•
If you cannot obtain a satisfactory setting, e.g. the gain
control is right at the extrem e low end of the scale on
Microp hone Inp u t, try u sing the Line Inp u t instead .
•
Listen carefu lly for the characteristic sou nd of ‘feed back’.
If you cannot achieve satisfactory inp u t level setting
w ithou t feed back, check m icrop hone and sp eaker
p lacem ent and rep eat the exercise.
You are now read y to start bu ild ing the m ix and this shou ld
be d one p rogressively, listening carefu lly for each com p onent
in the m ix and w atching the m eters for any hint of overload .
If this occu rs, back off the ap p rop riate Channel Fad er slightly
u ntil the level is ou t of the red segm ents, or ad ju st the Master
Fad er.
N ote: The level of any sou rce signal in the final ou tp u t is
affected by m any factors, p rincip ally the Gain control,
Channel Fad er and Ou tp u t Fad ers. You shou ld try to u se only
as m u ch m icrop hone gain as requ ired to achieve a good
balance betw een signals, w ith the fad ers set as d escribed
above. If the inp u t gain is set too high, the channel fad er w ill
need to be p u lled d ow n too far in com p ensation to leave
enou gh travel for su ccessfu l m ixing and there is a greater risk
of feed back becau se sm all fad er m ovem ents w ill have a very
significant effect on ou tp u t level. If the gain is set too low ,
you w ill not find enou gh gain on the fad ers to bring the signal
u p to an ad equ ate level.
Microphone Pla cement
Carefu l m icrop hone p lacem ent and the choice of a su itable
typ e of m icrop hone for the job is one of the essentials of
su ccessfu l sou nd reinforcem ent. The aim shou ld be to p lace
the m icrop hone as close as p hysically p ossible to the sou rce,
to cu t ou t u nw anted su rrou nd ing sou nd s, allow a low er gain
setting on the m ixer and avoid feed back. Also a w ell-chosen
and w ell-p laced m icrop hone shou ld not need any ap p reciable
equ alisation.
Pa g e 21
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