Harman 1210KA Benutzerhandbuch
36
Soundcraft EFX/EPM User Guide Issue 1210
USING YOUR EFX OR EPM CONSOLE
The final output from your sound system can only ever be as good as the weakest
link in the chain, and especially important is the quality of the source signal be-
cause this is the starting point of the chain. Just as you need to become familiar
with the control functions of your mixer, so you must recognise the importance
of correct choice of inputs, microphone placement and input channel settings.
However, no amount of careful setting up can take account of the spontaneity
and unpredictability of live performance. The mixer must be set up to provide
“spare” control range to compensate for changing microphone position and the
absorption effect of a large audience (different acoustic characteristics from
soundcheck to show).
link in the chain, and especially important is the quality of the source signal be-
cause this is the starting point of the chain. Just as you need to become familiar
with the control functions of your mixer, so you must recognise the importance
of correct choice of inputs, microphone placement and input channel settings.
However, no amount of careful setting up can take account of the spontaneity
and unpredictability of live performance. The mixer must be set up to provide
“spare” control range to compensate for changing microphone position and the
absorption effect of a large audience (different acoustic characteristics from
soundcheck to show).
MICROPHONE PLACEMENT
Careful microphone placement and the choice of a suitable type of microphone
for the job is one of the essentials of successful sound reinforcement. The dia-
grams on the left show the different pick-up patterns for the most common types
of microphone. Cardioid microphones are most sensitive to sound coming from
in front, and hypercardioid microphones offer even greater directivity, with a small
amount of pickup behind the microphone. These types are ideal for recording
vocalists or instruments, where rejection of unwanted sounds and elimination
of feedback is important. The aim should be to place the microphone as close
as physically possible to the source, to cut out unwanted surrounding sounds,
allow a lower gain setting on the mixer and avoid feedback. Also a well chosen
and well placed microphone should not need any appreciable equalisation.
There are no exact rules - let your ears be the judge. In the end, the position
that gives the desired effect is the correct position!
Careful microphone placement and the choice of a suitable type of microphone
for the job is one of the essentials of successful sound reinforcement. The dia-
grams on the left show the different pick-up patterns for the most common types
of microphone. Cardioid microphones are most sensitive to sound coming from
in front, and hypercardioid microphones offer even greater directivity, with a small
amount of pickup behind the microphone. These types are ideal for recording
vocalists or instruments, where rejection of unwanted sounds and elimination
of feedback is important. The aim should be to place the microphone as close
as physically possible to the source, to cut out unwanted surrounding sounds,
allow a lower gain setting on the mixer and avoid feedback. Also a well chosen
and well placed microphone should not need any appreciable equalisation.
There are no exact rules - let your ears be the judge. In the end, the position
that gives the desired effect is the correct position!
INITIAL SETUP
Once you have connected up your system (see the sections on connection and
wiring earlier in this manual for guidance) you are ready to set initial positions
for the controls on your mixer.
Set up individual input channel as follows:
Once you have connected up your system (see the sections on connection and
wiring earlier in this manual for guidance) you are ready to set initial positions
for the controls on your mixer.
Set up individual input channel as follows:
•
Connect your sources (microphone, keyboard etc.) to the required in-
puts.
puts.
WARNING: Phantom powered mics should be connected before the +48V
is switched on. Ensure the PA system is OFF when switching phantom
power on or off.
is switched on. Ensure the PA system is OFF when switching phantom
power on or off.
•
Set Master faders at 0, input faders at 0, and set power amplifier levels
to about 70%.
to about 70%.
•
Provide a typical performance level signal and press the PFL button on
the first channel, monitoring the level on the bargraph meters.
the first channel, monitoring the level on the bargraph meters.
•
Adjust the input gain until the meter display is in the amber section, with
occasional peaks to the first red LED at a typical maximum source level.
This allows sufficient headroom to accommodate peaks and establishes
the maximum level for normal operation (but see note below).
occasional peaks to the first red LED at a typical maximum source level.
This allows sufficient headroom to accommodate peaks and establishes
the maximum level for normal operation (but see note below).
•
Repeat this procedure on other channels as required. As more channels
are added to the mix, the meters may move into the red section. Adjust
the overall level using the Master Faders if necessary.
are added to the mix, the meters may move into the red section. Adjust
the overall level using the Master Faders if necessary.