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Maximize Your Mix: An Easy Guide to Adjusting Low, Mid, and High Frequencies with the EPM Mixer for Better Bass, Treble, and Voice

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By Kaviyarasu Ramesh K-Tech

Maximize Your Mix: An Easy Guide to Adjusting Low, Mid, and High Frequencies with the EPM Mixer for Better Bass, Treble, and Voice:

"Maximize Your Mix: An Easy Guide to Adjusting Low, Mid, and High Frequencies with the EPM Mixer for Better Bass, Treble, and Voice" refers to a guide or tutorial aimed at helping users improve their sound quality by adjusting low, mid, and high frequencies with the EPM Mixer. The guide is designed to be easy to follow, making it accessible to users of all skill levels. The goal is to achieve a better balance between bass, treble, and voice, resulting in a clearer and more enjoyable listening experience.

THE 60-SECOND GUIDE - EPM


Maximize Your Mix: An Easy Guide to Adjusting Low, Mid, and High Frequencies with the EPM Mixer for Better Bass, Treble, and Voice

 1 MIC INPUT (XLR) Connect Microphones here. If you are using a condenser mic, ensure phantom power is supplied by pressing the switch at the top of the master section. WARNING: Do Not apply Phantom Power before connecting a microphone.

 2 LINE INPUT (¼” Jack) Connect Line level sources here, e.g. Synth, Drum Machine, DI etc. 

3 INSERT POINT (¼” Jack) Connect Signal processors here, e.g. Compressor, Gate etc.

 4 GAIN CONTROL Adjust this to increase or decrease the level of the incoming signal. 

5 EQ STAGE Adjust these controls to change the signal tone (the character of the signal). 

6 AUX 1/2 SENDS Adjust these controls to change the level of the signal to an artist’s monitors (headphones/in-ear/stage monitors). Each Aux is globally switchable pre/ post fade.

 7 PAN CONTROL Use this control to position the signal within the stereo field. 

8 MUTE SWITCH When this is pressed you will hear no signal from the channel (post-mute signals). 

9 PFL When pressed the signal will appear on the monitor and headphone outputs - use this to monitor the post-EQ signal from the channel.

10 PEAK LED This is used to indicate that the signal is close to distorting (clipping) on a specific channel. 

11 INPUT CHANNEL FADER This is used to control the level fed to the Mix Bus and post-fade sends.

 12 MIX OUTPUTS (XLR) & Connect these to your analogue recording device, or to your amplification MONO OUT (¼” Jack) system.

 13 MIX INSERTS (¼” Jack) This is a pre-fade break in the signal path which can be used to feed a dynamics or mastering device. The signal is sent from the tip of the jack plug and the return path comes back in on the ring of the jack plug.

 14 MONITOR O/Ps (¼” Jack) These are used to feed your monitoring system. This can be directly connected to powered monitors, or indirectly via an amplifier to standard monitors.

 15 MASTER FADERS These faders control the overall level of the mix outputs. 

16 MAIN METERS These show the level of the mix outputs. When the PFL ACTIVE LED is lit, the meters show the level of the selected PFL signal.

 17 MONITOR CONTROL This controls the level of the signal sent to your monitoring system. 

18 PHONES CONTROL This controls the level of the signal sent to the headphones jack socket. 

19 AUX OUTPUTS (¼” Jack) These outputs can be used to send the channel signal to an artist’s monitors (headphones/in-ear/stage monitors). They are switchable pre/post fade.

 20 AUX CONTROL These switches globally switch the AUX1 and AUX 2 feeds on all the input modules to be either pre or post-fade.

 21 STEREO INPUTS (¼” Jack) These two inputs can be used to connect line level stereo inputs from keyboards, sound modules, samplers, computer based audio cards etc. These inputs pass through a normal channel strip, with EQ, Auxes and a Balance control.

 22 2-TRACK INPUTS Here you can connect the playback from your recording device. (RCA Phono).

 23 2-TRACK CONTROLS Use these to control the 2 Track signal. The MONITOR switch sends the signal to the monitor outputs and phones, whilst the TO MIX switch sends it to the main mix. 

24 RECORD OUTPUTS You can connect these to the inputs of your recording device. (RCA Phono).

25 PHANTOM POWER Press this to switch the phantom power (48V) on for condenser microphones. WARNING: Do Not apply Phantom Power before connecting a microphone.

 26 HEADPHONES (¼” Jack) Plug your headphones into this socket. Recommended headphones impedance is 150 ohms or greater. 

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 150Hz to 3.5kHz. 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 80Hz 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.


3 EQUALISER



 HF EQ 

Turn to the right to boost high (treble) frequencies, adding crispness to percussion from drum machines, synths and electronic instruments. Turn to the left to cut these frequencies, reducing hiss or excessive brilliance. Set the knob in the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at 12kHz.

 MF EQ

 Turn to the right to boost mid frequencies, turn to the left to cut these frequencies. The centre frquency of the MID EQ is 720Hz.


 LF EQ 

Turn to the right to boost low (bass) frequencies, adding extra punch to synths, guitars and drums. Turn to the left to reduce hum, boominess or improve a mushy sound. Set the knob to the centre-detented position when not required. The control has a shelving response giving 15dB of boost or cut at 80Hz.

Maximize Your Mix: An Easy Guide to Adjusting Low, Mid, and High Frequencies with the EPM Mixer for Better Bass, Treble, and Voice



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