Gain Control; Low Cut - Mackie PPM1012 Owner's Manual
12-channel, 2 x 800 w professional powered mixer
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Also See for PPM1012:
- Eigentümer-handbuch (36 pages) ,
- Guide utilisateur (36 pages) ,
- Owner's manual (13 pages)
Table of Contents
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1
U
U
23
0
+50
0
+50
-20dB
+30dB
-20dB
+30dB
24
GAIN
GAIN
LOW CUT
LOW CUT
100 Hz
100 Hz
COMP
COMP
25
OFF
MAX
OFF
MAX
EQ
U
U
27
HI
12kHz
-15
+15
-15
+15
U
U
28
MID
-15
+15
-15
+15
600
600
29
150
1.5k
150
FREQ
100
8k
100
8k
U
U
32
LOW
80Hz
-15
+15
-15
+15
AUX
SEND
SEND
U
U
33
MON
1
+15
+15
O O
O O
U
U
34
MON
2
+15
+15
O O
O O
U
U
35
FX
1
+15
+15
O O
O O
U
U
36
FX
2
+15
+15
O O
O O
PAN
37
L
R
L
R
38
1
39
dB
dB
10
10
OL
5
5
+10
U
U
0
40
5
5
-20
10
10
20
20
30
30
SOLO
40
40
50
50
60
41
60
O O
O O
16
PPM1012
2
3
4
U
U
0
+50
0
+50
-20dB
+30dB
-20dB
+30dB
-20dB
GAIN
GAIN
LOW CUT
LOW CUT
100 Hz
100 Hz
COMP
COMP
OFF
MAX
OFF
MAX
OFF
EQ
EQ
EQ
U
U
HI
HI
HI
12kHz
12kHz
12kHz
-15
+15
-15
+15
U
U
MID
MID
MID
-15
+15
-15
+15
600
600
1.5k
150
1.5k
150
1.5k
150
FREQ
FREQ
FREQ
100
8k
100
8k
U
U
LOW
LOW
LOW
80Hz
80Hz
80Hz
-15
+15
-15
+15
AUX
AUX
AUX
SEND
SEND
U
U
MON
MON
MON
1
1
1
+15
+15
O O
O O
U
U
MON
MON
MON
2
2
2
+15
+15
O O
O O
U
U
FX
FX
FX
1
1
1
+15
+15
O O
O O
U
U
FX
FX
FX
2
2
2
+15
+15
O O
O O
PAN
PAN
PAN
L
R
L
R
dB
dB
dB
10
10
10
OL
OL
OL
5
5
5
+10
+10
+10
U
U
U
0
0
0
5
5
5
-20
-20
-20
10
10
10
20
20
20
30
30
30
SOLO
SOLO
SOLO
40
40
40
50
50
50
60
60
60
O O
O O
O O
23. GAIN CONTROL
5
U
If you haven't already, please read the level-setting
procedure on page 3.
0
+50
+30dB
GAIN
LOW CUT
The gain knobs adjust the input sen-
100 Hz
COMP
sitivity of the mic and line inputs. This
allows signals from the outside world to
MAX
be adjusted to optimal internal operat-
EQ
U
HI
ing levels.
12kHz
-15
+15
U
If the signal originates through the
MID
XLR jack of a mono channel (1 to 8), there will be 0 dB
-15
+15
600
of gain with the knob fully down, ramping to 50 dB of
1.5k
FREQ
100
8k
gain fully up.
U
LOW
80Hz
Through the 1⁄4" input, there is 20 dB of attenuation
-15
+15
AUX
fully down and 30 dB of gain fully up (20 dB on ste-
SEND
U
reo channels), with unity gain at 12:00. This 20 dB of
MON
1
+15
O O
attenuation can be very handy when you are inserting
U
MON
a very hot signal, or when you want to add a lot of EQ
2
+15
O O
gain, or both. Without this "virtual pad," this scenario
U
FX
1
might lead to channel clipping and distortion.
+15
O O
U
FX
2
+15
O O
PAN
L
R
just below the preamp's supply voltages, and fl atten out.
This is rather like a tall pointed volcano suddenly blow-
ing its top, leaving behind a lower fl atter top (clipped)
while thousands of tons of molten rock and ashes are
blasted into the earth's atmosphere to cause a kind of
OL
global winter for thousands of years, leading to the dis-
+10
appearance of the dinosaurs and the appearance of jazz
0
drummers. Only not. Adjust the gain to prevent this.
-20
24. LOW CUT (Channels 1–8 only)
SOLO
The mono channels each have a low-cut switch, often
referred to as a high-pass fi lter (all depends on how you
look at it). When engaged, this cuts the bass frequen-
cies below 100 Hz at a rate of 18 dB per octave. The mic
and line inputs of channels 1–8 are affected.
We recommend that you use low-cut on every micro-
phone application except kick drum, bass guitar, or
bassy synth patches. These aside, there isn't much down
there that you want to hear, and fi ltering it out makes
the low stuff you do want much more crisp and tasty.
Not only that, but low-cut can help reduce the possibili-
ty of feedback in live situations, and it helps to conserve
amplifi er power.
Another way to consider low-cut's function is that it
actually adds fl exibility during live performances. With
the addition of low-cut, you can safely use low equaliza-
tion on vocals. Many times, bass shelving EQ can really
benefi t voices. Trouble is, adding low EQ also boosts
stage rumble, mic handling clunks and breath pops
from way-down low. Applying low-cut removes all those
problems, so you can add low EQ without losing a woofer
out the window.
Clipping occurs when the peaks of the audio
signal passing through the preamplifi er are
too high, and can no longer be amplifi ed in
a linear way. The audio signals reach a point
U
0
+50
-20dB
+30dB
GAIN
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