Assessments - 5, GPA: 4
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However, as the PEAK LED (6) will be lit during overloading at EQ (7), each gain of EQ (7) should be kept flat when adjusting TRIM (1). After setting TRIM (1), if the PEAK LED should be lit during testing of the tone by EQ (7), there is overloading at the EQ stage (7) and the corresponding gain should be decreased, or re-adjust TRIM (1). SECTION 3. CONNECTIONS WITH 7 In regards to level matching of external equipment TAPE IN jack (36) of this unit, refer to NOTE 1: TAPE Trimmer, page7. As inputs other than the above and all outputs are at the rated level of -10dBv (0.3V) except for STEREO OUT jack 2 (43), the outputs will thus be low impedance sends and therefore can be connected to all Fostex recording equipment and personal studio equipment. On the other hand, it may be necessary to use an attenuator and line amplifier (Fostex Model 5030, etc.) when connecting to equipment with different + 4dBm rated input/output levels. SECTION 4. PARAMETRIC EQUALIZER A fixed frequency 10KHz shelving type equalizer and a 2 band parametric equalizer which covers different frequencies are provided at each input channel of this unit. The two parametric equalizers can, respectively, be set at any frequency within the ranges of 60Hz ~ 1 KHz and 400Hz ~ 6KHz. It is possible of boost or cut in the ± 15dB range, and will be highly effective in adding character to the tone by allowing control of the fundamental frequency and harmonic overtones which determine the timbre of musical instruments and the human voice. NOTE: Although the parametric equalizer is highly effective in correcting mistake in the original sound, during microphone recording, it is important to try changing mic positioning or using another type of mic to obtain the desired timbre before relying on the equalizer. Sound range of various musical instruments Inaudible range Be ss i nare/1 sm tom drujn Bass Tenor sax T umpet Guilir Barite me Bass Soprano sax Violin Sopi ano Alto Tsnor Pían ectric ' >rgan Sy ithesizer Vo sal Hi-tart Inaudible range 10 20 60 100120 250 500 1k 2k 4k 8k10k15k20k (Hz) TYPICAL EQUALIZATION RESPONSE GRAPH INSTRUMENT CUTTING BOOSTING Human Voice Scratchy at 2kHz Nasal at 1 kHz Popping p’s below 80Hz Hot at 8 or 12kHz Clarity above 3kHz Body at 200 — 400Hz Piano Tinny at 1 — 2kHz Boomy at 320Hz Presence at 5kHz Bass at 125Hz Electric Guitar Muddy below 80Hz Clarity at 3.2kHz Bass at 125Hz Acoustic Guitar Tinny at 2 — 3.2kHz Boomy at 200Hz Sparkle above 5kHz Full at 125Hz Electric Bass Tinny at 1kHz Boomy at 125Hz Growl at 620Hz Bass below 80Hz String Bass Hollow at 620Hz Boomy at 200Hz Slap at 3.2 — 5kHz Bass below 200Hz Snare Drum Annoying at 1 kHz Crisp above 2kHz Full at 125Hz Deep at 80Hz Bass Drum Floppy at 620Hz Boomy below 80Hz Slap at 3.2 — 5kHz Bass at 80 — 125Hz • Depth of sound by controlling frequency around 100Hz • Add character by controlling frequency around 1kHz • Voluminous sound by boosting 2 ~ 4kHz • Clarity by boosting around 6kHz • Sound brilliancy by boosting above 8kHz 8 SECTION 5. INTERCONNECTIONS WITH VARIOUS PROCESSORS Numerous varieties of processers such as digital reverb and delay, compressor/limiter and noise gates are indispensable tools of music production in recent years. The Series 40 units are provided with inputs and outputs convenient for connecting these processor such as AUX OUT jack 1 ~ 4 (39), SEND/RCV jack (37), D.OUT jack (38), GROUP IN jack 1 ~ 4 (41), etc. Among these, the 1 and 2 AUX OUT jack (39) can be selected for pre-fader mix or post-fader mix and either can be chosen according to the application. The GROUP IN jacks 1 - 4 (41) and STEREO IN jacks (44) are normally used for effects returns but if there are more returns, it will be easier to feed all of these to another mixer before returning them. Also, even though all INPUT faders (17) are in use at the multitrack recorder outputs, the input signals at the INPUT jacks (33) and (34) can be stereo mixed in the SUB MIX sections (3) and (4) by the alternate change function, and therefore, by patching the effects outputs to the INPUT jacks (33) and (34), the same number of returns as input channels can be sent to the master recorder. Actual connections are shown in the following examples: Fig. 1 Fig. 2 Same as in *1, the processor output can be returned to INPUT jacks (33). (34) and TAPE IN lacks (36). (In doing so. be cartful not to create a loop). USING INDIVIDUAL PROCESSORS AT EACH INPUT CHANNEL This connection is effective for processing the original sound. Ex) Comp/limiter, noise gate. etc. Processor output can also be returned here by the alternate chango function, tin doing so, be careful not to create a tooo.) Two лих send channels are used for stereo input type processors. OUT R USING A PROCESSOR COMMON TO ALL INPUT CHANNELS TO SEND RETURNS IN INDIVIDUAL AMOUNTS AND PERSPECTIVES TO EACH CHANNEL. This connection Is effective for processing signal without altering the o-rigin...
Este manual também é adequado para os modelos :Instrumentos musicais - 1240 (2.08 mb)
Instrumentos musicais - 1840 (2.08 mb)