Electro-Voice PSX1600, PSX1000, PSX2200 owner manual Gain, LO CUT 80 Hz, Voicing Filter

INPUT/MONO

If you want to use this socket as a DIRECT OUT (Pre EQ), the stereo phone plug’s tip and ring have to be short circuited, so that the audio signal is not interrupted. If you are using a monaural phone plug instead, you will get a DIRECT OUT with breaker function – the signal flow within the channel is interrupted.

DIRECT OUT

4. GAIN

Rotary control to adjust the MIC/LINE inputs’ sensitivity. These controls let you optimally adjust the incoming signals to the mixer’s internal operation level. Correct adjustment offers the benefits of improved S/N-ratio and provides you with the full bandwidth of the PSX’s outstanding sonic capabilities. On the XLR-type connectors, amplification of +10dB is achieved when the control is set all the way to the left and +60dB when the control is turned all the way to the right. When dealing with very low input levels, like those that occur during vocal recordings or when the sound source is located at a distance, the high gain is extremely beneficial. Using the LINE-input, the signal is generally attenuated by –20 dB. The total adjustment range of 50dB stays the same. The LINE-input’s unity gain – no amplification (0 dB) – is achieved at the 20dB mark.

The following is meant as a short note for your assistance on how to determine the correct input level:

Note on how to adjust the input level:

1.Set the gain control and the corresponding channel fader to their lowest setting.

2.Connect the desired sound source (microphone, musical instrument, etc.) to the MIC or LINE input.

3.Play the source at its highest volume –sing or speak as loud as possible directly into the microphone or play the instrument.

4.While you are playing the sound source or singing into the microphone, adjust the input level using the gain control, so that during the loudest passages the PEAK LED doesn’t blink, but the SIGNAL - LED

lights constantly.

This is the basic channel setting, gives you at least 6dB of headroom, which means you have at least 6dB before signal clipping. In case you intend to make further adjustments to the channel’s EQ setting, you should perform the steps 3. and 4. again, since changes in the sound shaping section also influence the channel’s over- all level.

5. LO CUT 80 Hz

When the LO CUT switch is engaged, frequencies below 80 Hz are attenuated (18 dB-per-octave). In most cases using the LO CUT filter with microphone channels is a good advice, since it efficiently suppresses popping sounds and rumbling noise. The only exceptions are kick drum and

acoustic bass.

Sometimes it can be also very effective to combine the LO CUT filter with the VOICING filter. For instance to provide a “thin” voice with more “body”, without getting additional low- pitched noise. Whenever the LO CUT is engaged, raising the bass level (LO EQ) provides you with a richer sound, but without additional rumbling or popping noise.

Another welcome side effect is, that the power amplifier and the connected loudspeakers do not get “polluted” with unne- cessary low-pitched noise. And the audience will be thankful for the use of the LO CUT filter, too, since they can enjoy a truly clear, natural, and powerful sound performance.

6. VOICING FILTER

This button activates an asymmetric microphone filter, which can be used in addition to the channel EQ. The VOICING filter enhances the first harmonics of the human voice and slightly attenuates the mid frequency range. This voice sha- ping method provides precisely audible, intelligible, and po- werful vocals that are clearly emphasized from the rest of the mix and is not achievable using ordinary third or octave equalizers.

The use of this filter is not restricted to vocals only. Horns, woodwinds, and other acoustic instruments can also profit from the voicing filter.

We leave it entirely up to your creativity to try the filter with as many different sound sources as you like. Normally, you do not have to worry about the occurrence of feedback.

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