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Electro-Voice PSX600 - Page 5

Electro-Voice PSX600
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INPUT
MONO
4.
EQ
SECTION
The
mixer’s
EQ
section
allows
very
differentiated
shaping
of
the
incoming
audio
signal
within
miscellaneous
frequency
bands.
Turning
one
of
the
EQ
level
controls
to
the
right
enhances/ampli¬
fies
the
corresponding
frequency
range
while
turning
it
to
the
left
lowers/attenuates
the
signal
of
the
specific
frequency
band.
Before
you
begin
to
alter
the
sound,
all
EQ
controls
should
be
set
to
their
neutral
position;
that
is;
their
markers
point
straight
up
(detent
position).
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
musically
trained
ear,
being
the
perfect
instrument
to
judge
the
sound
quality.
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
exces¬
sive
enhancement.
Lowering
the
level
more
or
less
in
this
band
will
provide
you
with
high
amplification
rates
without
feedback.
The
EQ
section’s
LO-
and
Hl-controls
are
designed
to
work
equally
effective
on
both
-
MIC
and
LINE
-level
input
sources.
The
MID-control
is
most
effective
in
a
relatively
wide
band
around
the
center
frequency
of
2.4
kHz.
As
a
matter
of
fact,
especially
in
microphone
applications
this
specific
band
turned
out
to
be
a
critical
range.
Thus,
with
almost
any
microphone
it
is
good
advice
to
slightly
reduce
the
level
in
this
range
to
gain
optimal
results.
5.
FX
The
FX-controls
are
used
to
adjust
individual
amounts
of
the
channel
signals
to
be
routed
to
the
FX1
and/or
the
FX2
unit.
The
split
point
of
the
“dry”
signal
is
POST
FADE
or
in
other
words:
the
fader
setting
also
influences
the
signal
that
is
fed
to
the
FX
units.
Before
you
start
to
establish
the
effect
mix,
these
controls
should
be
set
at
their
center
position.
From
this
point
you
can
increase
or
reduce
the
effect’s
intensity,
depending
on
your
personal
preferences.
Please
monitor
the
PEAK
LEDs
in
the
FX1/2
channels
during
a
performance.
The
indicator
should
only
light
briefly
at
the
occurrence
of
high
program
peaks.
If
the
indicator
is
constantly
lit,
please
lower
the
affected
channels'
send
levels
at
their
FX
controls.
For
further
information,
please
refer
also
to
the
paragraphs
on
the
FX1/2
units.
6.
AUX
The
AUX-control
is
primarily
meant
for
establishing
a
monitor
mix.
The
signal
is
split
PRE
FADER.
The
resulting
mix
-
controlled
via
the
AUX-controls
and
present
at
the
AUX-output
in
the
master
section
-
is
not
affected
by
the
setting
of
the
channel
faders.
Especially
in
microphone
applications,
operating
with
moderate
AUX-control
settings
prevents
that
the
monitor
signal
is
acoustically
fed
back
to
the
microphones.
7.
PAN
This
control
determines
the
position
of
the
corresponding
input
signal
within
the
stereo
image.
When
this
control
is
set
at
its
center
position,
the
audio
signal
is
fed
with
equal
levels
to
the
left
and
the
right
master
busses.
Through
the
extensive
PAN
section
circuitry
the
essential
sound
pressure
level
always
stays
the
same,
no
matter
to
what
position
within
the
stereo
image
the
PAN
control
is
set
8.
SIGNAL
/
PEAK
indicator
The
Signal
/
Peak
indicator
has
a
key
function
during
input
level
adjustment
of
the
corresponding
channel,
offering
optical
information
of
the
actual
signal
level.
It
provides
the
possibility
to
detect
the
risk
of
occurring
overdrive
before
you
would
actually
hear
the
distortion;
unlike
the
mixers
of
many
other
manufacturers
that
either
only
provide
a
PEAK
indicator
or
no
channel
indicator
at
all.
As
described
before,
the
SIGNAL
“present”
LED
should
blink
in
the
rhythm
of
the
incoming
signal.
If
this
is
not
the
case,
you
have
to
increase
the
gain.
If
the
PEAK
LED,
on
the
other
hand,
blinks
frequently
or
lights
up
constantly,
the
corresponding
channel
is
likely
to
enter
clipping
and
you
have
to
reduce
amplification
using
the
gain
control.
The
signal
“present”
LED
lights
at
levels
-30dB
below
clipping
while
the
peak
LED
lights
at
a
level
of
-6dB
below
the
occurrence
of
overdrive.
It
is
also
a
good
idea
to
keep
an
eye
on
these
indicators
during
a
performance,
to
prevent
the
mixing
console’s
input
channels
form
clipping
caused
by
increasing
volumes.
9.
V
OLUME
The
channel
fader
is
used
to
set
the
volume
of
a
single
channel
and
to
establish
an
accurately
proportioned
mix
of
all
input
signals.
The
channel
faders
should
be
positioned
within
the
range
of
-5dB
to
OdB,
leaving
you
with
a
degree
of
control
that
allows
precise
matching
of
relative
big
differences
in
the
channels’
level
settings.
The
overall
volume
is
set
through
the
use
of
the
master
faders.
Even
though
the
channel
faders
offer
an
additional
gain
of+lOdB,
it
is
good
advise
not
to
exceed
the
+5dB
mark.
Despite
its
special
negative
gain
structure,
if
the
PSX’s
main
bus
gets
“overloaded”
with
too
many
“high
level"
input
channels,
the
summing
amplifier
could
be
driven
into
clipping.
It
is
more
reasonable
to
lower
the
setting
of
all
faders
by
about
-5dB
and
increase
the
overall
output
level
by
elevating
the
master
faders.
The
proportion
of
the
mix
and
the
overall
volume
stay
the
same
while
the
risk
of
clipping
is
prohibited.
5

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