SoundCraft POWERSTATION 1200, Руководство пользователя

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Page 4
Using the POWERSTATION
MONO INPUT CHANNEL
MICROPHONE INPUT
The mic input accepts XLR-type connectors and is designed to suit a wide
range of BALANCED or UNBALANCED signals. Professional dynamic,
condenser or ribbon mics are best because these will be LOW IMPED-
ANCE. You can use low-cost HIGH IMPEDANCE mics, but the level of
background noise will be higher. If you press the MIC +48V switch down
(on the Master section) the socket provides a suitable powering voltage for
professional condenser mics (this is also known as Phantom Power).
ONLY connect condenser microphones with the +48V
powering OFF (switch UP), and ONLY turn the +48V
powering on or off with all output faders DOWN, to
prevent damage to the mixer or external devices.
TAKE CARE when using unbalanced sources, which
may be damaged by the phantom power voltage on
pins 2 & 3 of the XLR connector.
Unplug any mics if you want to use the LINE Input. The input level is set
using the GAIN knob.
LINE INPUT
Accepts 3-pole `A’ gauge (TRS) jacks. Use this high impedance input for
sources other than mics, such as keyboards, drum machines, synths, tape
machines or guitars. The input is BALANCED for low noise and top quali-
ty from professional equipment, but you can use UNBALANCED sources
by wiring up the jacks as shown, although you should then keep cable
lengths as short as possible. Unplug anything in the MIC input if you want
to use this socket. Set the input level using the GAIN knob.
INSERT
The unbalanced, pre-EQ insert point is a break in the channel signal path,
allowing limiters, compressors, special EQ or other signal processing units
to be added in the signal path. The Insert is a 3-pole ‘A’ gauge jack socket
which is normally bypassed. When a jack is inserted, the signal path is bro-
ken just after the High-Pass Filter and before the EQ section. The Send may
be tapped off as an alternative pre-fade, pre-EQ direct output if required,
using a lead with tip and ring shorted together so that the signal path is not
interrupted.
GAIN CONTROL
This knob sets how much of the source signal is sent to the rest of the
mixer. Too high, and the signal will distort as it overloads the channel. Too
low, and the level of any background hiss will be more noticeable and you
may not be able to get enough signal level to the output of the mixer.
Setting the knob to the 10dB mark gives unity gain for the LINE input. Note
that some sound equipment, particularly that intended for domestic use,
operates at a lower level (-10dBV) than professional equipment and will
therefore need a higher gain setting to give the same output level.
See `Setting Up & Troubleshooting’ on page 10 to learn how to set GAIN
correctly.
100Hz HI-PASS FILTER
Pressing this switch activates a steep 18dB per octave filter which reduces
the level of bass frequencies only. Use this in live PA situations to clean up
the mix, reducing stage rumble or ‘popping’ from microphones.
EQUALISER
The Equaliser (EQ) allows fine manipulation of the frequency bands, and is
particularly useful for improving the sound in live PA applications where the
original signal is often far from ideal and where slight boosting or cutting of
particular voice frequencies can really make a difference to clarity.
HF EQ
Turn clockwise to boost high (treble) frequencies (12kHz and above) by up
to 15dB, adding crispness to cymbals, vocals and electronic instruments.
Turn anticlockwise to cut by up to 15dB, reducing hiss or excessive sibilance
which can occur with certain types of microphone. Set the knob in the cen-
tre-detented position when not required.
MID EQ
This pair of knobs work together to form a MID frequency EQ section. The
lower knob provides 15dB of boost and cut, just like the HF EQ knob, but
the frequency at which this occurs can be set by the upper knob over a
range of 250Hz to 6kHz. This allows some truly creative improvement of
the signal in live situations, because the mid band covers the range of most
vocals. Listen carefully as you use these controls together to find how par-
ticular characteristics of, for instance, a vocal signal can be enhanced or
reduced. Set the gain (lower) knob to the centre-detented position when
not required. Note: Q is set at 1.5.
LF EQ
Turn clockwise to boost low (bass) frequencies (60Hz and below) by up to
15dB, adding warmth to vocals or extra punch to synths, guitars and drums.
Turn anticlockwise to cut low frequencies by up to 15dB for reducing hum,
stage rumble or to improve a mushy sound. Set the knob to the centre-
detented position when not required.
AUXILIARY SENDS
These are used to set up separate mixes for FOLDBACK, EFFECTS or
recording, and the combination of each Aux Send is mixed to the respective
Aux Output at the rear of the mixer. For Effects it is useful for the signal to
fade up and down with the fader (this is called POST-FADE), but for
Foldback or Monitor feeds it is important for the send to be independent of
the fader (this is called PRE-FADE).
Aux 1 is always PRE-FADE, POST-EQ, for typical use as a monitor or fold-
back feed. Aux 2 is normally POST-FADE, POST-EQ for use as an effects
send. By pressing the AUX 2 PRE switch on the Master section the Aux 2
send is set PRE-FADE, POST-EQ. Both knobs should be turned down
when not in use.