PEAVEY Escort 6000 - Hi-fi system

Escort 6000 - Hi-fi system PEAVEY - Free user manual and instructions

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Download the instructions for your Hi-fi system in PDF format for free! Find your manual Escort 6000 - PEAVEY and take your electronic device back in hand. On this page are published all the documents necessary for the use of your device. Escort 6000 by PEAVEY.

USER MANUAL Escort 6000 PEAVEY

WARNING: When using electrical products, basic cautions should always be followed, including the following:

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any of the ventilation openings. Install in accordance with manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding plug. The wide blade or third prong is provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point they exit from the apparatus.

11. Only use attachments/accessories provided by the manufacturer.

12. Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 15. Never break off the ground pin. Write for our free booklet “Shock Hazard and Grounding.” Connect only to a power supply of the type marked on the unit adjacent to the power supply cord.

16. If this product is to be mounted in an equipment rack, rear support should be provided.

17. Note for UK only: If the colors of the wires in the mains lead of this unit do not correspond with the terminals in your plug‚ proceed as follows: a) The wire that is colored green and yellow must be connected to the terminal that is marked by the letter E‚ the earth symbol‚ colored green or colored green and yellow. b) The wire that is colored blue must be connected to the terminal that is marked with the letter N or the color black. c) The wire that is colored brown must be connected to the terminal that is marked with the letter L or the color red. 18. This electrical apparatus should not be exposed to dripping or splashing and care should be taken not to place objects containing liquids, such as vases, upon the apparatus. 19. The on/off switch in this unit does not break both sides of the primary mains. Hazardous energy can be present inside the chassis when the on/off switch is in the off position. The mains plug or appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable. 20. Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a sufficient time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the following permissible noise level exposures: Duration Per Day In Hours Sound Level dBA, Slow Response

1⁄2 110 1⁄4 or less 115 According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Earplugs or protectors to the ear canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss, if exposure is in excess of the limits as set forth above. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels such as this amplification system be protected by hearing protectors while this unit is in operation. SAVE THESE INSTRUCTIONS!INSTRUCCIONES IMPORTANTES PARA SU SEGURIDAD CUIDADO: Cuando use productos electrónicos, debe tomar precauciones básicas, incluyendo las siguientes:

Warning: Changes or modications to the equipment not approved by Peavey Electronics Corp. can

void the user’s authority to use the equipment. Note - This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try and correct the interference by one or more of the following measures.

  • Reorient or relocate the receiving antenna.
  • Increase the separation between the equipment and receiver.
  • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

FCC Compliancy Statement This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, that may cause undesired operation.

Warning: Changes or modications to the equipment not approved by Peavey Electronics Corp. can

void the user’s authority to use the equipment. Note - This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try and correct the interference by one or more of the following measures.

  • Reorient or relocate the receiving antenna.
  • Increase the separation between the equipment and receiver.
  • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

FCC Compliancy Statement This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, that may cause undesired operation.

Warning: Changes or modications to the equipment not approved by Peavey Electronics Corp. can

void the user’s authority to use the equipment. Note - This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try and correct the interference by one or more of the following measures.

  • Reorient or relocate the receiving antenna.
  • Increase the separation between the equipment and receiver.
  • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

IC: 3642B-ESCORT6000Congratulations! You have just purchased the world’s finest portable PA system. The Escort’s integrated design allows for ease of transport, while its user-friendly controls offer ease of operation, making it the perfect choice for schools, churches, civic organizations as well as DJ’s and small musical groups. The Escort features dual two-way speakers driven by a nine-channel, powered mixer, making it ideal for vocal, musical and DJ applications. The mixer includes a media channel with several inputs for multiple playback options and Bluetooth

, as well as professional quality features such as a digital effects section, footswitchable effects defeat and a master seven-band graphic EQ with FLS

(Feedback Locating System). The carrying case provides additional storage for microphones, cables and whatever optional gear may be required. The Escort’s case provides latches for mounting for speakers, multiple handles for various carrying options, and wheels for easy transport. Please read these instructions carefully and enjoy your new Peavey Escort 6000. Portable Pro Audio System Features:

  • Convenient package with luggage-style wheels
  • Two-way speaker system with 10” woofer and piezoelectric horn
  • Nine-channel powered mixer

connectivity for music playback

  • High quality digital effects
  • 7x XLR - 1/4” combination inputs
  • Stereo RCA, 3.5mm, and USB media inputs for media playback
  • Seven-band graphic EQ with FLS
  • Two folding speaker stands
  • Monitor line level out
  • Storage compartments for microphones, cables, etc.
  • Footswitchable effects defeat
  • PV microphone and cable*

ENGLISHMuch of the setup of the Escort

is similar to the setup of other sound systems, and many aspects require plain common sense. Safety should always be your rst concern. Always use grounded outlets and three-wire extension cords. Run sound system cables in a way to prevent the danger of tripping and tape them down if needed. Place the speaker stands and mixer on a solid, level surface. Following these guidelines will help prevent personal injury and equipment damage, ensuring years of trouble-free use. THINK SAFETY FIRST! Setup Guide Setting Up Mixer and Speakers Place closed unit so speakers are upward. Release latches by lifting up until the latch disengages. Remove the speakers from the case. NOTE: The latches can be closed after speakers are removed. This is recommended to avoid interference with removal of other components. This will also help avoid damage to the latches. Close the latch by pushing in until it is ush with the side of the case, then push down until it locks. Remove the speaker stands from the case. Be sure the legs on the stand are fully extended to provide a stable base for the speakers and are positioned on a level surface. Tighten the thumbscrew on the base so that it is snug, but do not overtighten (Fig.1). Raise the speaker stands to the desired height, tighten the thumbscrew and install the safety pin as shown (Fig.2). WARNING! Only connect the included speakers to the mixer. Escort speakers provide optimal load for the powered mixer and using other speakers may result in equipment damage. Place speakers on stands and position them so that they will face toward the audience and away from the microphones (Fig.3). Connect speaker cables from the jack on the lower front of the speaker to the speaker outputs on the back of the mixer. Connect the left speaker to the LEFT OUTPUT and the right speaker to the RIGHT OUTPUT (Fig.4). Fig. 3 Fig. 1 Fig. 2

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B orConnecting Microphone(s) or Line Input(s) The Escort’s powered mixer is designed to work with any good-quality, balanced, dynamic or condenser microphone such as Peavey’s PV

series of microphones. Connect the microphone to the XLR (three-pin) input connector as shown (Fig.7). If using multiple microphones, connect them in the order they will be on stage for easy adjustment to each microphone. To connect a line level device such as a keyboard, use a 1/4” instrument cable and insert into the center of the XLR-1/4” combo connector as shown (Fig.8). Fig. 8 Fig. 7 Connecting a Powered Sub-Woofer The Escort

6000 features a Sub-Woofer output that is internally crossed over at 100Hz. This output is line level so it will need to be connected to a POWERED Sub or Escort and your Sub-Woofer is turned OFF. Insert a 1/4” shielded cable into the Sub-Woofer Output (Fig.5) on the back of the Escort, then insert the other end of the cable into Connecting a Monitor The Escort 6000 includes a full-range line level Monitor output. This is to be used when monitors are required for a performance. This output is line level so you will monitors. Be sure the power to your Escort and your Monitors is turned OFF. Insert a 1/4” shielded cable into the Monitor Output on the back of your Escort (Fig.6), then insert the This output can also be sent to another mixer or recording device to record the full- range signal from your performance. The level of the monitor mix can be controlled by the master monitor control (Fig. 6a).Connecting Power WARNING! Before connecting power make sure the power switch is in the OFF position. Connecting Media Playback Sources The Escort

powered mixer will accept various media playback devices. For connecting a CD player or grounded record player use the CHANNEL 8 RCA Left and Right connections. For connecting an MP3 player or smartphone with media playback use the 3.5mm stereo connector. This will require a stereo 3.5 mm cable (03007820) which can be found at your local Peavey dealer. When using a USB memory stick with MP3 or other audio les stored on it, insert the memory stick into the USB connector on CHANNEL 9, make sure the USB/Bluetooth

button is in the USB postition, and use the screen and controls in the master section to navigate and play back audio les(Fig.9). Bluetooth connectivity is covered later in the manual under the MEDIA section. Connect the IEC power cord to the receptacle on the back panel of the unit as shown (Fig.10), and then to a suitable electrical outlet. If an extension cord is required, make sure it is a three-wire cord with an intact ground pin to preserve the safety ground.

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: (1) The wire that is coloured green and yellow must be connected to the terminal that is marked by the letter E, or by the Earth symbol, or coloured green or green and yellow. (2) The wire that is coloured blue must be connected to the terminal that is marked with the letter N, or the colour black. (3) The wire that is coloured brown must be connected to the terminal marked with the letter L, or the colour red. Setting Controls and Turning Unit On Before turning on power, make sure all speakers, microphones, and other input devices are connected. Set Master section controls to the 12 o’clock position and all other controls all the way down (rotated fully to the left). Turn power on by placing the ON/OFF switch located on the back of the mixer (Fig.11) in the ON position. Basic Operation:Adjusting Gain and Volume Controls The optimal setting for the powered mixer and included speakers is marked on the MASTER LEVEL control (Fig.12). Adjust the CHANNEL LEVEL control (Fig.13) until the desired volume is achieved. If the desired volume is reached with the CHANNEL LEVEL turned down to one of the rst three positions, turn the MASTER LEVEL down so you can turn the CHANNEL LEVEL up. If the desired volume is achieved when the CHANNEL LEVEL is close to max then raise the MASTER LEVEL so you can lower the CHANNEL LEVEL. These are the same as any basic mixer functions. Adjusting Tone Controls For each active channel adjust the HIGH, MID-MORPH

, and LOW controls to achieve desired sound. Use moderation when making these adjustments, as extreme high settings of any of these controls can lead to a distortion of the sound and an increased chance of feedback on microphone inputs. HIGH This High EQ shelving type of active tone control varies the treble frequencies (+/- 15dB at 12kHz) and is designed to remove noise or add brilliance to the signal, depending on the quality of the source. MID-MORPH Where most mid-range controls work at just one frequency, the Mid-Morph works at two. When turned to the left, it cuts at 250 Hz to reduce frequencies that muddy the sound. When turned to the right, it boosts at 4 kHz to add intelligibility to vocals. Either way, improved vocal or instrument denition can be achieved. LOW A shelving type of EQ that varies the bass frequency levels (+/- 15dB at 80Hz). Low EQ adds depth to thin-sounding signals or cleans up the muddy ones. As with any EQ, use sparingly. Too much of this EQ can give you a booming bottom end. Basic Operation: Adjusting Effect Settings The Escort

has built-in digital effects. These effects can be selected in the MASTER section by turning the EFFECTS SELECT knob left or right until the desired effect is shown on the display (Fig.14). Once the desired effect is displayed on the screen push the knob in to select and activate the effect. To adjust the effect parameter simply press the PARAMETER ADJUST button (Fig.14) the available parameter and its adjustments will be shown on the display. Turn the EFFECTS SELECT knob left or right to adjust the parameter then press the PARAMETER ADJUST button or the EFFECTS SELECT knob to return to the effects select screen. To hear more or less of the effect, on any given channel, turn the CHANNEL EFX knob to the left to hear less of the effect, and to the right to hear more of the effect (Fig.15). The EFX MUTE button in the master section (Fig.14) will mute the effects on all channels. There are no effects on the media channels. Effects:Effects: Footswitchable Effects Defeat Your new Escort

has a footswitchable effects defeat. This allows the user to mute the effects on all channels by use of a single button footswitch such as the Peavey Momentary Single-Button Switch (03050680) which can be purchased at your local Peavey dealer. Insert the 1/4” plug from the footswitch into the EFFECTS DEFEAT jack on the rear of the Escort mixer (Fig.16). Once connected, pressing the footswitch button will toggle the EFX MUTE (Fig.14). Available Effects and Parameters on Screen Name Effect Available Parameter 1 REV Plate Br1 Plate Reverb Bright Time 2 REV Plate Br2 Plate Reverb Gentle Low-Pass Time 3 REV Plate Med Plate Reverb Medium Low-Pass Time 4 REV Plate Dk1 Plate Reverb Hard Low-Pass Time 5 REV Plate Dk2 Plate Reverb Dark Time 6 REV Vocal Hall Reverb Vocal Time 7 REV Vocal Big Hall Reverb Vocal Huge Time 8 REV Vox Warm Hall Reverb Vocal Glow Time 9 REV Strings Hall Reverb Strings Time 10 REV Lg Brass Hall Reverb Brass Hall Time 11 REV Vox Air Room Reverb Vocal Air Time 12 REV Vox Club Room Reverb Vocal Club Time 13 REV Snare Room Reverb Snare Low Time 14 REV Ac Guitar Room Reverb Acoustic Guitar Time 15 REV Sm Brass Room Reverb Brass Time 16 ENH Tube Enhancer Tube Distortion Brightness 17 ENH Vocal 1 Vocal Enhancer Vox Brightness 18 ENH Vocal 2 Vocal Enhancer Vox Medium Brightness 19 DLY Double Delay Double Time 20 DLY Slap Delay Slapback Time 21 DLY BRT 1 Delay Bright, Few Repeats Time 22 DLY BRT 2 Delay Bright, More Repeats Time 23 DLY BRT 3 Delay Bright, Most Repeats Time 24 DLY Dark 1 Delay Dark, Few Repeats Time 25 DLY Dark 2 Delay Dark, More Repeats Time 26 DLY Dark 3 Delay Dark, Most Repeats Time 27 CHO Deep Slow Chorus High Depth, Slow Rate Rate 28 CHO Mod Wide Chorus Moderate Depth, Wide Rate Rate 29 CHO Shrt Wide Chorus Short Depth, Wide Rate Rate 30 CHO Shrt Fast Chorus Short Depth, Fast Rate Rate 31 CHO Deep Mod Chorus High Depth, Moderate Rate RatePlayback from Media Source Hook up your media source device as mentioned previously. Hook up your media source device as mentioned previously. When using RCA jacks for a CD player, record player, or tape machine make sure the 3.5mm TRS jack is not in use(Fig.17). Use the controls on the source device for play, stop, forward and reverse functions. Adjust channel controls on Escort

mixer for desired sound. For media playback using a MP3 player, smartphone, or other similar device connect using a stereo 3.5mm cable mentioned previously. Use the source device for playback controls. When a device is connected to the 3.5mm jack the RCA jacks are automatically disabled. For MP3 or audio le playback from a USB memory stick make sure the button is in the down position (Fig.18) so the USB plug is active. The currently active digital input (USB or Bluetooth

) will be displayed on the LCD in the Master section. Playback from a Bluetooth media source is covered later in this section. NoTE: The Escort does not allow playback through multiple media inputs simultaneously. With your USB device attached, use the MEDIA SELECT knob (Fig.19) to navigate through your audio les. Once the desired le is displayed on the screen press the MEDIA SELECT knob to cue that le. Use the controls on the mixer for play, pause, forward and reverse. If you do not choose to navigate or select a certain le the Escort will play the les in the order they are stored on your USB memory device. Supported Audio File Types .WAV .MP3 .WMA Bluetooth

Bluetooth/USB swtich Selects the audio source for channel 9. In the “down” position, the audio source is the USB slot. The LCD will indicate the slot is ready for a jump drive, and will display “Insert USB drive” (Refer to SETUP section, Connecting Media Playback Sources). In the “up” position, the audio source will be any connected Bluetooth device. The LCD will indicate this by displaying “Bluetooth Input”. Bluetooth Active LED The blue “Bluetooth Active” LED indicates the status of the Bluetooth connection. If the LED is off, the Bluetooth module is powered off. If the LED is flashing, the Escort is not paired with any device, but is available for connection. If the LED is lit continuously, that means a Bluetooth enabled device is paired with the Escort. Bluetooth Operation To listen to the music via the Bluetooth wireless connection, you must first pair (link) your Escort 6000 with your Bluetooth phone and/or music device. Turn off any Bluetooth devices previously paired with the Escort 6000. Turn on the Bluetooth feature on your phone or music device. Make sure the Escort 6000 is ready for a Bluetooth connection. The Bluetooth/USB switch must be in the “up” position. The “Bluetooth Active” LED should be flashing. The LCD will say, “Bluetooth input”. Place your phone or music device in Bluetooth search mode. The phone or music device will begin searching for the Escort 6000. Select “ES6000” from the search results on your phone or music device. Select Ok or Yes to pair your Escort 6000 with your phone or music device. MEDIA:Using the Graphic Equalizer Unlike the HIGH, MID-MORPH, and LOW controls on each channel that adjust only the tone of their own input signals, the seven-band graphic equalizer adjusts the tonal balance of all the signals going through the powered mixer. This graphic equalizer is also a powerful tool to help reduce or eliminate acoustic feedback. This offers the user great exibility in adjusting the sound, but use moderation in making these adjustments. FLS

Feedback Locating System The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 20) to 0. Then before the audience arrives, increase the MASTER LEVEL and/or CHANNEL LEVEL until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces gain at the feedback frequency and can be repeated if necessary to improve gain before feedback. Only adjust the sliders a small amount to avoid adversely affecting sound quality. EQUALIZATION: GENERAL USE TIPS: Avoiding Acoustic Feedback When encountering feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustments. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic must then be turned down to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic or if you still cannot get sufficient gain, using more mics can offer an advantage. For example, giving several singers their own microphone allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Packing the Escort

One of the Escort’s many benefits is that the entire sound system can be packed inside its easily transportable case (Fig.21). Begin by folding the speaker stands, then secure them into their storage compartment using the two straps. Place the optional microphone(s) in their storage compartment, putting the cables in the other compartment or with the speaker stands. Lay the speakers face down on top of the bottom tray and secure the four latches. The Escort is now ready to be carried or pulled on its built-in, luggage-style wheels. Fig. 21 When your Escort

6000 successfully pairs and connects with your phone or music device, the Bluetooth

Active LED changes from flashing to steadily lit. You will now be able to play music from your connected music source through your Escort 6000. The level can either be adjusted from the connected source or by the level control in channel 9. *Wireless range can vary depending on Bluetooth class of source device, and may be subject to interference from obstructions such as walls or other electronic devices.OPTIONS:

WARNING: For safety, be sure to fully open the mixer stand and place it on a stable, level surface.

2 mic with cable included (00496360) Microphone Wind Screens - Black wind screen (00069100) Additional Speaker Cables in Various Lengths - 25’ 16 AWG (00060450) Additional Speaker Stands in Various Sizes - Black Speaker Stand (00722890) Audio Cables for CD Player, Record Player, Tape Machine, or MP3 Player/Smartphone Hook-up Optional Mixer Stand Assembly (00496340) Remove the mixer stand from the case. The mixer stand consists of three parts: two pairs of legs and the stand cross-members (Fig.22). Hold the stand cross-member with the leg sockets together as shown (Fig.23). Fully insert one set of legs into the cross-members (Fig.24). Still holding the cross members together, set the legs on the oor and insert the second pair of legs. If you need to move the stand, carry it folded by holding the legs.Escort

6000 Specications: Output Power: 300 watts RMS (per channel) Frequency Response: 40 Hz to 20 kHz +/-3 dB Overload Protection: 10 dB of DDT

that limits the PA output to prevent clipping that can damage the speakers Distortion: Less than 0.2% THD @ Max power Signal/Noise Ratio: 88 dB mic input typical AC Power: 115 V AC 60 Hz or 230 V AC 50/60 Hz Weight Assembled: 50 lbs. (22.67 kg) (stands included) Dimensions: 14.5” H x 36.75” W x 15.5” D (36.8 cm x 93.3 cm x 39.4 cm) Speakers: Woofer 10” (254 mm) Phantom Power: 15VDC Available on all XLR Inputs Piezoelectric Horn Tweeter Escort

6000 Troubleshooting Guide Problem Check Correction No sound (LCD not lit) Is power switch on? Is line cord connected to live power outlet? Turn power switch on Connect power cord to live outlet No sound (LCD lit) Are MASTER and CHANNEL GAIN controls up? Adjust both MASTER and CHANNEL LEVEL controls upward to desired level. Check speaker connections. Turn mic switch on. Check mic or sound source connection. No Eects Files on USB memory device will not play back If it goes away when the CHANNEL or MASTER LEVEL controls are turned down, then it is acoustic feedback. Make sure desired eect is selected in Master eect menu. Check the master EFX MUTE. If the LED is illuminated the EFX MUTE is active. Press the EFX MUTE button once to disable. Adjust channel EFX control until audio eect is heard. Make sure once MEDIA SELECT knob is See the list of supported audio formats mentioned previously in this manual. Are the channel EFX controls turned up? Is the master EFX MUTE enabled? Is an eect activated in menu? Loud howling or squeal from speakers Reduce microphone gain. Reposition microphone behind or farther from speakers. Observe FLS light above Graphic EQ and reduce level of corresponding slider. Sound is distorted No sound (Bluetooth

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B ODER SPEAKER OUTS Lautsprecherstecker hier einstecken Abb.4Mikrofon(e) oder Line Input(s) anschließen Der Power-Mixer von Escort wurde entworfen, um mit jedem qualitativ hochwertigen, ausgewogenen, dynamischen oder Kondensator-Mikrofon wie der Peavey PV

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B OPPURE Inserire i jack dell’altoparlante quiCollegamento microfono(i) o ingresso(i) linea Il mixer alimentato di Escort è concepito per lavorare con qualsiasi microfono con condensatore di buona qualità, bilanciato, dinamico come la serie di microfoni PV

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

The FLS (Feedback Locating System) LED indicators are invaluable tools in helping to reduce/eliminate feedback. To use the FLS feature, start by setting all graphic EQ sliders (Fig. 9) to 0. Then, before the audience arrives, increase the MASTER VOLUME and/or CHANNEL GAIN until feedback occurs. Note which LED illuminates and slightly lower the corresponding slider. This reduces the gain at the feedback frequency, and can be repeated if necessary to improve gain before feedback. However, only lower the sliders in small amounts to avoid adversely affecting sound quality. Fig. 9 Avoiding Acoustic Feedback Acoustic feedback is the loud howl or squealing sound heard through sound systems as the result of sound from the speakers re-entering the microphones. Although it does an excellent job of getting the audience’s attention, feedback should be avoided. When trying to deal with acoustic feedback it is always best to start looking at the placement of the mics and speakers in the system before resorting to equalization (EQ) adjustment. Make sure that the speakers are positioned to direct the sound toward the audience and away from the microphones. Position mics as close to the sound source as reasonable. Moving the mic closer increases the volume of the sound through the system without having to turn up the gain. Microphone Usage Guidelines When practical, a single microphone is preferred. Additional microphones pick up more sound from the speakers and each mic has to be turned down a little to prevent feedback. However, if you have difficulty balancing the level of different individuals with one mic, or if you still cannot get sufficient gain, using more mics can offer an advantage. Giving several singers their own microphones, for example, allows placement of the microphones much closer to each singer. This increases the volume of the sound at the mic and far outweighs any detrimental effect from using multiple mics. It also allows the volume of each mic to be adjusted separately for proper balance. Reverb Adding reverberation to music can enhance the sound of that music. To add reverb to a microphone, simply turn up the REVERB control (Fig. 7) on the appropriate input channel. Add reverb in moderation because too much reverb makes vocals hard to understand. In most cases, it is best not to add reverb to the spoken word. Stereo / Mono Operation The Escort 2000 powered mixer has two input channels (4 & 5) for stereo line sources. If the speakers are situated so that most of the audience can hear both speakers (Fig. 10 A), it can be advantageous to run the system in stereo. If the audience primarily hears just one speaker (Fig. 10 B), or if you are using one speaker for the audience and the other for the stage performers, then it is best to run the system in mono. Fig. 10 StereoMono Stereo Mono A B

Bluetooth 사용 장치는 Escort 6000을 통해 음악을 재생하기 전에 페어링되어야 합니다. 장치가 페어링되면 Active LED가 계속 켜져 있게 됩니다.Logo referenced in Directive 2002/96/EC Annex IV (OJ(L)37/38,13.02.03 and defined in EN 50419: 2005 The bar is the symbol for marking of new waste and is applied only to equipment manufactured after 13 August 2005 www.peavey.com Warranty registration and information for U.S. customers available online at www.peavey.com/warranty or use the QR tag below Features and specications subject to change without notice. Peavey Electronics Corporation 5022 Hartley Peavey Drive Meridian, MS 39305 (601) 483-5365 FAX (601) 486-1278

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Brand : PEAVEY

Model : Escort 6000

Category : Hi-fi system