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CHANNEL EQUALIZATION (EQ)
Each channel has 3-band equalization:
low shelving, 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
specifi ed 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 fi nd 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 hiring a new lead
singer.
14. HIGH EQ
The high EQ provides up to 15 dB of boost
or cut above 12 kHz, and is fl at 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.
15. MID EQ
The mid EQ provides up to 15 dB of boost
or cut at 2.5 kHz, and is fl at at the center
detent. Midrange EQ is often thought of as
the most dynamic, because the frequencies
that defi ne 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.
16. LOW EQ
The low EQ provides up to 15 dB of boost
or cut below 80 Hz. The circuit is fl at (no
boost or cut) 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.
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