31
USING YOUR EFX CONSOLE
The final output from your sound system can only ever be as good as the weak-
est link in the chain, and especially important is the quality of the source signal
because this is the starting point of the chain. Just as you need to become
familiar with the control functions of your mixer, so you must recognise the
importance of correct choice of inputs, microphone placement and input chan-
nel settings. However, no amount of careful setting up can take account of the
spontaneity and unpredictability of live performance. The mixer must be set up
to provide “spare” control range to compensate for changing microphone posi-
tion and the absorption effect of a large audience (different acoustic character-
istics from soundcheck to show).
MICROPHONE PLACEMENT
Careful microphone placement and the choice of a suitable type of micro-
phone for the job is one of the essentials of successful sound reinforcement.
The diagrams on the left show the different pick-up patterns for the most com-
mon types of microphone. Cardioid microphones are most sensitive to sound
coming from in front, and hypercardioid microphones offer even greater directivity,
with a small amount of pickup behind the microphone. These types are ideal
for recording vocalists or instruments, where rejection of unwanted sounds and
elimination of feedback is important. The aim should be to place the micro-
phone as close as physically possible to the source, to cut out unwanted sur-
rounding sounds, allow a lower gain setting on the mixer and avoid feedback.
Also a well chosen and well placed microphone should not need any appreci-
able equalisation.
There are no exact rules - let your ears be the judge. In the end, the position
that gives the desired effect is the correct position!
INITIAL SETUP
Once you have connected up your system (see the sections on connection and
wiring earlier in this manual for guidance) you are ready to set initial positions
for the controls on your mixer.
Set up individual input channel as follows:
•
Connect your sources (microphone, keyboard etc.) to the required in-
puts.
WARNING: Phantom powered mics should be connected before the +48V
is switched on. Ensure the PA system is OFF when switching phantom
power on or off.
•
Set Master faders at 0, input faders at 0, and set power amplifier levels
to about 70%.
•
Provide a typical performance level signal and press the PFL button on
the first channel, monitoring the level on the bargraph meters.
•
Adjust the input gain until the meter display is in the amber section, with
occasional peaks to the first red LED at a typical maximum source level.
This allows sufficient headroom to accommodate peaks and establishes
the maximum level for normal operation (but see note below).
•
Repeat this procedure on other channels as required. As more channels
are added to the mix, the meters may move into the red section. Adjust
the overall level using the Master Faders if necessary.
•
Listen carefully for the characteristic sound of “feedback”. If you cannot
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