Owner's Manual

14
TD-000472-00-A
Filters Tab
There are multiple types of fi lters presented here.
• Low-Cut / High-Cut fi lters – These fi lters are used to roll off high or low frequency content. There are a number of possible applications. See
Tips & Tricks for more on Low and High-Cut fi lters.
◦ For
stage monitors , it is common to roll off low frequencies at 80 – 100 Hz. There is usually ample low frequency energy on stage without
any help from the monitors. Keeping it out of the monitors can reduce “rumble” on stage and in the house.
◦ For speech only systems, rolling off low frequencies can reduce microphone handling noise or, if outdoors wind noise.
◦ Fill speakers may not need any additional low-frequency energy as there is ample bottom end coming from subwoofers.
◦ There is a technique known as “ subs on auxes ” in which the subwoofer is fed from one of the auxes while the main speakers are fed from
the mixer’s main outputs. Only those instruments that contain low-frequencies are sent to the subwoofer. This provides more control over the
lows and can help keep the bottom end tighter. If this is being done, the Low and High-Cut fi lters could be used to set the crossover point
between subs and main speakers.
• Anti-Feedback Notch Filters – These are very deep (up to -20 dB), very narrow cut only fi lters that can be quite effective in fi ghting feedback
frequencies while doing little to alter the overall sound. Experienced engineers will bring the system up just to the edge of feedback while adjusting
the frequency to tune out feedback. This must be done with care as the system is very close to uncontrolled feedback.
Presets Tab
This tab offers a Factory Preset named Reset that returns all output control parameters to their factory values. In addition, any settings you make can
be stored to or recalled from either internal or external (USB) memory.
Setup Tab
Name the Aux Output:
Touch to enter a new name for the output. (not available on Main output) to name the output.
Linking:
Available on Auxes 1-8 only, this Links odd/even pairs of auxiliary mixes to create a stereo mix.
Delay:
Delay is most commonly used for remote fi ll speakers. The objective is to set the delay so that the sound from the primary system arrives at the
listeners ears just slightly (20 – 30 msec) ahead of the sound from the fi ll system. When done correctly, the listeners perceive the sound as coming
from the primary system even though most of what they hear is from the fi ll speakers.
In venues with very deep stages, the engineer will sometimes delay the house system so that it time aligns with the back-line. In other words, set up
the system so that the sound from the actual kick drum and the reinforced kick drum arrive at the listeners’ ears at the same time.
You can also drive your drummer nuts by delaying his monitor just a bit – but that wouldn’t be very nice, would it?
The delay provides a read out in msecs. (up to 100), meters (up to 34.3) and feet (up to 113).
QSC Speaker Settings:
Please refer to "Level-Match Your QSC Speakers" on page 11 for details.
Pre / Post Fader
Available for the Aux mixes only, this switch determines if the point from which the signal is taken is before or after the channel fader. For most
monitor mixing applications, this should be set to Pre.
Assignments
And you didn’t think there would be any assignments. But these aren’t the kind of assignments that require homework. These buttons assign the
output to a Mute Group or a DCA Group. Mute Groups and DCA Groups are discussed previously.
Type new name
Link
Delay In
View Settings
Pre Post
Pre/Post Fader
DCA 3
Mute 1