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5. LO CUT 80 Hz
When the LO CUT switch is engaged, frequencies
below 80 Hz are attenuated (18 dB octave slope). In
most cases using the LO CUT lter with microphone
channels is a good advice, since it efciently
suppresses popping sounds, rumbling noise and
low-frequency feedback. The only exceptions are
kick drum and acoustic bass. Sometimes it can be
also very effective to combine the LO CUT lter with
the voicing lter. For instance to provide vocals with
more “body”, without getting additional low pitched
noise. Activating the LO CUT and raising the bass
level (LO EQ) provides you with a richer sound, without additional rumbling or popping noise.
Another welcome side effect is, that the power amplier and the connected loudspeakers do not
get “polluted” with unnecessary low-pitched interference. Your audience will be thankful for the
use of the LO CUT lter, too, since in this way they can enjoy a truly clear, natural, and powerful
sound performance.
6. VOICING FILTER
This button activates an asymmetric microphone
lter, which can be used in addition to the channel
EQ. The voicing lter enhances the rst harmonic
oscillation and the treble of the human voice while
slightly attenuating the mid frequency range. This
voice shaping method provides powerful vocals that
are clearly emphasized from the rest of the mix. This
“pre-shaping” is not achievable using ordinary third
or octave band equalizers. The use of this lter is
not restricted to vocals only. Horns, woodwinds, and
other acoustic instruments can prot from the voicing
lter as well. We leave it entirely up to your creativity and imagination to try the VOICING lter
with as many different sound sources, as you want. Normally, you do not have to fear any
problems with the occurrence of feedback.
7. EQ SECTION
The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within
miscellaneous frequency bands. Turning one of the EQ level controls to the right enhances/
amplies the corresponding frequency range while turning it to the left lowers/attenuates the
signal of that specic frequency band. Before you begin to alter the sound, all EQ controls
should be set to their neutral position, i.e. their marker points straight up (locked in place). Try
not to set the EQ controls to extreme positions. Usually, minor changes are totally sufcient and
produce the best results in the overall sound. You should use the natural reproduction as an
orientation mark and rely on your musically trained ear. The moderate use of the MID control is
the best remedy to avoid acoustical feedback. Especially in this frequency range you should try
to avoid excessive enhancement. Lowering the level more or less in this band will provide you
with high amplication rates without feedback. Use the LO control according to your pleasing,
to add more “punch” to the sound of a kick drum or “body” to the vocals. Use the HI control in
the same way to provide cymbals and the human voice with more treble and a more transparent
sound. The MID EQ section offers parametric EQ-setting via separate rotary controls for the
adjustment of level (MID) and frequency band (kHz) in the range between 100 Hz and 8 kHz.
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