Using The Signal Compressor; Adjusting Monitor Send Ways; Adding Effects; Using Internal Effect Processors - IMG STAGELINE PMX-122FX Mode D'emploi

5.4 Using the signal compressor

The dynamic range of the sum signal can be
reduced by means of the integrated compressor
which attenuates the level above an adjustable
threshold. This is necessary when, for example,
the dynamic range of the audio signal is higher
than permitted by the recording system or ampli-
fier system or when a small dynamic range is
desired (e. g. for background music). It is also
possible to attenuate signal peaks in order to
allow for a higher gain setting and thus obtain a
higher average volume.
1) Use the button COMP/ LIM (40) to switch on
the compressor. The LED next to the button
lights up.
2) Use the control THRESHOLD (32) to adjust
the threshold value at which the compressor
is to be switched on. Adjust the compression
ratio by means of the control RATIO (41):
Position "4":
The ratio is 4 : 1; changing the input level by
8 dB above the threshold value will change
the output level by 2 dB.
Position "∞":
The compressor operates as a signal limiter;
the output signal is approximately limited to
the value that has been adjusted by means of
the control THRESHOLD.
Hint: The higher the threshold value and the lower
the compression ratio, the more natural the dynamic
range.
3) The LED next to the control THRESHOLD
will light up when the input signal of the com-
pressor exceeds the threshold value adjusted
and the output signal is compressed. The
level indicators (45) can also be used as an
adjustment aid. To make sure that the level
indicators indicate the output level, disengage
the button AFL / PFL – MAIN (43) beneath the
indicators.
As an example, figure 10 shows the output
level depending on the input level at a thresh-
old value of - 10 dB and at various compres-
sion ratios.
Fig. 10 Control characteristic lines of the compres-
sor at a threshold value of -10 dB
Number Name
00 – 09 Vocal
10 – 19 Small Room
20 – 29 Large Hall
30 – 39 Echo
40 – 49 Echo + Verb
50 – 59 Flange + Verb
60 – 69 Plate
70 – 79 Chorus + GTR
80 – 89 Rotary + GTR
90 – 99 Tremolo + GTR
Fig. 12 Effect overview
16
Figure 11 shows an input signal and the
resulting output signal at a threshold value of
10 dB and at a compression ratio of 2 : 1.
-
Below the threshold value, the signal remains
unchanged; above the threshold value, the
signal is compressed by a factor of 2.
Fig. 11 Input signal and output signal of the com-

5.5 Adjusting monitor send ways

When a monitor system is used to provide the
musicians with sound for on-stage monitoring,
the send ways AUX 1 and AUX 2 may serve as
monitor ways.
1) In each channel whose signal is to be used to
provide sound for on-stage monitoring, set
the switch PRE / POST (8) to the position
PRE.
2) Turn the control AUX 1 and / or AUX 2 (33) for
the volume of the monitor mix to the right until
the monitor signal can be easily heard via the
monitor system when the subsequent adjust-
ments are made.
3) Use the controls AUX 1 and / or AUX 2 (9) to
add the channel signals to the monitor ways:
Turn the controls to the right, depending on
the desired volume ratio of the channels.
Make sure that the button MUTE (4) in the
corresponding input channels is disengaged.
4) Use the control FX 1 TO AUX 1 (24) to add the
effect signal of the internal effect processor
FX 1 (
AUX 1, and use the control FX 2 TO AUX 2 of
the processor FX 2 to add the effect signal to
the monitor way AUX 2.
5) Use the control AUX 1 and / or AUX 2 (33) to
adjust the definite volume of the monitor sig-
nal.
Effect
reverb effect, ideally suited for vocals
reverb effect: simulation of a small to medium-sized room
reverb effect: simulation of a large hall
echo effect
combination of echo effect and reverb effect
combination of flanger effect and reverb effect
simulation of a classic reverberation plate with bright sound
guitar effect: Chorus
guitar effect: Rotary (Leslie effect)
guitar effect: Tremolo
pressor at a threshold value of -10 dB
and at a compression ratio of 2 : 1
chapter 5.6.1) to the monitor way

5.6 Adding effects

5.6.1 Using internal effect processors

The two internal effect processors FX 1 and FX 2
allow for the generation of 100 different effects
that can be added to the sum signal and to the
monitor send ways AUX 1 and AUX 2. The send
ways AUX 3 and AUX 4 are used as effect ways
for the effect processors. The following de -
scribes how to adjust the effect way AUX 3 for
the processor FX 1; the procedure for adjusting
the effect way AUX 4 for the processor FX 2 is
identical.
1) To make sure that the effect adjustments are
audible, first set the controls FX 1 TO MAIN
(23) and AUX 3 (33) approximately to mid-
position.
2) Turn the knob PROGRAM (26) clockwise or
counterclockwise until the number of the
desired effect ( figure 12 Effect overview)
starts flashing on the display (27). Press the
knob to confirm the number: The number
stops flashing; the effect is switched on.
3) Use the controls AUX 3 (7) to add the signals
of the input channels to the effect way AUX 3.
With these controls, the desired effect inten-
sity can be separately adjusted for each
channel. The signal is picked up after the
fader (1), i. e. the effect part of a channel is
always in proportion to the channel level
adjusted.
4) When the effect processor is switched on, the
LED next to the button PEAK / MUTE (25)
serves as an overload indicator with which
the level can be roughly checked. If the LED
lights up, turn back the control AUX 3 (33)
accordingly.
5) Use the control FX 1 TO MAIN to adjust the
effect intensity for the sum signal.
6) Use the control FX 1 TO AUX 1 (24) to add
the effect signal to the send way AUX 1 as
well.
7) Use a foot pedal connected to the jack
FOOT-SW 1/ 2 (50) [chapter 4.9] and the but-
ton PEAK / MUTE (25) to switch the effect
processor off and on (the button will not
engage). When the effect processor is
switched off, the LED next to the button
PEAK / MUTE will light up as an indication.
Parameter
decay time 0.8 – 0.9 s, pre-delay time 10 – 45 ms
decay time 0.7 – 2.1 s, pre-delay time 20 – 45 ms
decay time 3.6 – 5.4 s, pre-delay time 23 – 55 ms
delay time 145 – 205 ms
delay time 208 – 650 ms, decay time 1.7 – 2.7 s
rate 0.8 – 2.52 Hz, decay time 1.5 – 2.9 ms
decay time 0.9 – 3.6 s
rate 0.92 – 1.72 Hz
modulation depth 20 – 80 %
rate 0.6 – 5 Hz