage monitors.
Carefully adjust each control to set up the FX or
monitor 2 mix. The controls are off when turned fully
down, deliver unity gain at the center detent, and can
provide up to 15 dB of gain turned fully up.
The dual nature of this knob (FX or mon 2) is
determined by the setting of the FX send /mon 2 send
switch [51]. More FX/mon 2 details are shown on page
14 and page 23 (item 51).
CHANNEL EQUALIZATION (EQ)
The PPM1008 mono channels have 3-band
equalization: low shelving, mid peaking with adjustable
frequency, and high shelving. The stereo channels have
4-band EQ: low shelving, low-mid and high-mid peaking,
and high shelving. It’s probably all the EQ you’ll ever
need!
Shelving means that the circuitry boosts or cuts all
frequencies past the specified frequency. For example,
the low EQ boosts bass frequencies below 80 Hz and
continues down to the lowest note you never heard.
Peaking means that certain frequencies form a “hill”
around the center frequency.
With too much EQ, you can really upset
things. We’ve designed a lot of boost and cut
into each equalizer circuit because we know
that everyone will occasionally need that. But
if you max the EQ 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). If you find yourself
repeatedly using full boost or cut, consider altering the
sound source, such as placing a mic differently, trying a
different kind of mic, changing the strings, or gargling.
23. HIGH EQ
The high EQ provides up to
15 dB of boost or cut above
12 kHz, and it is also flat 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.
24. MID EQ LEVEL (Ch. 1 to 6)
The mid knob sets the
amount of boost or cut, up
to 15 dB, and is effectively
bypassed at the center detent.
The frequency at which the cut
or boost occurs is set by the
frequency control [25].
25. MID EQ FREQUENCY (Ch. 1 to 6)
This knob sets the center
frequency of the mid EQ control
[24]. This is sweepable from
100 Hz to 8 kHz.
Once this is set, the mid EQ
level can be adjusted with the
mid EQ level control [24].
Most of the root and lower harmonics that define
a sound are located in the 100 Hz–8 kHz frequency
range, and you can create drastic changes with these
two knobs. Many engineers use mid EQ to cut midrange
frequencies, not boost them. One popular trick is to
set the mid fully up, turn the frequency knob until you
find a point where it sounds just terrible, then back the
mid down into the cut range, causing those terrible
frequencies to disappear. Sounds silly, but it works.
Sometimes.
26. HIGH MID EQ LEVEL (Ch. 7 and 8)
The high mid EQ provides up to 15 dB of boost or cut
at 2.5 kHz, and it is also flat at the detent. This control
is only available on stereo channels 7 and 8.
27. LOW MID EQ LEVEL (Ch. 7 and 8)
The low mid EQ provides up to 15 dB of boost or cut
at 400 Hz, and it is also flat at the detent. This control is
only available on stereo channels 7 and 8.
28. ICE CREAM DISPENSER
This control is not there. It was going to be, but after
much discussion among the engineers, it was decided
not to add it after all. It would have been good though.
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