Оценок - 3, средний балл: 4
(
)
)
|
Фрагмент инструкции
With the LOW set to (6) boost, and the Low Cut switch activated, you get peak response rather than shelving (7) at the bottom end. This is useful for adding warmth to vocals (8) and instruments, and good for tight but deep bass (without losing control of your subwoofer (9) speaker cones). Another very important, yet often overlooked technique is to use the EQ to subtract from the mix. Cutting the HIGH control can reduce unwanted hiss during multitrack recording, while attenuating the MID or LOW can eliminate feedback in a live perform (10) ance or clear up a muddy sounding mix. Cutting away the top and bottom, then pushing up the Gain is equivalent to mid range boost! [Note: Always reset a channel’s input Gain (or external devices’ output level) after altering the amount of mixer equalization cut or boost applied.] The key to successful equaliza tion is to avoid excess. Too much equalization on the input channels will result in a mix that is smeared together with nothing specifically defined. During rehearsals, experiment with the equalizer controls on various instruments, vocals and combinations of these mixed together to become familiar with various equalizer settings. (6) AUX SEND 1, 2 CONTROLS Both Aux Sends are mono and post-EQ and control the level of the signals sent to the AUX buses. • Aux Send 1 is pre-fader and the signal sent to the AUX 1 bus will be unaffected by the channel fader setting. • Aux Send 2 is post-fader and the signal level sent to the AUX 2 bus will be affected by the channel fader setting. For almost all effects send purposes, you will want to use the post-fader AUX 2, so that when a fader level is adjusted, any reverb send from that channel follows the fader. Otherwise, when the fader is pulled down, the reverb from that channel would still be audible. Most reverbs etc. internally sum the left and right inputs so that you can use AUX 2. You can also use this AUX 2 send to feed inputs to a multi-track recorder or any other unbalanced line level application. On the other hand, for cueing purposes and monitor amplifiers, use the pre-fader AUX 1 (i.e. independent of the channel fader) (7) PAN CONTROL The Channel Pan positions the output of the channel in the stereo field of the Master Mix. Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned, center-stage, or somewhere in-between. (8) PEAK LED INDICATOR The Peak LED illuminates when a channel is going into overload. It detects the peak level after the EQ and will light at 3dB before clipping to warn that the signal is approaching overload. You do not want the Peak LED to light except very intermittently during a take or a mix. If it does light persistently, reduce input gain with the TRIM control (4). (9) PFL SELECT SWITCH The PFL (pre-fader listen) switch enables monitoring the mono signal of any channel(s) selected (button depressed) at nominal levels though the headphone or control room monitor outputs [In order to monitor the PFL channels selected, you must also set the Master/PFL to Control Room switch (20) to the button depressed (PFL) position]. The signal is post EQ and independent of channel fader position. Selecting the PFL never interrupts the main stereo out or the AUX sends. (10) CHANNEL FADER The channel faders determine the output signal level to the Master Mix bus. They offer a smooth logarithmic taper more often associated with much more expensive consoles for optimum control of the signal. 7 CONTROLS AND CONNECTIONS 2. STEREO INPUT SECTION (15A) (15B) (15A) L (MONO) LINE INPUT On stereo input channels 5-12 (SRM-12X) or 7-14 (SRM14X), the 1/4" line inputs are designed for stereo or mono line-level signals such as those from keyboards, drum machines, CD players, tape decks, or samplers. However, these inputs can also be used as standard mono line inputs by connecting the signal to the L (MONO) line in. This signal will be routed equally to the BAL control and the left and right outputs in the same way as the standard line input channels. For the stereo line inputs the mono channel PAN (7) control is replaced by the BAL (Balance) control. See also BAL CONTROL (16) below. (15B) R LINE INPUT When using channels 5-6, 7-8, 9-10,11-12 (SRM-12X) or 7-8, 9-10,11-12, 13-14 (SRM-14X) as stereo input channels, the left signal should be connected to the L input and the right signal to the R input. These signals will be routed to the AUX, EQ and Channel fader controls equally and will retain their stereo separation. The AUX, EQ, BAL, and Channel fader controls all function the same as those on the mono input channels. When a stereo signal is input to a stereo input channel, these controls will affect the left and right signals equally. The Stereo Line Inputs jacks are 1/4" TRS balanced phone jacks, Tip = positive (+), Ring = negative (-), Sleeve = ground. The input signals to these jacks can be either balanced or unbalanced. (5) EQUALIZERS The stereo channel EQ’s operate in the same ma...
Эта инструкция также подходит к моделям:Ресиверы и усилители - SRM-14K (311.04 kb)