Connect suitable speakers and connect the mains lead/A.C. power cord to an appropriate power outlet.
We now need a signal source and for this exercise an mp3 or CD player with suitable leads should be used.
Connect it to a Stereo input channel using the L/MONO and R sockets. Switch on the Horizon using the
POWER switch (67) located on the rear panel which will be confirmed by the POWER LED (40) illuminating.
Switch on the signal source and press the selected channel PFL button. You may see the MIX bargraph LEDs
start flickering. Turning the LINE GAIN control (22) slowly clockwise will increase the number of bargraph LEDs
illuminating. The bargraph is calibrated in dB (decibels) so as a reference aim to get the peaks of the music
illuminating LEDs between the 6 and 12dB segments. This has now set the gain of the Stereo channel for optimum
signal to noise ratio and the PFL button can be switched off.
Raise the Stereo channel fader to the '0' position. Slowly move the L-R MIX faders and sound will be heard
through the speakers. Spend a few minutes getting familiar with the controls by trying the following: Turn the
BAL control to the left and then right and you will hear the sound move from the left speaker to the right. Slowly
turn the EQ controls (23,24,25) and you will hear noticeable changes in the different frequency bands. Now
switch in the Graphic Equaliser (44) and move the various slider controls to hear the subtly different tonal changes
in the sound.
Setting up a microphone
That is the basic set up completed to playback recorded music so let's move on to a microphone channel. Before
starting, lower the L-R MIX faders to the minimum position. Connect a microphone to channel 1 XLR input. If it
is a condenser microphone switch on the mic c48V switch (68). Switch on
the channel PFL button so
that the signal can be visually monitored on the MIX bargraph. Talk or sing into the microphone and slowly turn
the GAIN control until the SIG LED (16) illuminates and the bargraph peaks around the 6dB to 12dB segments
if the PEAK LED (15) is also fully illuminated reduce the GAIN slightly. Raise the Channel fader to the '0' position
and slowly raise the L-R MIX faders to the required volume level. Like the Stereo channel set up you may want
to take some time to hear the different tone adjustments that the EQ section (6,7,8) can offer. Note that if a lot
of boost is added to the EQ you will see the bargraph level increase, possibly to the 15dB segment. To compensate
for this carefully turn the GAIN control anticlockwise until the signal falls to the 6dB to 12dB segments again.
Like wise if you cut the EQ controls you will see the bargraph level fall so turning the GAIN clockwise will compensate
for this. Experimentation is recommended!
Getting sound out of your Horizon
Before starting make sure controls are set to the following positions. This is to avoid the sound/signal not
appearing where it should!
All front panel switches in the 'up' position.
Level controls (red, orange, blue colour) fully anticlockwise
EQ, Pan & Bal controls (white) central.
All faders are down.
The Amp Assign switch (39) should be set to the top, L & R position.
Finally the AMP POWER switch set to 15%
Adding Effects
With a mic channel setup for a vocal the next stage is to add an effect to enhance the voice. Turn the orange
control labelled DSP1 on the channel being used so the pointer is at the 3 O'clock position. Now we need to
set up the DSP1 controls, first with a reverb sound effect. Turn the PROGRAM SELECTION (48a) so that the
VOCAL1 LED illuminates. Press the REVERB button (48b) and then DSP1 ON button (48g) both confirmed
with their adjacent LED illuminating. Talk or sing again and slowly raise the DSP1 fader (48h) until you can
hear the effect. Turning the PROGRAM SELECTION control will step through all 8 programs to help you find
one that suits your voice the best. Now try a delay by pressing the delay button (48c). The PROGRAM SELECTION
control now adjusts the delay length by turning it clockwise to increase the delay and anticlockwise to shorten it.
Raising the DSP1 fader to the top of its travel will let you hear the repeats of the delay very distinctively. Finally
if you want to add more repeats to the delay effect press the REGEN button (48d). Again the PROGRAM SELECTION
CONTROL, in this mode, will increase or decrease the number of repeats. Like all effects, it is worth taking
time to listen to all the combinations and decide what suits your voice or the material being sung. DSP2 is
identical to DSP1 and will be set up in the same way. Now you have a music channel and a mic channel set
up you could sing to a backing track or Karaoke CD to get familiar with your Horizon. Other input channels
can be set up for vocals, instruments, samples etc in exactly the same way.
Using the channel compressor
There is one more important feature that is a must in any live vocal performance and that it the VMS vocal
compressor (3). The human voice changes immensely in volume when singing and a compressor helps
even this level out by increasing the volume of quiet parts and reducing the volume of the loud parts. The
result is a more even sound that is not as thin as the uncompressed voice resulting in a more professional
performance. To set up the compressor return to the input channel being used and press the PFL button.
This is so that the signal level can be monitored on the MIX barograph. This is also a
good opportunity to
connect a set of headphones so that you can clearly hear the results. Push the button located in the compressor
section to the ON position. Sing the loudest part of a song and adjust the channel GAIN control so that the
first 2-3 LEDs, marked Gain Reduction on the compressor section, flash. You can compare the voice with
and without the compressor by turning it on and off whilst singing. You will also see on the bargraphs a more
even volume with the compressor on. If you find that the sound it getting a bit squashed, reduce the GAIN
control slightly and likewise if you feel you need a little more compression, turn the GAIN control up a little.
Once you are happy with the setting, turn off the PFL button and raise the channel fader until you get to the
required volume level and add a DSP effect.
Connecting Stage Monitors
Now you are now familiar with the controls required to get the input signal through the Horizon and out to
the loudspeakers, there may be a requirement to get sound on stage so the performers can hear themselves
too. For this we need to familiarise ourselves with the AUX (auxiliary) controls. With the inputs and faders
set up as described, have a look at the blue aux controls on each channel. Think of them as rotary versions
of the channel fader that mix all the signals from the input channels together. The only difference is that
instead of going through the L-R MIX faders and onto the loudspeak
ers, they exit on their own dedicated
AUX output sockets. These can be connected to an amplifier and stage monitor speakers pointed toward
the performers. Two completely individual AUX mixes can be achieved using AUX1 and AUX2 controls.
To help control and add tone to the AUX outputs a 3 band EQ (49,50,51) and an AUX NOTCH FILTER (52)
is provided. The EQ is used in a similar way to the input channel EQ but the NOTCH FILTER can be very
useful in reducing feedback on the stage. When increasing the volume to the monitor speakers eventually
feedback from the microphones on stage will start. Press the ACTIVE button to activate the NOTCH FILTER
and slowly turn the filter control until the feedback is eliminated.
13
14
Using your HORIZON
Refer to connector wiring section for cable type and pin wiring, page 17.
Содержание Horizon 2012
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