(See the Amplifier Recommendations section.) Power-Handling Capabilities The Xi-2181 systems are rated as per the “ANSI/EIA RS-426-A Loudspeaker Power- Rating, Full-Range Test,” which uses a shaped-random-noise signal to simulate typical music to test the mechanical and thermal capabilities of the loudspeakers. A digital crossover was used to provide the appropriate filtering and equalization. The test parameters are as follows: Low-Frequency Section (Pins 1 and 2 par alleled): PE(MAX): 1,200 wa

Their many years of designing and building wireless systems for professionals and touring artists have resulted in the very best audio and rf circuits, and a tradition of careful attention to detail. You will receive many years of superior service from your wireless system, and a new-found freedom now that your movements are no longer limited by a cable. Enjoy the experience. Thank you for your purchase. WHAT IS A WIRELESS SYSTEM? In a wireless system, a radio-frequency (rf) signal substitute

ElectroVoice WIRELESS SYSTEMS OWNER’S MANUAL GS-2000A WIRELESS GUITAR SYSTEM EV GS-2000A WIRELESS GUITAR SYSTEM OWNER’S MANUAL TABLE OF CONTENTS INTRODUCTION...................................................................................................................................2 WHAT IS A WIRELESS SYSTEM? ......................................................................................................2 FEATURES.............................................................

The transmitter and receiver were fine-tuned together as a system to ensure perfect compatibility. Each system is individually hand-tested and walk-tested for reliability and range prior to shipment. To assure field reliability, each receiver is "burned in" for 24 hours in a specially designed environmental chamber, which simulates the heat and ventilation conditions that would be found in a rack of live electronics and power amps. Both transmitters and receivers are shock-tested to detect and

1 1.1 Rack Mounting...................................................................................................................................... 1 1.2 Ventilation.........................................................................................................................................1 2 SIGNAL CONNECTIONS.............................................................................................................................. 1 2.1 Input Connections................

This robust gate provides maximum gain before feedback, making your kick drum as loud as possible through an L1TM system. KickGate 2: Fast .............. Same as KickGate 1 – but adjusted for faster tempos. Select this setting if you are using a double bass drum pedal. OPERATING INSTRUCTIONS 2. Press the Select button to select your choice, or press the Cancel button to exit the list with no change. 3. For Comp1-3, Limiter, De-Ess: Rotate the Thresh button to adjust the input threshold (trigger)

Thus, your first choice should be to establish the mix using only the input channel EQs tosee if you can get satisfactory results. If so, you can use the graphic EQ for the AUX3 (monitor), where in most cases it is more needed. You will find the description of how to include the graphic EQ in the monitor bus later in this owner’s manual. 58. MASTER LED-DISPLAY The PSX offers two 10-segment LED ladders to monitor the output levels of the L/R master signals. The indication range of the LED-meter i

The overall volume is set through the use of the master faders. Even though the channel faders offer an additional gain of +10dB, we would recommend that you not exceed the +5dB mark. If the PSX’s main bus gets “overloaded” with too many “high level” input channels, despite its special negative gain structure, the summing amplifier could be driven into clipping. Once you reach a level where some channel faders are set above the 0dB marking, we would recommend you lower the setting of each channe

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Input/Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Input/Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 AUX3 . . . . . . . . . .

1 dB below clip HUM and NOISE* (20 Hz - 20 kHz with 150 ohm input impedance) -128 dB less than 0.05% less than 0.10% less than 0.10% EIN - equivalent input noise Residual at main out (all faders down) Residual at Monitor out Main out with Main, Subs and 1 fader at Nominal (44 dB total gain) Monitor out with Monitor Master and 1 Fader at Nominal (44 dB total gain) INPUT CHANNEL EQUALIZATION -90 dB -90 dB -75 dB -80 dB Unbalanced Maximum Input Level Input Impedance PEAK INDICATORS*