Dynacord POWERMATE 1000 Owner's Manual page 35

5. LO CUT 80 Hz
When the LO CUT switch is engaged, frequencies
below 80 Hz are attenuated (18 dB octave slope). In
most cases using the LO CUT fi lter with microphone
channels is a good advice, since it effi ciently
suppresses popping sounds, rumbling noise and
low-frequency feedback. The only exceptions are
kick drum and acoustic bass. Sometimes it can be
also very effective to combine the LO CUT fi lter with
the voicing fi lter. For instance to provide vocals with
more "body", without getting additional low pitched
noise. Activating the LO CUT and raising the bass
level (LO EQ) provides you with a richer sound, without additional rumbling or popping noise.
Another welcome side effect is, that the power amplifi er and the connected loudspeakers do
not get "polluted" with unnecessary low-pitched interference. Your audience will be thankful
for the use of the LO CUT fi lter, too, since in this way they can enjoy a truly clear, natural, and
powerful sound performance.
6. VOICING FILTER
This button activates an asymmetric microphone
fi lter, which can be used in addition to the channel
EQ. The voicing fi lter enhances the fi rst harmonic
oscillation and the treble of the human voice while
slightly attenuating the mid frequency range. This
voice shaping method provides powerful vocals that
are clearly emphasized from the rest of the mix. This
"pre-shaping" is not achievable using ordinary third
or octave band equalizers. The use of this fi lter is
not restricted to vocals only. Horns, woodwinds, and
other acoustic instruments can profi t from the voicing
fi lter as well. We leave it entirely up to your creativity and imagination to try the VOICING fi lter
with as many different sound sources, as you want. Normally, you do not have to fear any
problems with the occurrence of feedback.
7. 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/
amplifi es the corresponding frequency range while turning it to the left lowers/attenuates the
signal of that specifi c 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). Try
not to set the EQ controls to extreme positions. Usually, minor changes are totally suffi cient
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. 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 amplifi cation rates without feedback. Use the LO control according to
your pleasing, to add more "punch" to the sound of a kick drum or "body" to the vocals. Use
the HI control in the same way to provide cymbals and the human voice with more treble and a
more transparent sound. The MID EQ section offers parametric EQ-setting via separate rotary
controls for the adjustment of level (MID) and frequency band (kHz) in the range between 100
Hz and 8 kHz.
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INPUT MONO
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