Dynacord 2200-3 User Manual
P
OWER
M
ATE
3
16
HINT: If you use a keyboard as sound source on one of the stereo inputs, make sure that no split
zones or layers with channel separation are activated. The stereo channel mapping will oth-
erwise appear like it is set on the keyboard – the lower layer in the left and the top layer in
the right channel – and you will not have the opportunity to re-position the sound in the
overall stereo image, unless you connect the keyboard output to two adjacent monaural
input channels, leaving you the option to place the sound in the final mix via PAN controls.
erwise appear like it is set on the keyboard – the lower layer in the left and the top layer in
the right channel – and you will not have the opportunity to re-position the sound in the
overall stereo image, unless you connect the keyboard output to two adjacent monaural
input channels, leaving you the option to place the sound in the final mix via PAN controls.
One more tip, in case you desperately need another input and all channels of the PowerMate are al-
ready in use: The microphone input and the phone plug-type inputs are electrically totally separated
from each other. Each input is equipped with its own GAIN MIC or GAIN LINE CD/USB control – re-
spectively trim control, providing you with the possibility to connect a LINE level sound source in ad-
dition to a microphone. Of course, the two sources share all other controls. Consequently, separate
adjustments are not possible. Hence to that fact, this option is only meant as a subsidiary function and
should only be used when there is absolutely no other alternative.
ready in use: The microphone input and the phone plug-type inputs are electrically totally separated
from each other. Each input is equipped with its own GAIN MIC or GAIN LINE CD/USB control – re-
spectively trim control, providing you with the possibility to connect a LINE level sound source in ad-
dition to a microphone. Of course, the two sources share all other controls. Consequently, separate
adjustments are not possible. Hence to that fact, this option is only meant as a subsidiary function and
should only be used when there is absolutely no other alternative.
20 - EQ SECTION
The mixer’s EQ section allows very comprehensive and effective shaping of the incoming audio signal
within miscellaneous frequency bands. Turning one of the EQ level controls to the right enhances/am-
plifies the corresponding frequency range while turning them to the left lowers/attenuates the signal
of that specific frequency band. Before you begin to alter the sound, all EQ controls should be set to
their neutral position, i.e. their marker points straight up (locked in place). Do not set the EQ controls
to extreme positions. Usually, minor changes are totally sufficient and produce the best results in the
overall sound. You should use the natural reproduction as an orientation mark and rely on your musi-
cally trained ear. 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 amplification rates without feedback.
within miscellaneous frequency bands. Turning one of the EQ level controls to the right enhances/am-
plifies the corresponding frequency range while turning them to the left lowers/attenuates the signal
of that specific frequency band. Before you begin to alter the sound, all EQ controls should be set to
their neutral position, i.e. their marker points straight up (locked in place). Do not set the EQ controls
to extreme positions. Usually, minor changes are totally sufficient and produce the best results in the
overall sound. You should use the natural reproduction as an orientation mark and rely on your musi-
cally trained ear. 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 amplification rates without feedback.
The EQ section of the STEREO channels is designed in a way that HI and LO controls provide a degree
of control that is equally adequate for LINE level inputs and microphones. The MID control is active in
a comparably wide frequency band around 2.4 kHz. With most microphones this is the critical range,
where a slight attenuation offers excellent results.
of control that is equally adequate for LINE level inputs and microphones. The MID control is active in
a comparably wide frequency band around 2.4 kHz. With most microphones this is the critical range,
where a slight attenuation offers excellent results.
21 - FX 1/2
These controls determine the amount of the summed L and R signal that is sent POST-FADER to the
FX 1 or FX 2 summing bus. For more details on the functioning of these controls, please refer to the
Input Mono section of this owner’s manual.
FX 1 or FX 2 summing bus. For more details on the functioning of these controls, please refer to the
Input Mono section of this owner’s manual.
22 - AUX 1/2
These controls determine the amount of the summed L and R signal that is sent to the AUX 1 or AUX 2
summing bus. Depending on the setting of the AUX PRE/POST switch in the PowerMate’s master sec-
tion you can choose if the signal gets split pre or post fader. For more details on the functioning of
these controls, please refer to the Input Mono section of this owner’s manual.
summing bus. Depending on the setting of the AUX PRE/POST switch in the PowerMate’s master sec-
tion you can choose if the signal gets split pre or post fader. For more details on the functioning of
these controls, please refer to the Input Mono section of this owner’s manual.
Illustration 2-16: HI, MID and LO filters