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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 [28] 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 proces-
sors, or a second set of stage monitors.
Carefully adjust each control to set up the FX or moni-
tor 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 deter-
mined by the setting of the FX send /mon 2 send switch
[47]. More FX/mon 2 details are shown on page 14 and
page 23 (item 47).
CHANNEL EQUALIZATION (EQ)
The PPM608 channels have 3-band equalization: low
shelving, mid peaking, and high shelving. It’s probably
alltheEQyou’lleverneed!Shelvingmeansthatthe
circuitry boosts or cuts all frequencies past the specified
frequency. For example, the low EQ boosts bass frequen-
cies below 80 Hz and continues down to the lowest note
you never heard. Peaking means that certain frequen-
cies 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 is flat at the center
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
The mid EQ provides up to
15 dB of boost or cut at 2.5
kHz, and is flat at the center
detent. Midrange EQ is often
thought of as the most dynamic,
because the frequencies that
define any particular sound are
almost always found in this range. You can create many
interesting and useful EQ changes by turning this knob
down, as well as up.
25. LOW EQ
The low EQ provides up to 15
dB of boost or cut below 80 Hz.
The circuit is flat (no boost or
cut) at the center detent posi-
tion. 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.
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100
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Hz
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Hz
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