User manual KLARK TEKNIK DN360

[. . . ] OPERATORS MANUAL DN360 Klark Teknik Group, Klark Teknik Building, Walter Nash Road, Kidderminster. Tel:+44 1562 741515 Fax:+44 1562 745371 Email: sales@ktgplc. com Website: www. klarkteknik. com Walter Nash Road, Kidderminster, Worcestershire. Fax: (44) (0) 1562 745371 Company Registration No: 2414018 SI GN A L P R O CE SSI N G BY D E FI N I T I ON abc d abc BETTER BY DESIGN DESIGNED FOR APURE PERFORMANCE DECLARATION OF CONFORMITY We, Klark Teknik Group (UK) Plc of, Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ Declare that a sample of the following product:Product Type Number DN360 Product Description Graphic Equaliser Nominal Voltage (s) 115V AC 230V AC Current 60mA 120mA Freq 50/60Hz to which this declaration refers, is in conformity with the following directives and/or standards:Directive(s) Test Standard(s) UL 813 CSA 22. 2 No1 M90 EN 60065 EN 50081-1 : 1992 EN 55022 Class B EN 50082-1 : 1994 ENV 50140/ 8-93 ENV 50140/ 2-95 EN 5014 1 : 1993 EN 60801-2 : 1993 IEC 801-4/88 Low voltage Directive 73/23/EEC EMC 89/336/EEC amended by 92/31/EEC & 93/68/EEC EMC 89/336/EEC amended by 92/31/EEC & 93/68/EEC EMC 89/336/EEC amended by 92/31/EEC & 93/68/EEC EMC 89/336/EEC amended by 92/31/EEC & 93/68/EEC EMC 89/336/EEC amended by 92/31/EEC & 93/68/EEC EMC 89/336/EEC amended by 92/31/EEC & 93/68/EEC EMC 89/336/EEC amended by 92/31/EEC & 93/68/EEC Signed:. . . . . . . . . . . . . . . . . . . . . . . . . . . . Merrey Jnr Date: 27th August, 1999 Authority: Managing Director, Klark Teknik Group (UK) Plc Attention! [. . . ] The harmonics produced by an amplifier driven into clipping may also damage the high frequency drivers and will at any rate sound unpleasant Therefore, reducing the low frequency output may produce real advantages by way of improved intelligibility and subjective naturalness and this is particularly true of buildings made from concrete or stone where much of the bass is reflected rather than absorbed. Equally, rolling off the high frequency end above 5kHz may also contribute to a more natural sound. The resulting house curve then is far from flat but may will be the ideal compromise. Depending on the individual sound system and the environment, the shape of the optimum house curve will vary and a degree of experience is needed in order to achieve the best results. It should also be borne in mind that the ideal house curves for pure speech and music will not be the same. +10 0 dB -10 -20 100 1k Frequency Hz 10k Typical House Curve 13 In live sound applications, graphic equalisation is almost always applied separately to the stage monitor of foldback system to reduce the level of those frequencies that would otherwise cause feedback problems. These problems came about due to peaks in the frequency response curves of the monitor speaker systems, monitor positioning, and sound reflected from the stage walls. An analyser is probably best employed to do this effectively but many experienced engineers rely on their ears. In addition to compensating for room acoustics, equalisation can also be used to counteract some of the problems caused by microphone characteristics and positioning or to tailor the response to improve speech intelligibility. Also, many speaker systems have a far from flat response, particularly mobile systems that have to be positioned in physically convenient places rather than the acoustically ideal ones. When equalising the room, these deficiencies are also catered for to a large extent. Whatever the application, it is generally better to try to attenuate peaks rather than to attempt to boost the surrounding frequencies to the same level, Furthermore, all peaks can be reduced be attenuating their respective band but some response dips simply cannot be corrected. An example is crossover cancellation where very deep notches may appear covering two or three bands. Attempting to level the response by excessive boosting will simply eat up system power and achieve no useful result. Ultimately a dip in the response is not so audibly objectionable as a peak and so it may be as well to leave these dips alone or to try and solve the problem at source by checking your crossover systems and horn alignment. In broadcast studios, graphic equalisers are often used during phone-in shows to help compensate for the restricted bandwidth of telephone lines. No equaliser can completely correct the signal in this way as it is impossible to boost frequencies that don't exist and telephone lines have a very restricted bandwidth. Nevertheless, the improvement in subjective terms can be dramatic. Creative uses may include studio work, live or recorded drama and film soundtrack recordings. Voices may be harshly filtered to simulate telephone conversation or the tonal characteristics of an instrument may be modified to fit in with a particular mix. Though other types of equaliser can often to this job, the graphic equaliser is still the easiest to set up and the controls give an instant visual presentation of the response curve. In the commercial studio where time is often of the essence, this attribute should not be overlooked. 14 Table 1: Effects of Equalisation on Voice Reproduction 1/3 Octave centre frequency (Hz) 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500 630, 800, 1k Effect on voice Sense of power in some outstanding bass singers. Too much boost in the 315 to 1k range produces a telephone like quality. [. . . ] Do not forget that some interaction will occur between a particular filter and its adjacent bands. A better sound may be produced by adjusting several bands rather than by strong cutting just the centre one. Do not forget to pause to talk or play music through the system as you go, so that you keep in touch with what the resultant sound quality is like. If the Real Time Analyser you are using is the Klark Teknik DN6000 you have a powerful averaging capability which means that averaging the response throughout the coverage area becomes very much easier. [. . . ]