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Your dealer can assist you in choosing the connection which is best suited for your particular needs. Figure 6: In-Line with Signal Source: SOURCE jack of mixer or amplifier Source connects to BALANCED OUTPUT BALANCED INPUT jack of equalizer jack of equalizer connects to INPUT Figure 7: Connect to an Insert Jack: "Send" side of the signal cable "Return" side of the signal cable MIXER (OR AMPLIFIER) EQUALIZER harness connects to the eq's harness connects to the eq's BALANCED INPUT jack EQUALIZER BALANCED OUTPUT jack Typical "Insert" cable harness assembly. Stereo end of harness plugs into INSERT jack. "Tip" of stereo end carries signal to one of two mono plugs, "ring" carries signal to other plug. MIXER (OR AMPLIFIER) "INSERT" CABLE DETAIL: IN OUT TIP R ING SLEEVE RING SLEEVE TIP TIP TIPSLEEVE TIP SLEEVE SLEEVE TIP SLEEVE "Send" side of INSERT jack goes to eq's IN jack, "Return" side goes to eq's OUT jack. This may vary from mixer to mixer; some experimentation may be required to achieve the proper results. "Insert" cable harness, connected to the mixer/amplifier's INSERT jack (see detail to the right) LS1-131/LS2-215/LS3-231 Constant Q Graphic Equalizers APPLICATIONS: SOME METHODS OF CONNECTION (Continued): Figure 8: In-Line Between a Mixer and Amplifier: MIXER (OR PREAMP) POWER AMPLIFIER EQUALIZER Output signal from BALANCED OUTPUT mixer/preamp jack of equalizer SPEAKER OUTPUT connects to connects to INPUT jack of power amplifierBALANCED INPUT jack of power amplifier connects to INPUT jack of equalizer jack of speaker APPLICATIONS: ROOM EQUALIZATION: Any sound system, whether it is a home stereo, a large sound reinforcement system, or recording studio monitors, will vary in its perceived reproduction depending on its environment; its room. When sound is produced, some frequencies are reflected and some are absorbed. This results in an uneven sound field. If speakers are placed in room corners or against walls, a large increase in the lower frequencies will occur. Some speakers are designed to use this increase to flatten their response. Other speakers, such as near field monitors and P.A. speakers, are designed to be flat in a free air environment (that is, having no external boundaries). These speakers, when placed in the wrong environment, will produce an increased low frequency response. An equalizer may be used to compensate for this condition. By using a spectrum analyzer or Real Time Analyzer (RTA) and any of the Crate Pro Audio Live Sound equalizers, a flat response can be obtained with precision and accuracy. This also may be achieved by ear, though not with the same accuracy, by using a favorite recording with which you are familiar. Another means of achieving a flat response with your system is called “Feedback Tuning” or “Ringing the Room”. This method requires an omni-directional microphone with a very flat response to be placed in the listening area and connected to your system in an unequalized channel of your mixer. With your graphic EQ set flat, slowly turn the gain of your microphone up until a frequency starts to ring (WARNING! Be careful not the let this ring excessively or speaker damage may occur.) Pull down on the EQ slider that makes the ringing stop. Pull only a few dB, not all the way. Increase the system gain again, and another frequency will begin to feed back. Pull down on the corresponding slider again. Repeat this procedure three or four times only. After that, go to the sliders you have not yet moved and bring up their level until that frequency begins to feedback, then pull the slider down until the feedback just stops. Continue this procedure with each slider. This method takes a lot of practice and patience but it will adjust the response of your system to electronically compensate for the room. Additional equalization may be required at this point; the next section will explain. FLETCHER-MUNSON EQUAL LOUDNESS CONTOURS: The human ear does not hear all frequencies equally. For example, the ear is less sensitive to bass notes at lower levels than at higher levels. To compensate for this, additional equalization may be necessary to create a pleasing overall sound, even after a room has been EQ’d. A “preferred curve” is actually a series of boosting and cutting at various frequencies, depending on the overall performance level, so the ear perceives all frequencies at the same level. These curves are known as the Fletcher-Munson Equal Loudness Contours (see figure 9 on the following page). Notice that the amount of boosting changes with overall listening levels, since the ear hears lower frequencies better as the volume level increases. After achieving an electronically flat response from your speakers in the room, use the Fletcher-Munson chart to adjust the contour according to the sound pressure level of the performance. These curves are intended to be used as guidelines only. Experimentation is always necessary to find your own “preferred” sound. LS1-131/LS2-215/LS3-231 Cons...

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