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PowerMate 600

QUICKSTART

1. Use appropriate speaker pole-stands to mount the loudspeaker systems on

the left and right side. The height in which the speakers are mounted should

be clearly "above the audience". This ensures that the volume in the front is

not too loud, while still achieving sufficient intelligibility in the back.

2. Turn the loudspeaker systems slightly towards "the center". This enables the

performing artists to monitor their performance even without separate stage

monitors.

3. Microphones should not be positioned directly in front of the sound reinforce-

ment system's loudspeaker cabinets. Otherwise, unwanted feedback could

occur; when the amplified sound coming from a speaker is directly fed back to

the microphone.

4. Make sure to set all rotary controls on the PowerMate 600 to their center

(12 o'clock) position.

5. Make sure to set all faders in the console's lower area to their minimum

position.

6. Make sure to set all the graphic EQ's smaller faders (top right) to their center

position.

7. When connecting the loudspeaker systems to the power outputs that are

located on the rear panel of the PowerMate 600, be sure to use Speakon®

cables. When establishing the connection, make sure to hear the Speakon®

connectors click into place. Otherwise no secure connection is achieved.

8. Start with connecting a single microphone to Input 1. Use only heavy duty,

highly flexible microphone cables. Thin and inflexible cables – although

cheaper – lead to accidents on the stage and are mostly the reason for

constant annoyance during setting up of the equipment.

9. Switch the mains supply of the PowerMate 600 on, using the Power-On switch

on the rear of the appliance. It is possible to employ dynamic as well as

condenser type microphones. Phantom power is automatically supplied to all

microphone inputs which makes additional batteries for the operation of

condenser microphones dispensable. During the system starts the FX unit 1

is pre-set to the Reverberation effect No. 5 and the FX unit 2 is pre-set to the

Echo effect No. 55.

10. In case the red "StandBy" indicator on the right bottom lights, press the

Stand-By switch to activate the appliance.

11. Test the microphone by speaking some loud words while holding it close to

your mouth. The green signal present indicator (LED) of channel 1 will light.

Turn the "Gain Control" of channel 1 – the control all the way on the top of the

channel's module – to the right until the red peak LED briefly blinks. Turning

the Gain Control back a little bit to the left sets the optimal signal level for this

channel.

12. Set the fader of channel 1 to the 0 dB mark in the upper third of the fader

path.

13. Press the FX1 On and the FX2 On buttons on the right bottom, above the blue

faders.

14. Position the FX1 and FX2 faders at the "–10 dB mark".

15. Increase the output level by carefully pushing up the master output controls

(right bottom), while at the same time speaking into the microphone. Your

voice is reproduced through the loudspeakers, being enhanced by a echo

and reverberation effect. You can change the intensity of either one effect,

according to the desired amount, by re-adjusting the FX1 and FX2 faders. You

are also able to change the reverberation intensity or the delay time by

pressing the Up/Down buttons below the display to select another effect.

Within one group of effects the intensity and depths/delay increases with the

increasing preset numbers. Individual settings for each input channel are

achieved through the use of their separate FX controls.

16. Once you have followed all instructions mentioned so far, your sound system

should function without problem and sound decent, without the need for

further adjustment.

17. In case the sound does not fulfill your expectations, it is because of the quality

of the employed loudspeakers or microphones. How to find out, if the

speakers or the microphones are the cause for the degraded overall sound?

18. Connect a CD Player to the 2Track Input (RCA type jacks on the right top of

the front panel). Play some tracks of different CDs. If the sound is natural

and clear, your loudspeaker systems do not cause the trouble, but the

connected microphone. In case the sound is still either damped, screeching

or nasaling, test the PowerMate with another speaker model.

19. When testing the equipment, trust mainly your own pair of ears and not just

an analyzer – no matter if it is a cheaper or an expensive model. Adjusting

sound reinforcement installations with analyzing equipment is not only

extremely complicated and time consuming, in most cases actual acoustical

results are far from being satisfactory, since normal measuring and analyzing

equipment is not capable of computing all the necessary parameters at the

same time. The human ear on the contrary does it all in real-time and without

additional expenses.

20. Now, feel free to test the effect that the sound shaping controls of each

channel provide you with. Turn the bass and the treble controls carefully and

listen to the changing sound. While the bass control changes "resonance" and

"body" of the human voice, the treble control alters its "vivid character" and

"intelligibility". Normally, only minor adjustments are necessary to match the

individual personal taste.

21. Mid controls are provided between the bass and treble controls of the

microphone channels. The mid-EQ controls are useful to provide more

"presence" to the voice of the lead singer. But be extremely careful. A wrong

setting results mostly in a dramatically "bad" sound. Try to experiment with

this control to get a feeling for the way it lets you influence the sound.

22. The master channels embody a graphic equalizer to match the overall sound

to varying locations. Normally, minor changes in the setting will provide you

with the intended improvement. Extreme positioning of the EQ-faders mostly

results in a degradation of the overall sound.

23. A note on the microphone selection. Vocals are best picked up, using dynamic

microphones with cardioid polar pattern. These models provide a high

proximity effect and good off-axis rejection. Additionally, they are relatively

insensitive to popping sounds and feedback. On the other hand, when

recording acoustical instruments, such as an acoustic guitar or for the

overhead pick-up of a drum-set, vocal microphones are the wrong choice.

Here, only condenser type microphones will provide a useful solution. This

means, you need at least two different microphone models when recording

the performance of a band, including vocals, horns and drums. The only way

to find the right choice of microphones is testing, since the degradation in

sound, resulting from a wrongly chosen microphone can not be compensated

on the mixer.

24. Finally, a word on incorporating external third-octave or octave equalizers.

They are mainly used in major sound reinforcement installations to

compensate for acoustical problems within multiple speaker systems or to

eliminate acoustical feedback. Adjusting these equalizers is not only a very

complex matter but also extremely time consuming and the overall sound

improvement is mostly minimal. If a system does not sound right, testing

different loudspeaker systems and microphone models, until a proper

sounding combination is found, will provide you on the long run with more

satisfaction. On the contrary, if external sound shaping equipment is used,

the risk of faulty adjustment causing overall sound degradation is by far

greater than the chance for improvement.