Yorkville PGM8 - Manuel (Page 6)

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5. High Pass Filter Button
Situated at the top of the channel strip this switch activates a High-Pass Filter (a bass
roll-off of 18 dB per octave below 80 Hz).
The HPF (High-Pass Filter) is useful for controlling unwanted low-frequency spillover
picked up by microphones located too close to the bass drum, bass amp or the keyboard
amp. It is also effective in optimizing acoustic guitar pickups that sound boomy from
the guitar body resonance (the lowest note on a concert-tuned guitar is 81.2 Hz, so you
aren’t losing anything by rolling off the input response below 80 Hz). Additionally, the
HPF works to reduce breath pops and wind noise from vocal microphones. Any micro-
phone, or pickup, connected to a source that does not go below 80 Hz should have the
HPF activated. This includes most wind instruments, most male voices, nearly all female
voices and all drum microphones except for the kick-drum.
Why roll off the bass on these channels? …Because you will get better sound clarity
and improve the system’s gain before feedback.
6. Channel EQ
The mono and stereo channels feature 3-band Equalization with a control range of
+/-15dB. The High EQ is shelving at 12,500 Hz, Low EQ shelves at 80 Hz, and the Mid
EQ is centered at 2500 Hz. The tone control frequencies were carefully selected to help
achieve the best quality of sound.
It is best to set the channel EQ during a sound check. The less you adjust the EQ con-
trols above (called “boost”) or below (called “cut”) the centre 0 position the better as
+/-15dB represents a considerable level change.
For vocals turning the Low control counterclockwise will reduce the boominess of
male voices. For male or female vocals it will also “clean up” the mix as this channel
will reduce the bass sound from instruments heard by this microphone.
The Mid is a very powerful control because adjusting it will affect any music source. If
a vocal or instrument sounds “honky” you typically “cut,” or turn the Mid control counter
clockwise, to reduce the mid frequencies. This produces a more pleasant sound.
Cymbols can sound hotter, or an instrument can sound brighter, when you boost the
High control. Only add a little boost, as too much boost can be the cause of squealing
feedback. Cutting the High control can reduce the hiss coming from some audio sources,
and can also make some bass instruments sound warmer.
The center position of the tone control reflects a neutral or flat EQ control set-
ting; however, turn ing down EQ settings can be used effectively to reduce feed-
back and/or distortion).
7. Mon (Monitor)
The Mon (Monitor) is the audio signal for the stage monitors for the musicians. This con-
trol adjusts the level of signal from each channel to the MON fader. The signal for the
Mon control is independent of the Channel Fader. Adjusting the Channel Fader will not
affect your monitor mix.
When feedback occurs, the cause is often the music from the stage monitors getting
back to the microphones. When this happens, the first thing to do is turn down the
Mon fader to make sure that the monitors and not the main P.A. is the cause of the
feedback. If the cause is the monitors follow these steps:
i. Turn up the MON fader until feedback is just starting.
ii. Now turn down each channel’s MON control just a little then return the control
back to the original position. Which control reduced the feedback the most?
iii. Take that control and reduce the level to the point of no feedback. By using the
MON control you’ll eliminate the feedback without affecting that channel’s level
through the main P.A.