Dynacord PowerMate 2200 Mode D'emploi page 36

INPUT MONO
Adjustments in the MID range are certainly the most effective way to shape the sound. As a
matter of fact, determining the correct center frequency is not always as easy as it seems.
Here is one method – amongst others – how to quickly fi nd the right setting of the parametric
EQ for your application.
Note on how to adjust the parametric EQ:
1. Slightly lower the channel fader to avoid feedback.
2. Turn the MID rotary control all the way to the right (+15dB).
3. Play the desired sound source or talk into the microphone.
4. Meanwhile turn the frequency rotary control (kHz) slowly from left to right.
5. Surely and within no time, you will detect the frequency range that is not to your liking or
causing feedback.
6. Leave the frequency control in this position and turn the MID control to the left until the
sound is natural or to your liking.
It is a different story when you want to enhance a specifi c frequency range. In this case per-
form steps 1 to 4 as described above. Set the frequency rotary control to the range you want
to enhance or leave it at the position where the sound is most satisfactory. Now you can use
the MID control to determine the amount of the alteration.
8. AUX/FX
The AUX/FX controls are used to adjust individual amounts of the channel signals to be rout-
ed to the FX1 or the FX2 units. The split point of the "dry" signal is POST FADE or in other
words: the signal path is split after the audio signal has passed all stages of the channel
module, including the volume fader. That is the reason why the fader setting also infl uences
the amount of the signal that is fed to the FX units. Using the AUX/FX controls it is easy to
establish an effect mix. For instance, you can assign the short reverb effect of the FX1 unit
to the lead vocals and a combined effect program – echo, hall, and chorus – via FX2 to the
background vocals. To determine the desired intensity of each effect, you should start with
the controls set at their center and make individual adjustments from there on. Also keep in
mind that there are two AUX/FX1/2 send controls located within the master section which
control the total amount of the FX signals. When you begin to establish the effect mix these
controls should also be set at their center position.
In case you are not using the internal FX units and/or you want to connect external signal
processing units, the pre-mixed AUX/FX1/2 signals are outputted via the AUX1/2 send jacks.
Please monitor the PEAK LEDs in the FX1/2 channels. The indicator should only light briefl y
at the occurrence of high program peaks. If the indicator is constantly lit, you should lower
the send levels of those channels where the program peaks occur. For further information,
please read the paragraphs about the FX1/2 units.
9. AUX 3
The AUX 3 control is primarily meant for the monitor mix. Nevertheless, when the master
section's AUX3 POST button is pressed, it can also be used as a third FX send bus. In that
case the signal is split post fader and outputted via the AUX 3 send jack.
To establish a monitor mix you can choose between two alternatives. The main difference
of the two options is the point where the signal gets split up; according to the setting of the
AUX3 POST button.
The AUX3 POST button is not engaged: the signal split lies PRE FADER – the setting of the
channel faders does not affect the signal level that is present at the AUX3 rotary controls.
Since the monitor mix is not infl uenced by the setting of the channel faders, this alternative
is primarily used when the main mix and the monitor mix have to be completely different
– the volume of specifi c musical instruments or vocals needs to be higher or lower or should
not appear at all in the monitor mix. This mode is also preferable when the PowerMate is
operated by a technician in the audience area (front ofhouse).
The other alternative should be used when you have to operate the mixer on-stage and still
want to have control over the main mix.
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