Rane MM 12 Bedienungsanleitung PDF herunterladen (Seite 11)

2. Set both BASS and TREBLE boost/cut knobs to the ”0” center detent position, and

both BANDWIDTH buttons to the NAR (in) position.

3. Slowly turn up both the #1 MASTER level and the MIX LEVEL knob in column 1 for the

microphone located next to monitor 8 on stage: turn up both level controls until

feedback begins to occur.

If the feedback tone is high in pitch, start with the TREBLE adjustments: if the tone is

low in pitch, start with the BASS adjustments. In this example we’ll assume you get a high-

pitched squeal first, since this is more common.

5. Turn the TREBLE BOOST/CUT control to full CUT (counter clockwise) position.

6. Now sweep the TREBLE FREQUENCY knob from full counter clockwise to full

clockwise (1k Hz to 10k Hz) slowly, while keeping the master volume in the monitor

speaker at a point where feedback is occuring but not loudly out of control (this takes a

cool head and a supple wrist). You will notice a point on the sweep control where the

feedback will be reduced or stop altogether: this is the center frequency of the

feedback

7. Now that you have found the center frequency, leave the SWEEP knob set at this

point. Then slowly turn the BOOST/CUT knob clockwise until feedback begins to re-

occur: set the BOOST/CUT control at a point where feedback just goes away. Too much

cut will detract from the sound quality of the monitor and render the monitor program

harder to understand. If feedback occurs later at a higher volume level, m-adjust the

BOOST/CUT control just enough to eliminate the feedbackand no more. Don’t readjust

the center frequency control as it is difficult to find the feedback center frequency during

a show without embarrassing feedback

8. Now repeat steps 5, 6 and 7 with the BASS section of the channel 1 parametric

equalizer. You will notice that after one feedback tone is eliminated, increasing the

volume will produce another tone of a different pitch. You could chase these tones ”ad

infinitum”, but a good working compromise is to reduce the two primary feedback

trouble tones, so that you have a system that feeds back at a much higher level with two or

more different tones. Repeat steps 5 through 8 with output channels 2 through 6 as

necessary.

In some cases, the acoustics of the stage or the performance of the monitor speakers is

such that feedback is not a real problem, but that the overall monitor sound is lacking in

quality and is therefore more difficult to understand. If the bass response of the monitor

is poor, use the BASS section of the parametric to boost the low end; try both the NARrow

and WIDE bandwidth positions-too much low end boost can result in boomy response

that muddies up monitor sound. If presence is lacking in the monitors, use the parametric

TREBLE section to add response in the high end. In either case, startingwith full boost and

sweeping the frequency will help you to find the right area to correct: once found, cut

back on the boost as necessary to give the smoothest overall response.

IV-4. USING THE MM 12 HEADPHONE CUE SYSTEM.

It is much more effectiveto use the

CUE system to make adjustments in the monitors, especially during a performance. By

depressing the appropriate CUE button you can listen to the exact mix that each performer is

hearing and make adjustments by ear rather than by guesswork

A. PATCHING INTO THE MAIN MIX CUE SYSTEM.

In many cases the MM 12 will be

operated along side the house mixer by the same operator. As shown in the installation

diagrams, be sure to plug the headphone output of the main mixer into the MAINS INPUT of

the MM 12 headphone section, using a STEREO 1/4” shielded patch cord. Then plug a single

1 2 ... 6 7 8 9 10 11 12 13

Kommentare zu diesen Handbüchern

Keine Kommentare

Rane MM 12 Bedienungsanleitung Seite 11

Kommentare zu diesen Handbüchern

Verwandte Produkte und Handbücher für Audio Rane MM 12