Setting Instructions; Equalizer; Sound Setting Using Real Time Analyzers And Equalizers - Dynacord PM2600 Owner's Manual

SETTING INSTRUCTIONS

SETTING INSTRUCTIONS
1. Set all tone controls on the mixing console to their center (neutral) position (linear setting).
2. Bypass any existing 3rd-octave or octave equalizers or set the EQ-controls to their center (neutral) position.
3. Connect a microphone and by using the LO-control of the power amplifier's equalizer section adjust the bass
response, so that the human voice sounds "natural". Using the 4kHz DIP-EQ lets you adjust the response
of the upper mids band (4kHz) according to your personal preferences.
In the "FLAT" position, the volume of the upper mid frequency range is loudest, providing the voice with best
intelligibility. At higher reproduction levels the audio system sounds more aggressive.
In the "- 4dB" position, the upper mid frequency range is attenuated by 4dB at 4kHz. The human voice
sounds less direct.
In the "- 2dB" position, the upper mid frequency range is attenuated by 2dB at 4kHz. This setting is most
suitable when the system is frequently used in different locations and at high SPL.
4. This completes the system's basic settings.
5. Using the tone controls in the microphone and musical instrument channels of the connected mixing console,
you can adjust and balance the overall sound according to your personal preferences.

EQUALIZER

If incorporating 3rd-octave or octave equalizers at all, they should only be used extremely careful. With most 3rd-octa-
ve or octave equalizers, even minor attenuation or raise of LO or MID range levels leads to intolerable sound degrada-
tion, which in most cases cannot be excluded anymore by using other, "regular" tone controls.

SOUND SETTING USING REAL TIME ANALYZERS AND EQUALIZERS

Generally, the "Sound Setting" of sound reinforcement installations using real-time analyzers and dynamic
3rd-octave or octave equalizers is not advisable. Especially 3rd-octave equalizers often generate - depen-
ding on their setting - phase and group delay distortions that degrade the sound quality tremendously. The
measuring microphone evaluates the direct sound coming from the loudspeakers and at the same time all
the reflections which bounce back from any obstacles in the environment. This circumstance makes a useful
interpretation of the measured data under acoustic aspects basically impossible.
If, because of extreme acoustic conditions analyzing/equalizing is unavoidable, it is advisable to mind the
following precautions:
1. Measure only the loudspeakers' near field. Normally, this means a distance of approximately 3m to
5m. When positioning the measuring microphone in a further away (e. g. in the center of a hall) not
only the direct sound is measured but also the amount of room reverberation. Trying to linearize
"mush" via EQ, generally leads to an extremely mid-boosted, metal, aggressive sound.
2. When measuring the range between 250 Hz and 5 kHz (the "critical range"), the EQ should only be
used to attenuate the signal and never to increase it! A "hole" in the sound spectrum is not experienced as
unpleasant, as an "arch". Excessively increasing the low-frequency range is also not advisable, since this
drastically degrades the transient response of the entire sound system.
3. To prevent power amplifier clipping and the distortion that goes along with it, during the measuring
procedure the maximum output power should not exceed 5W (Pink Noise). The noise-voltage peak
value of regular noise generators is approximately 10dB higher than the effective value. With an average
output power of 5W short-term peaks can reach up to 50W.
4. It is possible to use 3rd-octave or parametric EQs to reduce the negative effect of dominating acoustic
feedback. Being extraordinarily sensible and careful is also recommended for this kind of application,
since often enough gaining a higher output level goes along with loosing lots of intelligibility and fidelity.
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