Évaluations - , GPA:
(
)
)
Fabricant : Roland
Taille : 934.84 kb
Nom Fichier :
Langue d'enseignement: 
Le document est chargé, s'il vous plaît patienter
 |
Le document est chargé, s'il vous plaît patienter
Facilité d'utilisation
(For more information about the Muting Circuit —> p. 17), Producing Sound with Microphones (Sasic Knobs and Faders Adjustments) Now, try using a microphone to get some sounds. 1 .Connect a microphone to the CPM-300, and rotate the SENS knob slowly clockwise while speaking into the microphone until the PEAK indicator lights up from time to time, then lower the level slightly to set the knob position. 2.Raise the channel fader to the 0 position (in the black range). 3.Adjust the overall volume with the MASTER fader. Adjust the SENS knob again if the PEAK indicator shows that the signal is too hot (strong). 4.Set the sound image for each channel with the PAN and BAL knobs. The black range along the channel fader and MASTER fader markings indicate the normal range within which you can operate free of distortion or noise. * Basic adjustments arc the same as those made with CD players and other electronic musical instruments. After making rough adjustments on the connected devices, proceed to "Adjusting the Sound Quality with the Equalizer”. Adjusting the Sound Quality with the iqualizer_ The EQ (equalizer) knobs adjust the tone for each channel’s input signals. Try rotating the EQ knobs while listening to the sound coming from the speakers (or headphones). At the 0 position, the signal is "flat” (the same as the source sound). •HIGH: This adjusts the tone in the higher frequency range. With 12 kHz as the center frequency, the volume of the high range can be adjusted 15 dB up or down. ♦ Lowering the HIGH EQ cuts the high frequencies, resulting in a milder tone. Lowering this too much creates a tone that is dull and dark. ♦ Raising the HIGH EQ boosts the high frequencies, providing a sound that is bright and crisp. Raising this too much creates a sharp, edgy tone. •LOW: This adjusts the tone in the lower frequency range. Centered on 80 Hz, the volume of the low range can be adjusted 15 dB up or down. ♦ Lowering the LOW EQ cuts the low frequencies. Use this technique to improve vocal intelligibility (such as in speeches) in meeting rooms and similar venues. ♦ Raising the LOW EQ boosts the low tones. Use this on input from CDs or electronic instruments to give the sound more punch. After adjusting the sound with the equalizer, proceed to "Adding Reverberation to the Sound (Digital Reverb)" (—> p. 13). * A "Blank User Settings Chart” can be found on p. 24. Use this chart to record connections to other equipment, knob positions, and other settings. 12 Adding Reverberation to the Sound (Digital Reverb) The CPM-300 offers four types of internal digital reverb. Reverb Mode Switches TIME Knob SEND Knob (Master Section) LEVEL Knob Reverb Mode (Reverb Types) •ECHO This is an echo effect perfect for karaoke. •HALL :This reverb simulates the reverberation found in concert halls. •STAGE This simulates the reverberation you hear on a stage. •ROOM This simulates the reverberation found in smaller rooms. Operating the Digital Reverb 1.Select the Reverb mode. 2.Set the SEND knobs to 0 (12 o'clock position) on any channel on which reverb is to be added to the sound. 3.Rotate the SEND knob (Master Section) to adjust the level of the signal sent to the internal digital reverb. 4.Rotate the LEVEL knob to adjust the overall reverb level, 5.Rotate the TIME knob to adjust the reverb time. 6.Readjust the SENS knobs, SEND knobs, and faders on each channel as needed, ]f you have a mie connected, proceed to "Eliminating Feedback (Anti-Feedback Function)" (—> p. 14). 13 Eliminating Feedback (Anti-Feedback Function) Awful, ear-splitting whines and screeching sounds referred to as "feedback" occur when the output from the speakers reenters the microphone, when it is further amplified and then output again, over and over, creating a feedback loop which results in these unpleasant oscillations in the sound. Feedback crops up readily when the mic volume is set too high, or when the mic is pointed at or placed too closed to a speaker. How to Avoid Feedback The following describes measures you can take to help prevent feedback from becoming a problem. •Select the proper output level for the particular room or venue. •Separate mics and speakers as much as possible, and avoid pointing mics in the direction of the speakers •Set the volume levels of connected instruments at appropriate levels. In actuality, however, feedback may still occur even though you've observed the preventive measures listed above. Using the CPM-300‘s Anti-Feedback Function The CPM~300’s built-in "Anti-Feedback Function" is a function that automatically detects feedback the instant it begins, after which the Anti-Feedback Filters then eliminate the feedback. The Anti-Feedback Function feature includes two functions. •Auto Adjust Function You can eliminate feedback before your performances by running the Auto Adjust Function during your sound check or rehearsal. •Dynamic Adjust Function This function monitors and instantly cuts...