User manual HP F1902A

[. . . ] The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an eqilateral triangle is intended to alert the user to the presence of important operating and maintenance instructions in the literature accompanying the device. Because it has no user controls, it is ideal for applications where real-time changes are unlikely or when tamper-proof security is required. All adjustments are made using Altec Lansing MaestroTM software for WindowsTM. [. . . ] Parametric EQ (PEQ): uses peak filters with the ability to control boost or cut, frequency center, and bandwidth. Think of one band of parametric EQ as a single graphic equalizer fader except that the frequency is variable, not fixed, and that the bandwidth, or how "wide" the filter affects the frequency spectrum at the center frequency, is completely variable. The smaller the bandwidth, the less the audio signal on either side of the frequency center is boost or cut, whereas a larger "wider" bandwidth produces an audible change to the overall tone of a signal. Parametric filters are best used to hunt down and eliminate problem feedback frequencies, add or remove a characteristic "hot spot" from microphones, or clean up room resonance situations. It is well worth the time becoming proficient with parametric EQ filters, as they offer the best solution to many EQ problems. There is more cut than boost because one of the more common uses for parametric filters is to dramatically cut, or "notch out", very narrow frequencies (low bandwidth) in order to eliminate system feedback problems. Every instance of a parametric EQ filter has a center frequency selected. Each output's crossover section is essentially a bandpass filter, making it necessary for the user to map out ahead of time which outputs will be used for the various frequency bands, and set the overlapping filter frequencies and types accordingly. Note: The HPF determines the lower frequency limit of the signal, while the LPF determines the upper frequency limit. The frequency range for the high pass filter (HPF) is from 19. 9kHz, with an option to turn the filter off at the low end of the frequency selection. The low pass filter (LPF) offers the same frequency range, with the "off" option at the high end of the frequency selection. There are eight types of filters available in the crossover section, each suited to a specific preference or purpose. The slope of each filter type is defined by the first characters in the filter type, 12dB, 18dB, or 24dB per octave. The steeper the slope, the more abruptly the "edges" of the pass band will drop off. There is no best filter slope for every application, so experiment to see which one sounds most pleasing in a specific system. The pre-loaded presets all use 24dB/octave filters in the crossover section, but of course they can be changed to suit the application. In addition to the frequency and slope, crossover filters can be selected as having Butterworth, Bessel, or Linkwitz-Riley response. These refer to the shape of a filter's slope at the cut-off frequency, affecting the way two adjacent pass bands interact at the crossover point. 24dB/octave Linkwitz-Riley filters produce a flat transition through the crossover region, assuming both overlapping filters are set to the same frequency, slope, and response type. 24dB/ oct Linkwitz-Riley filters are the industry standard, the easiest to use, and the filter type recommended by Altec Lansing. Other filter types are available, but may require polarity switching or other adjustments for proper results. [. . . ] ) Software controls don't work - Is the RS-232 cable properly installed to the PC?If set to <Lock Processor>, then unit is "view only" and controls cannot be changed. ) No sound - Check to see if the input or output is muted. Is the input or output Gain turned down? [. . . ]