Dynacord PowerMate 600 owner manual Gain, EQ Section

500 1k 2k Hz

5k 10k 20k

50 100 200

+20

+15

+10

+5

+0

-5

-10

-15

-20 20

INPUT MONO

3. GAIN

Rotary control to adjust the MIC or LINE inputs’ sensitivity. These controls let you optimally adjust the incoming signals to the mixer’s internal operation level. Cautious adjusting of- fers the benefits of an improved S/N-ration and provides you with the full bandwidth of the PowerMate’s outstanding sound capabilities. On the XLR-type connectors an amplification of +10dB is achieved when the control is set all the way to the left and +60dB when the control is set to its maximum position to the right. Especially when dealing with very low input levels, like they occur during vocal recordings or when the sound source is located in a distance, the high gain is extremely profitable. Using the LINE-input, the signal is generally attenuated by -20 dB, while the total adjustment range of 50dB is maintained. 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

corresponding MIC or LINE input.

3. Play the sound source at its highest volume setting - respectively, sing or speak as loud as possible directly into the microphone.

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 is just not lit, but the SIGNAL-present LED lights constantly. This is the basic channel setting, leaving you with at least 6dB of headroom. Which means, you have at least a range of 6dB before signal clipping.

In case you intend to make further adjustments to the channel’s EQ setting, you should per- form steps 3. and 4. again afterwards, since changes in the sound shaping section also influ- ence the channel’s overall level.

4. EQ SECTION

The mixer’s EQ section allows very

differentiated shaping of the incoming audio signal within miscellaneous fre-

quency 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 the specific frequency band. Before you begin to alter the sound, all EQ controls should be set to their neutral position; that is: their markers point straight up (detent position). Do not 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, being the perfect instrument to judge the sound quality. The 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. The EQ section’s LO- and HI-controls are designed to work equally effective on both - MIC and LINE -level input sources.

The MID-control is most effective in a relatively wide band around the center frequency of 2.4 kHz. As a matter of fact, especially in microphone applications this specific band turned out to be a critical range. Thus, with almost any microphone it is good advice to slightly reduce the level in this range to gain optimal results.

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