Peavey CS800S is an 800 watt power amplifier
· The amplifier receives the combined or mixed signal from the mixer.
· The amplifier is the last component in the sound system before the speaker. Generally, the sound signal progresses through the sound system as follows:
o Microphone or Instrument
o Mixer
o Compressor (optional)
o 31-Band Graphic Equalizer (or parametric equalizer)
o Digital Delay (only for remote speakers that must be time-aligned with the main speakers)
o Cross-Over (only in the case of bi-amped or tri-amped speaker systems or a sub-woofer)
o Amplifier
o Speaker(s)
· The amplifier supplies the power to drive the speakers.
· Most speaker systems, especially lower power speakers only require a single amplifier. However, some speaker systems are designed to work bi-amped or tri-amped. In the case of a bi-amped system, two amplifiers are needed, one for low frequency sounds and one for high frequency sounds. In the case of tri-amped, three amplifiers are needed for low, midrange, and high sounds. If a sub-woofer is used for very low sounds, another amplifier is needed for it.
· Separate amplifiers are needed for the Main System, remote speakers (if required), and the Monitor System.
· When multiple monitor mixes are used, each mix requires its own amplifier.
· In order for an amplifier to make the sound twice as loud, it must supply four times as much power. For example, it takes a 400 watt amplifier to be twice as loud as a 100 watt amplifier.
· Always use an amplifier capable of supplying more power than you need. Distortion increases dramatically when an amplifier is operated at its maximum power. Having plenty of "head room" or reserve power reduces the chance of distortion.
· It is important that an amplifier have very low background noise. Even a small amount of "hiss" can be very objectionable.
· The power rating of the amplifier and the speakers must be similar to reduce the chance of damaging the speakers.
Tuesday, January 27, 2009
Equalizer
· Why is equalization needed?
o To increase gain before feedback.
o To compensate for Acoustical problems in the room.
o To tailor the tonal quality of the performance.
· Always start with no equalization (all controls set "flat").
o Equipment manufacturers design their equipment to be used with NO EQUALIZATION.
o Only use equalization to eliminate problems (i.e. feedback, too much bass, too sharp, etc.).
o After the problems are eliminated, there is seldom a need to change equalization to enhance the sound.
· Room factors which may require equalization:
o Sound reflections off of hard surfaces (walls, ceilings, and floors) causes uneven frequency response because of out-of-phase reflections (i.e. drop a stone in a pond and watch the ripples as they hit the shore and reflect back).
o Sound absorption by soft surfaces (seats, people, acoustic treatment) causes loss at high frequencies.
o Every room is different! Some seem to increase high frequencies, others absorb highs. Some resonate with base, others seem to have no bottom end at all.
· Individual channel equalization on the Mixer.
o Adjust for differences in different types of Mikes.
o Adjust for specific instruments (keyboard, guitar, sax).
o Adjust to optimize sound for particular voices (men, women).
o Eliminate feedback points unique to one Mike.
o Reduce breath noise and "pops".
o Compensate for "proximity effect" when performer "eats the mike".
· Monitor equalizer
o Adjust to increase gain before feedback.
o Eliminate "hollow" or "ringing" sound.
· Main System equalizer
o Adjust tonal quality of main speaker system to compensate for room acoustics (texture of walls, floors, or ceiling).
o Only if necessary, adjust to increase gain before feedback.
· Automatic Feedback Eliminator
o This is a special type of equalizer which "listens" for feedback, determines its frequency, and automatically sets a narrow notch filter to eliminate it. Multiple notch filters are set at different feedback frequencies.
o To increase gain before feedback.
o To compensate for Acoustical problems in the room.
o To tailor the tonal quality of the performance.
· Always start with no equalization (all controls set "flat").
o Equipment manufacturers design their equipment to be used with NO EQUALIZATION.
o Only use equalization to eliminate problems (i.e. feedback, too much bass, too sharp, etc.).
o After the problems are eliminated, there is seldom a need to change equalization to enhance the sound.
· Room factors which may require equalization:
o Sound reflections off of hard surfaces (walls, ceilings, and floors) causes uneven frequency response because of out-of-phase reflections (i.e. drop a stone in a pond and watch the ripples as they hit the shore and reflect back).
o Sound absorption by soft surfaces (seats, people, acoustic treatment) causes loss at high frequencies.
o Every room is different! Some seem to increase high frequencies, others absorb highs. Some resonate with base, others seem to have no bottom end at all.
· Individual channel equalization on the Mixer.
o Adjust for differences in different types of Mikes.
o Adjust for specific instruments (keyboard, guitar, sax).
o Adjust to optimize sound for particular voices (men, women).
o Eliminate feedback points unique to one Mike.
o Reduce breath noise and "pops".
o Compensate for "proximity effect" when performer "eats the mike".
· Monitor equalizer
o Adjust to increase gain before feedback.
o Eliminate "hollow" or "ringing" sound.
· Main System equalizer
o Adjust tonal quality of main speaker system to compensate for room acoustics (texture of walls, floors, or ceiling).
o Only if necessary, adjust to increase gain before feedback.
· Automatic Feedback Eliminator
o This is a special type of equalizer which "listens" for feedback, determines its frequency, and automatically sets a narrow notch filter to eliminate it. Multiple notch filters are set at different feedback frequencies.
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