Peavey Escort 6000, Operating Manual

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La majeure partie de la mise en place de l’Escort
®
est similaire à la mise en place des autres systèmes et de nombreux aspects ne
nécessitent que du bon sens. La sécurité doit toujours être votre premier souci. Utilisez toujours des prises mises à la terre et des
rallonges à trois âmes. Installez les câbles des systèmes audio de manière à prévenir les risques de chutes et fixez-les à l’aide de ruban
adhésif si besoin. Placez les supports de haut-parleur et le mixer sur une surface solide et plane. En suivant ces lignes directrices, vous
aiderez à prévenir des blessures physiques et des dommages à l’équipement, pour assurer de nombreuses années d’utilisation fiable.
LA SÉCURITÉ D’ABORD !
Guide de mise en place
Mise en place du mixer et des haut-parleurs
Placez l’unité fermée de manière à ce que les haut-parleurs soient verticaux. Ouvrez les loquets en les relevant jusqu’à ce qu’ils se dégagent.
Retirez les haut-parleurs de la mallette.
REMARQUE : Les loquets peuvent être refermés une fois que les haut-parleurs sont retirés. Il est recommandé de refermer les loquets
afin de limiter les interférences lors du retrait d’autres composants. Cela aidera à éviter les dommages aux loquets. Fermez les loquets en
poussant dessus jusqu’à ce qu’ils soient alignés avec le côté de la mallette puis poussez jusqu’à ce qu’ils se referment.
Retirez les supports de haut-parleurs de la mallette. Assurez-vous que les jambes du support soient pleinement déployées afin d’offrir une
base stable pour les haut-parleurs et assurez-vous de les positionner sur une surface plane. Serrez les vis papillon sur la base de manière à
ce qu’elles soient fermement installées mais pas trop serrées (Fig.1). Relevez les supports de haut-parleur à la hauteur souhaitée, serrez la
vis papillon et installez la clavette de sécurité ainsi qu’il est illustré (Fig.2).
AVERTISSEMENT ! Connectez uniquement les haut-parleurs inclus
au mixer. Les haut-parleurs Escort donnent la charge optimale
pour le mixer et l’utilisation d’autres haut-parleurs pourrait
endommager l’équipement.
Placez les haut-parleurs sur les supports et positionnez-les de manière à ce qu’ils soient dirigés vers l’auditoire et éloignés des microphones
(Fig. 3) Connectez les câbles de haut-parleur de la prise jack en bas de l’avant du haut-parleur aux sorties de haut-parleur à l’arrière du mixer.
Connectez le haut-parleur de gauche à la SORTIE GAUCHE et le haut-parleur de droite à la SORTIE DROITE (Fig. 4).
Fig. 3
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
OU
Insérez ici les fiches jack
de haut-parleur