Dynacord PowerMate 2200 Mode D'emploi page 35

Sometimes it can be also very effective to combine the LO CUT fi lter with the VOICING fi lter.
For instance to provide a "thin" voice with more "body", without getting additional low pitched
noise. Whenever the LO CUT is engaged, raising the bass level (LO EQ) provides you with a
richer sound, but no additional rumbling or popping noise.Another welcome side effect is, that
the power amplifi er and the connected loudspeakers do not get "polluted" with unnecessary
low pitched noise. And the audience will be thankful for the use of the LO CUT fi lter, too.
Since in this way they can enjoy a truly clear, natural, and powerful sound performance.
6. VOICING FILTER
This button activates an asymmetric microphone
fi lter, which can be used in addition to the
channel EQ. The VOICING fi lter enhances the
fi rst harmonic oscillation of the human voice
and slightly attenuates the mid frequency range.
This voice shaping method provides precisely
audible, intelligible, and powerful vocals that
are clearly emphasized from the rest of the mix.
An effect which is not achievable using ordinary
third or octave equalizers.The use of this fi lter
is not restricted to vocals only. Also horns,
woodwinds, and other acoustic instruments can
profi t from the voicing fi lter.We leave it entirely
up to your creativity and imagination to try the fi lter with as many different sound sources as
you want. Normally, you do not have to fear any problems with the occurrence of feedback.
7. EQ SECTION
The mixer's EQ section allows very differentiated shaping of the incoming audio signal
within miscellaneous frequency bands. Turning one of the EQ level controls to the right
enhances/amplifi es the corresponding frequency range while turning them to the left
lowers/attenuates the signal of the specifi c frequency band. Before you begin to alter the
sound, all EQ controls should be set to their neutral position; that is: their marker points
straight up (locked in place). Do not set the EQ controls to extreme positions. Usually,
minor changes are totally suffi cient and produce the best results in the overall sound. You
should use the natural reproduction as an orientation mark and rely on your musically
trained ear, being the perfect instrument to judge the sound quality. The moderate use
of the MID control is the best remedy to avoid acoustical feedback. Especially in this
frequency range you should try to avoid excessive enhancement. Lowering the level
more or less in this band will provide you with high amplifi cation rates without feedback.
Use the LO control according to your pleasing, to add more "punch" to the sound of a kick
drum or "body" to the vocals. Use the HI control in the same way to provide cymbals and the
human voice with more treble and a more transparent sound. The MID EQ section offers
separate rotary controls for the adjustment of the level (MID) and the frequency band (kHz)
between 100 Hz and 8 kHz.
+20
+15
+10
+5
+0
-5
-10
-15
-20
20 50 100 200 500 1k
Hz
LO-HI EQ
+20
+15
+10
+5
+0
-5
-10
-15
-20
2k 5k 10k 20k 20
35
INPUT MONO
+20
+15
+10
+5
+0
-5
-10
-15
-20
20 50 100 200 500 1k
Hz
50 100 200 500 1k 2k
Hz
MID EQ
2k 5k 10k 20k
5k 10k 20k