Dynacord 1600, CMS 1000, 2200 owner manual LO CUT 80 Hz, Voicing Filter, EQ Section

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INPUT MONO

5. LO CUT 80 Hz

 

 

 

 

 

When the LO CUT switch is engaged, frequencies below 80 Hz are

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attenuated (18dB octave slope). In most cases it is good advice to

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use the LO CUT filter with microphone channels, since it efficiently

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suppresses popping sounds, rumbling noise and low-frequency

 

 

 

 

 

 

 

 

 

feedback. The only exceptions are kick drum and bass. Sometimes

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it can be also very effective to combine the LO CUT filter with the

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voicing filter, for instance to provide vocals with more “body”, without

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getting additional low pitched noise. Activating the LO CUT and

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raising the bass level (LO EQ) provides you with a richer sound,

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without additional rumbling or low-frequency popping noise. Another

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welcome side effect is, that the power amplifier and the loudspeakers

 

 

 

 

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connected to your sound reinforcement system do not get “polluted” with unnecessary low-pitched interference. Your audience will be thankful for the use of the LO CUT filter, too, since in this way they can enjoy a truly clear, natural, and powerful sound performance.

6. VOICING FILTER

 

 

 

 

 

This button activates a special asymmetric microphone filter, which

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can be used in addition to the channel EQ. The voicing filter enhances

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the first harmonic oscillation and the treble of the human voice while

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slightly attenuating the mid frequency range. This voice shaping

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method provides powerful vocals that are clearly emphasized from

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the rest of the mix. Ordinary third or octave band equalizers do not

 

 

 

 

 

 

 

 

 

provide this kind of “pre-shaping”. The use of this filter is not restricted

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to vocals only. Horns, woodwinds, and other acoustic instruments can

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profit from the voicing filter as well. We leave it entirely up to your

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creativity and imagination to try the VOICE filter with as many different

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sound sources, as you want.

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Normally, you do not have to fear any problems with the occurrence of feedback.

7. EQ Section

The mixer’s EQ section allows very differentiated shaping of the incoming audio signal within miscellaneous frequency bands. Turning one of the EQ level controls to the right enhances/amplifies the corresponding frequency range while turning it to the left lowers/attenuates the signal of that specific frequency band. Before you begin to alter the sound, all EQ controls should be set to their neutral position, i.e. their marker points straight up (locked in place). Try not to set the EQ controls to extreme positions. Usually, minor changes are totally sufficient and produce the best results in the overall sound. You should use the natural reproduction as an orientation mark and rely on your musically trained ear. Moderate use of the MID control is the best remedy to avoid acoustical feedback. Especially in this frequency range you should try to avoid excessive enhancement. Lowering the level more or less in this band will provide you with high amplification rates without feedback. Use the LO control according to your pleasing, to add more “punch” to the sound of a kick drum or “body” to the vocals. Use the HI control in the same way to provide cymbals and the human voice with more treble and a more transparent sound. The MID EQ section offers parametric EQ-setting via separate rotary controls for the adjustment of level (MID) and frequency band (kHz) in the range between 100 Hz and 8 kHz.

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LOW/HI EQ

MID EQ

.1kHz & 8kHz

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Contents CMS 1000/1600/2200 Inhaltsverzeichnis ContentsTable DES Matières Important Safety Instructions Installation and Connections Unpacking and WarrantyDescriptions MIC Input MonoLine Insert Setting InstructionsGain Voicing Filter LO CUT 80 HzEQ Section AUX 3/4 AUX / FX 1/2Mute Signal / Peak IndicatorVolume PANGain MIC Input Stereo15.MIC Stereo Input L/MONO REQ Section Line TrimAUX / FX 1/2 AUX3/4 BAL SIGNAL/PEAK 27/28. AUX1/2 Send Effects 1/2FX1/FX2 Changing FX Start ProgramsEffect Return Display30. UP/DOWN Peak LEDAUX3/4 Post AUX3&4 / MasterAUX3/4 OUT AUX3/4 InsertsPower Anzeige AUX3/4 VolumeBand Equalizer PFL Master MasterMaster LED-DISPLAY StandbyRecord Send L/R Mono OutputMono OUT Level & PRE/POST Phones LevelLamp XLR FootswitchMaster OUT Master InsertsRear Panel PowerUnbalanced CablingCabling LF-Cables Balanced or Unbalanced?Sound Check Setting UP a STANDARD-PA SystemMonitor Mix Main MixOptional Subwoofer Monitoring Setup ExamplesSetup Examples Setup Examples Wichtige Sicherheitshinweise Auspacken und Garantie BeschreibungLine Gain Klangregelung Einstellhinweis Signal / PEAK- Anzeige Input Stereo +20 +15 +10 100 200 500 10k 20k AUX / FX Umstellung der Effekt-Startprogramme Effekt 1/2Effekt Return EinstellhinweiseAUX3/4 +20 +15 +10 100 200 500 10k Master LED-DISPLAY Phones Mono OUT LevelMaster OUT Rückseite Verkabelung Aufbau Einer STANDARD-PASoundcheck AufbauMonitormix HauptmixAufbau Beispiele Aufbaubeispiele Aufbaubeispiele Instructions DE Sécurité Importantes Déballage et garantie Installation et BranchementsLine Ligne Entrée MonoConseils de réglage Insert InsertionVoicing Filter Filtre de Voix LO CUT 80 Hz Filtre coupe-basEQ Section Égaliseur AUX/FX 1/2 Auxiliaires/Effets Instructions de réglageIndicateur SIGNAL/PEAK Entrée Stéréo BAL ance Section EQAUX/FX 1/2 21.AUX3/4SIGNAL/PEAK Changer les effets de démarrage Effets 1/2Effect Return Retour D’EFFET Afficheur31/32. FX1/2 à AUX3/4 Temoin PeakAUX3&4 / Master 44. Égaliseur 7 Bandes 45. Témoin PowerMaster L+R 46. Échelle DE LED MasterEQ to Affectation de l‘EQ Track Return L/R Retour 2 Pistes Mono OUTNiveau Mono OUT ET PRE/POST Phones Sortie casquesMaster Inserts Insertions principales Master OUT Sortie généralePanneau Arrière Câblage CablageCâbles basse fréquence Symétrisés ou non symétrisés ? Installation D‘UN Système DE Sonorisation Mixage des retours Monitor Mixage principalExemples D‘INSTALLATION Exemples D‘INSTALLATION Exemples D‘INSTALLATION Specifications Block Diagram Dimensions / Abmessungen Effect presets Effekt Presets Programmes Effets
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