Dynacord 2200, CMS 1000, 1600 owner manual AUX / FX 1/2, AUX 3/4

INPUT MONO

Adjustments in the MID frequency range are certainly the most effective way to shape the sound. As a matter of fact, determining the correct center frequency is not always as easy as it seems. Here is one method – amongst others – how to quickly find the right setting of the parametric EQ for your application:

Setting Instructions:

1.Slightly lower the channel fader to avoid feedback.

2.Position the MID rotary control in the range of +9dB … +15dB.

3. Play the desired sound source or talk into the microphone.

4. While doing so turn the frequency rotary control (kHz) slowly from left to right.

5.Surely and within no time, you will detect the frequency range that is not to your liking or causing

feedback.

6. Leave the frequency control in this position and turn the MID control to the left until the sound is natural or to your liking.

8. AUX / FX 1/2

The AUX/FX controls allow adjusting individual amounts of the input signals to be routed to the integrated FX1 or the FX2 effects units. The signal path is split post volume fader – POST FADE – so that the fader setting also influences the amount of the signal that is fed to the FX units. Using the AUX/FX controls lets you easily assign special effects to groups of musical instruments or vocals. For example, you can assign a short reverb effect of the FX1 unit to the lead vocals and a combined effects program – echo, hall, and chorus – via FX2 to the background vocals. To determine the desired intensity of each effect, you should start with the controls set at their center and make individual adjustments from there on. Please monitor the PEAK LEDs in the FX1/2 channels. The indicator should only light briefly at the occurrence of high program peaks. If the indicator lights constant, you should lower the send levels of the channels in which program peaks occur. For further information, please read the paragraphs about the FX1/2 units. (In case you are not using the internal FX units and/or you want to connect external signal processing units, the pre-mixed AUX/FX1/2 signals are outputted via the AUX1/2 send jacks.)

9. AUX 3/4

AUX 3 and AUX 4 controls are primarily meant for establishing two independent monitor mixes. Using the master section’s AUX PRE/POST switches allows determining whether the signals are split pre or post fader.

PRE-FADER: The audio signal that is present at the AUX control is tapped pre volume fader and therefore not affected by the fader’s setting. This mode is mainly used for monitoring. Pre-Fader Monitoring is especially preferable when monitoring and main mix need to be completely different from each other, e.g. when the volume setting of particular musical instruments or vocals needs to be higher or lower than in the main mix. In most cases the mixing console is placed somewhere in the audience area (FOH) and is being operated by an experienced sound technician.

POST-FADER: The audio signal that is present at the AUX control is tapped post volume fader and therefore affected by the fader’s setting. This mode is mainly used for establishing FX- or special monitoring mixes. Using the POST-Fader method is recommended when the mixer is also located on the stage and you have to operate it yourself. Setting all AUX3 or AUX 4 controls to their center position, the main mix is also present on the monitor bus, giving you the opportunity to control the volume settings of each channel individually from the stage. The overall volume of the monitor mix is set using the AUX3/AUX4 faders in the master section. If you are using this option you should keep in mind that all volume changes made with the channel faders also apply to the monitor mix, leaving you with a higher risk of acoustic feedback.

The Post-Fader Monitoring method provides the possibility of canceling channels of some instruments – like kick or snare drum, which are in fact already very loud on-stage – from the monitor mix by turning the corresponding controls all the way to the left.

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