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has no effect ("flat response") when centered. Low-EQ
boost (clockwise rotation) gives more "'fullness"' to
vocals, guitars, etc., and more of a mellow character to
horns and woodwinds.
Low-EQ cut (counterclockwise
rotation) removes boominess, avoids some of the
excessive energy from drums, and reduces hum, rumble,
and buzz. The High-EQ control adjusts the channel's
frequency response through the high-frequency range.
High-EQ boost (clockwise rotation) gives more "edge"
or "bite" to string instruments, more "presence" to
vocals, and more "attack" to percussive instruments.
High-EQ cut (counterclockwise rotation) removes
—
some of the breath sound from wind instruments,
reduces guitar-string fingering sounds, lessens hiss, and
avoids sibilant (lispy) vocal sounds. High-EQ cut also
helps to make a performer sound farther away,
particularly if reverb is added. Low and/or Hi-EQ cut
can be helpful in avoiding feedback, too.
The Monitor controls determine the proportion of
channel output that feeds each Monitor mix bus.
Monitor 1 feeds the bus which drives the Echo/Reverb
effects (internal spring or external unit). The amount
. or "depth" of Echo/Reverb applied to the program is
controlled by the Master Echo/Reverb control. The
overall level of the Monitor 1 mix from all input
channels, as applied to the Monitor 1 output, is
controlled by the Master Monitor 1 fader; this fader
does not affect the Echo/Reverb level however, even
though it is derived from the same mix bus.
The Monitor 1 controls allow you to set a different
mix for stage monitor speakers, or any other location
away from the "main" speakers. The Monitor 1 mix is
also subject to the settings of the channel fader and
EO controls.
The Monitor 2 controls also let you create a separate
mix, but one which is not affected by the channel fader
or EQ controls. ''Pre-fader'' means that even after a
channel is faded out completely, its input signal may
still be heard at the Monitor 2 Output (at whatever level
is set via the Monitor 2 channel and Master controls).
"Pre-EQ" means that if Low-EO or High-EQ have been
used to alter the bass or treble tone of that input
channel, the EQ will not affect the channel's contri-
bution to the Monitor 2 Output. The pre-fader send on
Monitor 2 is especially useful for feeding devices likely
to have their own volume/EQ controls; such as external
signal processors, remote mixing trucks, broadcast studios,
or other mixing consoles.
OUTPUT CHANNELS
Model No.
per channel
моюп
| — бмв
_
[ EwisoB |
бмв
|
EM-200B
Power ratings are continuous RMS (or, more
correctly, RMS voltage squared, divided by load
impedance) at 1 kHz.
Power outputs of EM-Series II Mixers
Speaker cables should also be chosen carefully. While
phone jacks are necessary, the coiled cords commonly
used for guitars are not acceptable. In fact, the speaker
cables need not be shielded. For short runs (under 25
feet), 18-gauge, or larger diameter wire may be used.
For long runs (over 25 feet), 16-gauge or larger diameter
wire should be used. (#18 or #16 AC "zip" cord, or
similar cable, does a good job.) Be sure to use only high-
quality phone plugs, and to check the cables for
possible short-circuits before each use; an internal short-
circuit or a cracked plug insulator will blow a fuse on
the Mixer.
CAUTION: IF THE FUSE BLOWS AND THE AC
MAINS ARE DELIVERING THE PROPER VOLTAGE,
THE DIFFICULTY IS PROBABLY CAUSED BY
EITHER A SHORT-CIRCUITED SPEAKER CABLE,
A SHORT-CIRCUITED SPEAKER, OR USE OF A
SPEAKER LOAD OF LESS THAN 4-OHMS
IMPEDANCE. CORRECT THE CONDITION, AND
ALWAYS REPLACE THE FUSE WITH ONE OF THE
SAME RATING AND TYPE. LARGER FUSES DO NOT
CURE PROBLEMS; THEY ONLY LEAD TO
PERMANENT DAMAGE OF THE MIXER, AND WILL
VOID THE WARRANTY.
11
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