Nady Systems MXE-612 - Manual (Page 7)

CONTROLS AND CONNECTIONS
7
(4) EQUALIZER CONTROLS
All mono input channels are fitted with a three-band EQ. All three
bands have up to 15 dB of cut and boost, with a center detent for
"off". The frequency response is flat when all three EQ knobs are
in the center detent position. The upper and lower shelving
controls have their frequencies fixed at 12 kHz and 80 Hz
respectively. The midrange control has a peaking response at
2.5KHz (Q fixed at 1 octave). The channel EQ is a valuable
feature of the mixer as it allows the user to control the tonal
characteristics of each instrument separately. For example,
boosting the LOW can fatten the sound and add punch to the
bass or drums; the MID control can be used to define the
midrange or bring out the vocals; and adjusting the HIGH control
can provide a crisp sounding high end. Another very important,
yet often overlooked technique is to use the EQ to subtract from
the mix. Cutting the HIGH control can reduce unwanted hiss
during multi-track recording, while attenuating the MID or LOW
can eliminate feedback in a live performance or clear up a muddy
sounding mix. Cutting away the top and bottom, then pushing up
the Gain is equivalent to mid range boost!
[Note: Always reset a channel’s input Gain (or external devices’
output level) after altering the amount of mixer equalization cut or
boost applied.]
The key to successful equalization is to avoid excess. Too much
equalization on the input channels will result in a mix that is
smeared together with nothing specifically defined. During
rehearsals, experiment with the equalizer controls on various
instruments, vocals and combinations of these mixed together to
become familiar with various equalizer settings.
(5) AUX/EFF SEND CONTROL
The AUX/EFF controls are mono and post-EQ and post-fader and
the signal level sent to the AUX/EFFECTS bus will be affacted by
the channel fader setting. The AUX configurations is ideal for
almost all monitoring purpose: for example, for a separate stage
monitor mix in live performances or a studio room monitor in
recording applications, such as for a headphone cue system. The
EFF controls the adjustment of level sent by each channel to the
internal DSP (Digital Sound Processor). (See also Digital Echo
Effects Functions and Operations, page 10)
(6) PAN CONTROL
The Channel Pan positions the output of the channel in the stereo
field of the Master Mix. Its constant-power design ensures there
are no level discrepancies whether a signal is hard-panned,
center-stage, or somewhere in-between.
(7) PEAK LED INDICATOR
The Peak LED illuminates when a channel is going into overload.
It detects the peak level after the EQ and will light at 3 dB before
clipping to warn that the signal is approaching overload. You do
not want the Peak LED to light except very intermittently during a
take or a mix. If it does light persistently, reduce input gain with
the TRIM control (3).
(8) CHANNEL GAIN CONTROL
The channel gain controls determine the output signal level to the
Master Mix bus. There is no PFL function on the MXE-612. In
order to audition any single channel for proper gain, you can turn
off the gain control of all the other channels (fully
counterclockwise), and set both the auditioned channel and
Master Mix control (29) to unity gain (0 dB). The LED Output
Meter (21) should read around 0 dB.