Behringer MiniFBQ FBQ800, Руководство пользователя

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6 MINIFBQ FBQ800 User Manual
A. B. To monitor the output level of the FBQ800, use the
METER SELECT button
(5)
together with the IN/OUT
meter
(6)
, as described in this documentation.
B. While you monitor the output level of the FBQ800,
use the LEVEL knob
(3)
to adjust the output level of
the FBQ800 to 0 dB.
4. If the frequency-band faders and all other control elements
are not already activated, use the IN/OUT button
(2)
to
activate them.
5. To EQ the signal, use the EQ section
(9)
, as described in
this documentation.
6. To monitor the output level, use the METER SELECT button
(5)
together with the IN/OUT meter
(6)
, as described in this
documentation. If the output level is higher or, alternatively
lower than 0 dB, use the LEVEL control
(3)
to adjust the output
level to 0 dB.
◊
Most of the time, 0 dB is the optimal output level.
However, the optimal level for some output targets can
be greater or less than 0 dB.
7. Periodically monitor and, if necessary, adjust the input level and
output level, as described previously in steps 3 and 6.
If you activated all control elements
(2)
, you can use control elements
through to EQ the input signal, as follows:
(7)
RANGE button: To select a range for the EQ faders, use this
button, which can appear:
•
pushed in and illuminated: The fader range extends from
-6 dB to +6 dB .
•
not pushed in and not illuminated: The fader range
extends from
-12 dB to +12 dB .
(8)
FBQ IN button: To manage the FBQ Feedback Detection System,
use this button, which can appear:
•
pushed in and illuminated: The FBQ Feedback Detection
System is activated. If the signal level is high in a
frequency band, the relevant fader LED illuminates
brightly. In addition, all other fader LEDs are dimmed.
To reduce the potential for feedback, cut the signal in the
relevant frequency band
(9)
.
•
not pushed in and not illuminated: The FBQ Feedback
Detection System is not activated. Fader LEDs illuminate
with identical brightness. They do not identify possible
feedback frequencies.
(9)
EQ SECTION : If you activated all control elements
(2)
,
the input signal travels to the EQ section. In this section, you EQ
(EQualize) the input signal. This means that you emphasize
and de-emphasize specific frequencies, many of which are
associated with specific sounds. For details, see
About sounds
and their frequency bands , which follows.
About the frequency-band faders
The EQ section includes 9 frequency bands. For each of these
frequency bands, the EQ section includes a single fader.
The center frequency of each frequency band is displayed
directly above the relevant fader, as follows:
• 63 • 500 • 4 k
• 125 • 1 k • 8 k
• 250 • 2 k • 16 k
These center frequencies are expressed in hertz. The letter k
is the abbreviation for kilo (kilohertz). Notice that the center
frequencies increase in one-octave steps. This means that equal
intervals of pitch separate the frequency bands.
About sounds and their frequency bands
To help you EQ, the following table lists some typical sounds and
identifies the frequency bands in which they occur. The table
also describes what happens to some sounds when you
overemphasize them:
Sounds
Frequencies
(Hz)
AC mains hum; the fundamentals of instruments that
add power to music, which include bass drums, tubas,
double bass, and organs. Overemphasis sounds
muddy .
31 – 63
the vocal power of bass singers 40 – 125
mains hum; the fundamentals of lower tympani.
Overemphasis produces excessive boom.
80 – 125
third harmonic mains hum; voice fundamentals;
drums and lower bass. Overemphasis produces
excessive boom.
160 – 250
Vocal quality; the fundamentals of strings and
percussion instruments
315 – 500
natural vocals; the fundamentals and harmonics of
string, keyboard, and percussion instruments
630 – 1 k
voice fricatives; strings, drums, quitars, and bass.
Overemphasis between 1 k and 4 k can cause fatigue.
Overemphasis between 2 k and 4 k can mask some
vocal sounds, for example m, b, and v.
1.25 k – 4 k
overall clarity and definition 1.25 k – 8 k
tape hiss and system noise; cymbals, snare drums,
and percussion instruments; distant and
transparent sounds
5 k – 8 k
tape hiss and system noise; cymbals and overall
brightness. Overemphasis causes sibilance.
10 k – 16 k
How to emphasize and de-emphasize sounds
To emphasize or, alternatively to de-emphasize a sound,
do the following:
1) Identify the frequency band in which the sound occurs,
and then identify the relevant fader.