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Thank´s for your help, I already recived these manual from you
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Thank you for your manual It has the basic things to and i use the Oszi for Longer Time.
THX
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Actually, I was looking for this information for 3 years!...now thanks to you, the manual is on my hands and of great help, cause I understand now where I was doing wrong connections and wires...excellent, I'll be back to you if in need, thank you.
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This manual covers the main equipment features only. While it also includes the procedure for saving and loading from the now long obsolete memory cards it does not mention the how to operate with the optional floppy drive interface so I am still at a loss about how to use this! Note that there is a separate manual covering the MIDI interface and programming via the keyboard, not included in this download. You will also need to get hold of this if you want to use the MIDI interface properly. Basically there is little difference between this manual and the free to download manual for the similar PR60 model.
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Good list of manuals. I found a very rare one and easily get. Should be promptly to download, as we must to wait hours even after confirmed payment.
HOW TO CONTROL FEEDBACK A performer's number one enemy in using a microphone is "feedback." This is a harsh hum, howl or squeal which occurs when the microphone picks up sound from the loudspeakers, re-amplifies and rebroadcasts it over and over again. The key factor in the prevention of feedback is the position of the loudspeakers in relation to the microphone. Feedback occurs if the microphone picks up sound coming from the loudspeakers. Keep the loudspeakers as far to the sides as possible - so they do not point toward the microphone. Always keep the microphone pointed toward the performer and away from the loudspeakers. When stage monitor loudspeakers are used, make sure they are positioned in front of the performers and face the rear of the microphone. If you are in a room with hard walls, floor, and ceiling, the sound from the loudspeakers may bounce back into the microphone and create feedback. Solve this problem by using the microphone filter switches or by turning down the amplifier volume control and working closer to the microphone. To minimize feedback, adjust the microphone filter switches as follows. Raise the amplifier gain until feedback occurs. Locate and turn on (IN) the one filter switch that eliminates the feedback. (Use a pencil or other instrument to move switches.) Gain or tone controls may then be increased until another feedback pitch is heard. Locate the filter switch that eliminates this feedback. NOTE: No more than two filter switches should be used simultaneously for feedback control; otherwise overall gain may be reduced and tone quality is likely to be affected. (Important Note: If you cannot solve the feedback problem with your E-Qualidyne Microphone, a Shure PE610 Feedback Controller is suggested.) EQUALIZATION When it is not necessary to use the filter switches to control feedback, their response-shaping or equalization function can be utilized. For instance, the LO switch will roll off the low end to compensate for room boominess or proximity effect; the HI switch will remove undesirable sibilance ("sss" sounds) from speech or vocals. Experimenting with other switches (or combinations) will demonstrate suitable effects for other applications. (See graph on page 8 for typical attenuation provided at each frequency.)
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