Dynacord PowerMate 1600-3 Snelstarthandleiding - Pagina 2

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OWER

ATE

Setting-up the PowerMate fast and trouble-free

REPARATIONS

Make sure that all rotary controls are set to their

center (12 o'clock) position.

Make sure that all faders in the bottom area of the

console are set to their minimum position.

Make sure that all the smaller faders of the graphic

EQ (top right) are set to their center position.

Use the power lead provided to connect the Power-

Mate to a mains socket.

ETTING UP THE LOUDSPEAKERS

Mount the loudspeakers on appropriate speaker

pole-stands left and right of the stage or the per-

forming artists. The height of the speakers should

be set so they are above the heads of the audience.

This ensures that sound levels at the front are not

too high, while still achieving sufficient intelligibility

at the back.

Turn the loudspeakers slightly towards "the center".

This enables the performing artists to monitor their

performance even without separate stage monitor

speaker systems.

Connect the loudspeakers with Speakon cables to

the amplifier output sockets on the rear of the Pow-

erMate. When connecting the Speakon cables to the

speakers and the amplifier insert the connector into

the socket and turn it clockwise until it clicks into

position. Otherwise a secure connection will not be

achieved.

ICROPHONES

Positioning of the microphones. Microphones

should not be placed directly in front of the sound

reinforcement system's loudspeakers. This will help

prevent unwanted feedback which occurs when the

amplified sound coming from a speaker is fed back

into the microphone.

First, only connect one microphone to Input 1. Use

only heavy duty, good quality microphone cables.

Thin and inflexible cables – although cheaper –

could lead to accidents on the stage and are one of

the most common reasons for problems to occur

when setting up the equipment.

TART

10. Switch on the mains power to the PowerMate, using

the POWER switch on the rear of the device. If you

are using phantom powered condenser micro-

phones, switch the phantom power on, using the

PHANTOM POWER button between the MIC and

LINE sockets. If you are only using dynamic micro-

phones, leave this button unpressed.

11. If the red STANDBY indicator in the bottom right

corner is lit, press the STANDBY switch to activate

the appliance. Note: Playback of intermission music

(using 2TRACK IN) is possible regardless of the

STANDBY switch setting.

12. Make sure the amplifier output power, set in the

„Speaker Protection" menu, corresponds with the

connected loudspeakers.

13. Test the microphone by holding it close to your

mouth and speaking into it loudly. The green signal

present indicator (SIG) of channel 1 will light. Turn

the first channel's GAIN control – the control at the

very top of the channel's module – slowly to the

right until the red peak indicator (PK) starts to flash

briefly. Now turn the GAIN control back to the left

just a little. The signal level for this channel is now

set to its optimum.

14. Set the fader of channel 1 to the 0 dB mark in the

upper third of the fader path.

FFECTS AND FILTERS

During the power on sequence the FX 1 unit is preset to

the Reverb effect No. 5 and the FX 2 unit is preset to the

Echo effect No. 55.

15. Press the FX 1 ON and the FX 2 ON buttons on the

right bottom, above the green faders. The corre-

sponding ON LEDs will light up green.

16. Position the FX 1 and FX 2 faders at the -10 dB

mark.

17. Increase the output level by carefully pushing up

the red master output controls (right bottom),

while at the same time speaking into the micro-

phone. Your voice is reproduced through the loud-

speakers, being enhanced by an echo and

reverberation effect. You can change the intensity of

either effect, to the desired amount, by re-adjusting

the FX 1 and FX 2 faders. You can also change the

reverb depth or the delay time by pressing the func-

tion buttons below the display to select another

effect. Within each group of effects the intensity

and depths / delay increases as you increase the

preset number. Individual settings for each input

channel can be adjusted through the use of their

separate FX controls.

18. Engage the LO CUT filter on every channel a micro-

phone is being connected to. This filter suppresses

unwanted low frequencies (foot steps on the stage

and microphone handling noise). It should always

be engaged for all vocal and woodwind / horns

microphones; except when recording trombone,

tuba, bass drum or bass guitar.

19. The VOICE filters of the monaural input channels

are very useful with "thin" sounding microphones