User manual BSS FCS966

[. . . ] FCS 966 User Manual 1 V 1. 0 BV/JMK 30 April 1998 An example of this equipment has been tested and found to comply with the following European and international Standards for Electromagnetic Compatibility and Electrical Safety: Radiated Emissions (EU): EN55013 RF Immunity (EU): EN50082/1 Mains Disturbance (EU): EN61000/3/2 Electrical Safety (EU): EN60065 Radiated Emissions (USA): FCC part 15 Class B (1990) Associated Equipment (1992) RF Immunity, Fast Transients ESD (1995) (1993) IMPORTANT SAFETY INFORMATION DO NOT REMOVE COVERS. NO USER SERVICEABLE PARTS INSIDE, REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. IT SHOULD NOT BE NECESSARY TO REMOVE ANY PROTECTIVE EARTH OR SIGNAL CABLE SHIELD CONNECTIONS TO PREVENT GROUND LOOPS. ANY SUCH DISCONNECTIONS ARE OUTSIDE THE RECOMMENDED PRACTISE OF BSS AUDIO AND WILL RENDER ANY EMC OR SAFETY CERTIFICATION VOID. For continued compliance with international EMC legislation ensure that all input and output cables are wired with the cable screen connected to Pin 1 of the XLR connectors and/or the jack plug sleeve. [. . . ] Three point monitoring is required as it is easy to place the controls in positions that allow the overload of one section without this being obvious on the meter. The clip indicator provides instant confirmation that no part of the FCS 966 is being headroom compromised. 6. 8 Frequency band sliders The main function of the FCS 966 is controlled with the frequency band sliders, which split the audible spectrum into thirty independent bands, centred on standard ISO frequencies. Each band may be amplified (boosted) or attenuated (cut) by up to 15dB, allowing great control over the program for either corrective or creative purposes. Normally, such a large control range on each slider could cause problems if the unit was being used for fine control. This is not a problem with the FCS 966 sliders, which provide a fine level of control near the centre or `zero' position, progressively getting more aggressive as the control is advanced towards the ends of the travel. Thus both fine, musical adjustments and radical audio surgery are possible without operational compromise. When the slider is in the central position it is effectively out of circuit. 17 General guide to equalising 7. 0 General guide to equalisers 7. 1 What is a graphic? The graphic equaliser is one of the most common pieces of signal processing equipment. It finds uses both in recording environments and live performance, as well as sound reinforcement and noise pollution control. The graphic equaliser is a very powerful tool, and as with all powerful devices caution should be exercised or problems will occur. A graphic equaliser operates by splitting the audio signal into a number of individual bands; in the case of the FCS 966, 30 bands. As each of the ten musical octaves that make up the audio spectrum is split into 3 bands, the FCS 966 is termed a `third octave equaliser'. The frequency or pitch of each frequency band is printed on the front panel, between the rows of sliders. Each frequency slider allows signals that fall in that band to be individually raised (boosted) or lowered (cut) in level. The maximum amount of boost or cut is indicated adjacent to the sliders and in the case of the FCS 966 is +/-15dB or 30dB overall. If the slider is in the centre, zero position, signals in that band are unaffected. 7. 2 How do I use it? As there is individual control of each frequency band, the signal can have its tonal quality and balance totally altered. As a general rule the sliders on the left 20% of the graphic have affect on the bass sound, with the right 20% affecting the treble. The sliders towards the centre, around 1kHz, affect the presence or midrange. Fig 7. 1 The effect of sliders on different instruments 18 Figure 7. 1 shows very approximately the sliders that have most effect on some common instruments - having an effect is related to the harmonic richness of the sound. A flute for example, generating relatively pure tones, will only have energy in a small number of bands at a given time, whereas a guitar has harmonics covering most bands. When applied to the guitar, the equaliser will be capable of completely changing the sound. Both these uses can apply to whole sound systems or individual instruments. When used creatively, it may be set to change the timbre of an instrument and so alter its character. Used in a corrective manner, maybe on the same instrument, it can be used to remove a resonance that is making the instrument sound muddy or shrill. [. . . ] As it may also be required to use one monitor mix for more than one performer, the HP filter provides a convenient method of effectively removing inappropriate signals from individual monitor feeds. 23 Application examples 8. 5 Uses for the LF contour As the contour controls are gentle in operation, they are intended to be used whenever it is desired to change the tonal balance of the sound without disturbing the main equaliser settings. The LF contour control has many uses, but one particular application concerns small PA systems and presentations that contain both pre-recorded material and live presentations. It is often necessary to use slightly different amounts of bass for each type of program to avoid, for example, the presenter sounding particularly boomy, or the pre-recorded material sounding flat. On larger systems it may become necessary to slightly alter the weight of the bass content to correct for differences between the sound check and the actual live performance. [. . . ]