Peavey Escort 6000, Руководство по эксплуатации

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Escort
® 的大部分安装与其他音响系统的安装方法相同，很多地方只需要常识即可。安全永远处于第一位。一定要使用接地插座
和三线扩展电源线。音响系统在走线时应防止绊倒，可根据需要将线缆粘贴在地上。将扬声器架和调音台放置在一个结实平整
的表面上。遵循这些指南有利于避免人员伤亡和设备损坏，确保多年无故障使用。
牢记安全第一！
安装指南
安装调音台和扬声器
放置好密封好的装置，扬声器朝上。向上提起锁闩，直到锁闩松开。将扬声器从盒子里取出。
注意：取出扬声器后可以合上锁闩。建议合上锁闩，以避免干扰其他部件的取出。同时还有利于避免损坏锁闩。向内推动锁闩，使之与
盒侧齐平，然后向下按，以锁住锁闩。
将扬声器架从盒子里取出。确保将架子的脚完全伸出，为扬声器提供稳定的支撑；将其放在平整的表面上。将拇指螺钉紧固到基础上，
但是不要过度紧固（图
1
）。将扬声器架升到期望的高度，紧固拇指螺栓并安装安全销，如图所示（图
2
）。
警告！只能将附带的扬声器连接到调音台。
Escort
扬声器可以优
化有源调音台的载荷，使用其他扬声器可能会损坏设备。
将扬声器安放到架子上，调节方位，使其对着观众，远离麦克风（图
3
）。将扬声器前方底部插头引出的扬声器线缆连接到调音台后部的
扬声器输出口。将左扬声器连接到
LEFT OUTPUT(
左输出口
)
，将右扬声器连接到
RIGHT OUTPUT
（右输出口）（图
4
）。
图
3
图
1
图
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
或
扬声器插孔
图
4