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The manual was made available promptly. I is a clean scan of the original. I had no problem downloading it. The scan was well centered and cleanly formatted. It is as good a product as can be had without being the original document.
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Received downlink in less then 8 hours, Item was in good copy condition, and told me how to program the clock timer. The price was very resonable, and the process was very automated and was GREAT to work with.
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Fast service, document is OK. Thanks! Searched for it long time.
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I was very pleased with the manual I got for my amateur (ham) radio. Without it I could not figure out how to input and/or change the P/L setting on my radio. It drove me nuts as the radio was essentially useless. That all changed when my manual came. Then it took only minutes and I was done. Now my radio works fine. This is an exceptionally good resource as it's a very easy and user friendly download. Thank you very much! Dziękujemy za!
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It answered my question, which was how to load the paper. I did notice that the very end of the manual was not visible.
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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