The FLS ® (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve

gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality.

Fig. 9

Avoiding Acoustic Feedback

Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound

source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain.

Microphone Usage Guidelines

When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and

each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance.

Reverb

Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word.

Stereo / Mono Operation

 

 

The Escort

2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so

 

 

that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the

 

 

audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for

 

 

the stage performers, then it is best to run the system in mono.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Stereo

 

 

 

 

 

 

 

 

 

 

 

Mono

 

 

 

 

 

 

 

 

 

A

Fig. 10

B

 

7

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Musica 2000 manual Avoiding Acoustic Feedback, Microphone Usage Guidelines, Reverb, Stereo / Mono Operation

2000 specifications

Musica 2000 is a pioneering software that revolutionized the way music is created and experienced. Launched in the late 1990s, it was designed to empower musicians and audio enthusiasts with powerful tools for music composition, editing, and production. One of the standout features of Musica 2000 is its intuitive interface, which allows users of all skill levels to navigate easily through various functionalities. The software's layout is well-organized, displaying essential tools such as MIDI editing, audio recording, and mixing options in a user-friendly manner.

At the heart of Musica 2000 is its robust MIDI capabilities. Musicians can create intricate compositions by manipulating MIDI data with precision. The software supports a wide range of MIDI instruments, enabling users to layer sounds and create complex arrangements effortlessly. The MIDI sequencer is flexible, allowing for real-time recording and easy quantization, which is perfect for refining performances and ensuring that every note aligns perfectly in time.

Another significant feature is the powerful audio engine. Musica 2000 allows for multitrack recording, enabling users to capture performances across various inputs simultaneously. The software supports a variety of audio formats and sample rates, ensuring high fidelity in recordings. With built-in effects such as reverb, delay, and EQ, users can shape their sound creatively without needing external plugins.

Additionally, Musica 2000 integrates seamlessly with a range of hardware, from MIDI controllers to audio interfaces. This flexibility allows musicians to tailor their setup according to their specific needs. The software is also equipped with a library of virtual instruments and sound samples that users can incorporate into their projects, providing an extensive palette for musical exploration.

Musica 2000 also supports collaboration, enabling multiple users to work on the same project remotely. This feature is essential for modern music production, especially in the age of digital collaboration.

In conclusion, Musica 2000 stands out as a comprehensive music production software, featuring an intuitive interface, powerful MIDI capabilities, high-quality audio recording, and extensive integration options. These characteristics make it an essential tool for musicians looking to produce, edit, and explore their musical creativity. Whether for professional or personal projects, Musica 2000 remains a significant player in the realm of music software.