Assessments - 1, GPA: 5
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Facilidade de uso
Turning the Gain Control back a little bit to the left sets the optimal signal level for this channel. 12. Set the fader of channel 1 to the 0 dB mark in the upper third of the fader path. 13. Press the FX 1 On and the FX2 On buttons on the nght bottom, above the blue faders. 14. Position the FX1 and FX2 faders at the “-10 dB mark". 15. Increase the output level by carefully pushing up the master output controls (right bottom), while at the same time speaking into the microphone. Your voice is reproduced through the loudspeakers, being enhanced by a echo and reverberation effect. You can change the intensity of either one effect, according to the desired amount, by re-adjusting the FX1 and FX2 faders. You arc also able to change the reverberation intensity or the delay time by pressing the Up/Down buttons below the display to select another effect. Within one group of effects the intensity and depths/delay increases with the increasing preset numbers. Individual settings for each input channel are achieved through the use of their separate FX controls. 16. Once you have followed all instructions mentioned so far, your sound system should function without problem and sound decent, without the need for further adjustment. 17. In case the sound does not fulfill your expectations, it is because of the quality of the employed loudspeakers or microphones. How to find out, if the speakers or the microphones are the cause for the degraded overall sound? 18. Connect a CD Player to the 2Track Input (RCA type jacks on the right top of the front panel). Play some tracks of different CDs. If the sound is natural and clear, your loudspeaker systems do not cause the trouble, but the connected microphone. In case the sound is still either damped, screeching or nasaling, test the PSX with another speaker model. 19. When testing the equipment, trust mainly your own pair of ears and not just an analyzer - no matter if it is a cheaper or an expensive model. Adjusting sound reinforcement installations with analyzing equipment is not only extremely complicated and time consuming, in most cases actual acoustical results are far from being satisfactory, since normal measuring and analyzing equipment is not capable of computing all the necessary parameters at the same time. The human ear on the contrary does it all in real-time and without additional expenses. 20. Now, feel free to test the effect that the sound shaping controls of each channel provide you with. Turn the bass and the treble controls carefully and listen to the changing sound. While the bass control changes “resonance” and “body” of the human voice, the treble control alters its “vivid character" and “intelligibility". Normally, only minor adjustments are necessary to match the individual personal taste. 21. Mid controls are provided between the bass and treble controls of the microphone channels. The mid-EQ controls are useful to provide more “presence" to the voice of the lead singer. But be extremely careful. A wrong setting results mostly in a dramatically “bad" sound. Try to experiment with this control to get a feeling for the way it lets you influence the sound. 22. The master channels embody a graphic equalizer to match the overall sound to varying locations. Normally, minor changes in the setting will provide you with the intended improvement Extreme positioning of the EQ-faders mostly results in a degradation of the overall sound. 23. A note on the microphone selection. Vocals are best picked up, using dynamic microphones with cardioid polar pattern. These models provide a high proximity effect and good off-axis rejection. Additionally, they are relatively insensitive to popping sounds and feedback. On the other hand, when recording acoustical instruments, such as an acoustic guitar or for the overhead pick-up of a drum-set, vocal microphones are the wrong choice. Here, only condenser type microphones will provide a useful solution. This means, you need at least two different microphone models when recording the performance of a band, including vocals, homs and drums. The only way to find the right choice of microphones is testing, since the degradation in sound, resulting from a wrongly chosen microphone can not be compensated on the mixer. 24. Finally, a word on incorporating external third-octave or octave equalizers. They are mainly used in major sound reinforcement installations to compensate for acoustical problems within multiple speaker systems or to eliminate acoustical feedback- Adjusting these equalizers is not only a very complex matter but also extremely time consuming and the overall sound improvement is mostly minimal. If a system does not sound right, testing different loudspeaker systems and microphone models, until a proper sounding combination is found, will provide you on the long run with more satisfaction. On the contrary, if external sound shaping equipment is used, the risk of faulty adjustment causing overall sound deg...