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Soundcraft M4 Manual

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USER GUIDE
17
tip and ring shorted together so that the signal path is not interrupted (see below).
5 GAIN
This knob sets how much of the source signal is sent to the rest of the mixer. Too high, and the signal will
distort as it overloads the channel. Too low, and the level of any background hiss will be more noticeable
and you may not be able to get enough signal level to the output of the mixer.
Note that some sound equipment, particularly that intended for domestic use, operates at a lower level
(-10dBV) than professional equipment and will therefore need a higher gain setting to give the same output
level. See `Initial Set Up’ on page 23 to learn how to set GAIN correctly.
6 100HZ HI-PASS FILTER
Pressing this switch activates a steep 18dB per octave filter which reduces the level of bass frequencies
only, and is a real bonus for a such a small mixer. Use this in live PA situations to clean up the mix,
reducing stage rumble or `popping’ from microphones.
7 EQUALISER
The Equaliser (EQ) allows fine manipulation of the sound, particularly to improve the sound in live PA
applications where the original signal is often far from ideal and where slight boosting or cutting of
particular voice frequencies can really make a difference to clarity. There are three sections giving the sort
of control usually only found on much larger mixers. The EQ knobs can have a dramatic effect, so use them
sparingly and listen carefully as you change any settings so that you get to know how they affect the sound.
HF EQ
Turn to the right to boost high (treble) frequencies above 12kHz by up to 15dB, adding crispness to
cymbals, vocals and electronic instruments. Turn to the left to cut by up to 15dB, reducing hiss or excessive
sibilance which can occur with certain types of microphone. Set the knob in the centre-detented position
when not required.
MID EQ
There are two knobs which work together to form a SWEPT MID EQ. The lower knob provides 15dB of boost
and cut, just like the HF EQ knob, but the frequency at which this occurs can be set by the upper knob over
a range of 240Hz to 6kHz. This allows some truly creative improvement of the signal in live situations,
because this mid band covers the range of most vocals. Listen carefully as you use these controls together
to find how particular characteristics of a vocal signal can be enhanced or reduced. Set the lower knob to
the centre-detented position when not required.
LF EQ
Turn to the right to boost low (bass) frequencies below 60Hz by up to 15dB, adding warmth to vocals or
extra punch to synths, guitars and drums. Turn to the left to cut low frequencies by up to 15dB for reducing
hum, stage rumble or to improve a mushy sound. Set the knob to the centre-detented position when not
required.
8 AUX SENDS
These are used to set up separate mixes for FOLDBACK, EFFECTS or recording, and the combination of each
the Aux Send is mixed to the respective Aux Output at the rear of the mixer. For Effects it is useful for the
signal to fade up and down with the fader (this is called POST-FADE), but for Foldback or Monitor feeds it is
important for the send to be independent of the fader (this is called PRE-FADE).
AUX SENDS 1 AND 2
These are always PRE-FADE and therefore most appropriate for foldback or monitor mixes or external
submix.
AUX SENDS 3 AND 4
These are always POST-FADE for effects sends, external submix (or for Centre Voice cluster or mono Tape
mix).
9 PAN
This control sets the amount of the channel signal feeding the Left and Right MIX or SUB buses, allowing
you to move the source smoothly across the stereo image. When the control is turned fully left or right you
are able to route the signal at unity gain to either left or right outputs individually.
… 19 …


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