Peavey ESCORT 3000, Operating Manual

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La mayoría de los ajustes del Escora ® son similares a los de otros sistemas de sonido y muchos de ellos requieren simplemente
del sentido común. La seguridad debe ser siempre su primera preocupación. Use siempre tomas de corriente con conexión a tierra
y cables de extensión de tres conductores. Disponga los cables del sistema de sonido de forma tal de evitar el peligro de que
se tropiece con él y átelo con cintas adhesivas si es necesario. Coloque las plataformas de los altavoces y el mezclador en una
superficie sólida y nivelada. Seguir estas pautas ayudará a evitar lesiones personales y daños al equipamiento, asegurando años
de uso sin problemas.
¡PIENSE PRIMERO EN LA SEGURIDAD!
Guía de configuración
Configuración del mezclador y de los altavoces
Coloque la unidad cerrada de manera que los altavoces queden hacia arriba. Libere los cierres elevándolos hasta que se desacoplen. Retire los
altavoces de la maleta.
NOTA: Los cierres pueden cerrarse después de retirar los altavoces. Se recomienda evitar la interferencia con la remoción de otros
componentes. Esto también ayudará a evitar daños a los cierres. Aplique el cierre empujándolo hasta que esté al ras con el lado de la
maleta, entonces hacia abajo hasta que ajuste.
Retire las plataformas de los altavoces de la maleta. Asegúrese de que las patas de las plataformas estén totalmente extendidas para
proporcionar una base estable para los altavoces y de que estén colocadas sobre una superficie nivelada. Apriete el tornillo de ajuste
manual en la base de manera que esté ajustado, pero no lo apriete en exceso (Fig. 1). Eleve las plataformas de los altavoces hasta la altura
deseada, apriete el tornillo de ajuste manual e instale el pasador de seguridad como se muestra (Fig. 2).
¡ADVERTENCIA! Conecte solamente los altavoces que se incluyen
con el mezclador. Los altavoces Escort proporcionan una carga
óptima para el mezclador amplificado y el uso de otros altavoces
puede dar como resultado el daño al equipamiento.
Coloque los altavoces sobre las plataformas y posiciónelos de manera que queden dirigidos hacia el público y lejos de los micrófonos (Fig. 3).
Conecte los cables de los altavoces desde el conector de la parte delantera inferior del altavoz hasta las salidas para altavoces de la parte
trasera del mezclador. Conecte el altavoz izquierdo a la SALIDA IZQUIERDA y el altavoz derecho a la SALIDA DERECHA (Fig. 4).
Fig. 3
Fig. 4
Fig. 1 Fig. 2
7
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.
Fig. 10
Stereo
Mono
Stereo
Mono
A B
7
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.
Fig. 10
Stereo
Mono
Stereo
Mono
A B
o
Inserte aquí los enchufes de los
altavoces