Bedienungsanleitung Yamaha MG124CX (Seite 9 von 24) (Englisch)

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Mixer Basics

Making the Most of Your Mixer

MG124CX/MG124C Owner’s Manual

To EQ or Not to EQ

In general: less is better. There are many situations in which you’ll need to cut certain frequency ranges, but

use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a

mix and give the overall sound better definition. Bad EQ—and most commonly bad boost—just sounds terrible.

Cut for a Cleaner Mix

For example: cymbals have a lot of energy in the mid

and low frequency ranges that you don’t really perceive

as musical sound, but which can interfere with the clarity

of other instruments in these ranges. You can basically

turn the low EQ on cymbal channels all the way down

without changing the way they sound in the mix. You’ll

hear the difference, however, in the way the mix sounds

more “spacious,” and instruments in the lower ranges will

have better definition. Surprisingly enough, piano also

has an incredibly powerful low end that can benefit from

a bit of low-frequency roll-off to let other instruments—

notably drums and bass—do their jobs more effectively.

Naturally you won’t want to do this if the piano is playing

solo.

The reverse applies to kick drums and bass guitars: you

can often roll off the high end to create more space in the

mix without compromising the character of the

instruments. You’ll have to use your ears, though,

because each instrument is different and sometimes

you’ll want the “snap” of a bass guitar, for example, to

come through.

Boost with Caution

If you’re trying to create special or unusual effects,

go ahead and boost away as much as you like.

But if you’re just trying to achieve a good-

sounding mix, boost only in very small increments.

A tiny boost in the midrange can give vocals more

presence, or a touch of high boost can give

certain instruments more “air.” Listen, and if things

don’t sound clear and clean try using cut to

remove frequencies that are cluttering up the mix

rather than trying to boost the mix into clarity.

One of the biggest problems with too much boost

is that it adds gain to the signal, increasing noise

and potentially overloading the subsequent

circuitry.

Some Frequency Facts

The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz

and 20,000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3,000 Hz. The

frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the “A3”

key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i.e.

“A4” on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce “A2” an octave lower.

20 50 100 200 500 1 k 2 k 5 k 10 k 20 k

(

)

Piano

Bass Drum

Snare Drum

Bass

Guitar

Trombone

Tr umpet

Cymba

Fundamental: The frequency that determines the basic

musical pitch.

Harmonics: Multiples of the fundamental frequency that

play a role in determining the timbre of the

instrument.

The fundamental and harmonic frequency ranges of some

musical instruments.

Signal

Level (dB)

Frequency (Hz)

LOW Boost

LOW Flat

LOW Cut

MID Boost

MID Flat

HIGH Boost

HIGH Flat

HIGH Cut

MID Cut

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Yamaha MG124CX Seite 9

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