Behringer SHARK FBQ100 Manual - Page 7

7 SHARK FBQ100 User Manual (21) Use the INPUT LEVEL switch to select the input sensitivity (microphone or line levels). In LINE mode, you can use the CLIP LEVEL control to adapt the internal level settings to the digital circuitry. Please make sure that the CLIP-LED will not light up. (22) The PHANTOM switch enables the Phantom Power supply required for condenser microphones. (23) The PHANTOM CONTROL LED lights up when Phantom Power is on. 2.1.3 Connection between mixing console and power amplifier When you use the SHARK as a Delay Line unit for speaker systems placed at various positions (see chapter 2.3), you should connect the SHARK between the console's output and the input of the power amp driving the "delayed" speakers. Delayed Speakers Speakers on Stage 2. Applications 2.1 Wiring the FBQ100: general remarks With its great versatility the SHARK can be used for a variety of applications. This chapter describes connection and configuration examples of the most common applications. 2.1.1 Connection between microphone and mixing console In live applications it is often useful to protect specific single microphones against feedback. We therefore recommend that you connect the SHARK between your microphone and a microphone input on your mixing console (OUTPUT LEVEL switch set to MIC). If all mic inputs are in use, you can set the SHARK's OUTPUT switch to +4 dBu (switch pressed) and adapt the output signal of your SHARK to a line input on your console using the MIC GAIN control. To prevent the occurrence of subsonics you can activate the SHARK's Low Cut filter. Switch on Phantom Power when you are using condenser microphones. +4 dBu Line Master Out Fig. 2.3: The SHARK connected between console and power amp Mic In / Line In Mic / +4 dBu Mic Fig. 2.1: The SHARK connected between microphone and microphone input on console 2.1.2 Connection between line-level source and mixing console At first sight, this configuration may seem to make no sense, because line-level sources usually have no problems with feedback frequencies. However, acoustic instruments are often equipped with so-called piezo pickups which are susceptible to feedback. In such a case, we recommend that you route the audio signal through the SHARK before feeding it into the console. 2.1.4 The SHARK used in the monitor path Inserting the FBQ100 in the monitor path of your mixing console gives you utmost protection against unwanted feedback. Monitor paths are particularly susceptible to feedback, because on stage there are usually several microphones and speakers placed close to each other. Especially vocal microphones pose some problems, because their volume levels must be fairly high to be able to "compete" with other instruments, and often these microphones are hand-held and hence carried around on stage. It is therefore useful to protect the monitor path against feedback. In particular, when used in the monitor path, the SHARK produces a positive side effect in that it improves both sound and volume of the monitors. By filtering interference it makes the sound more transparent and by eliminating unwanted feedback it allows for raising the volume of the monitors, an effect that is usually welcomed by musicians on stage. Another advantage when using this configuration: one SHARK can control several microphones. As at least four monitor paths are used in a typical live application, all you need are four SHARKs to give you optimum feedback protection. Line In +4 dBu Line Fig. 2.2: The SHARK connected between acoustic guitar and line input on console