11
About Equalization
IN
OUT
+15
+12
+9
+6
+3
+2
-2
-3
-6
-9
-12
-15
+15
0
-15
8KHz
5KHz
3KHz
2KHz
1KHz
500Hz
250Hz
125Hz
64Hz
30Hz
8KHz
5KHz
3KHz
2KHz
1KHz
500Hz
250Hz
125Hz
64Hz
30Hz
GRAPHIC EQUALIZER
IN
OUT
+15
+12
+9
+6
+3
+2
-2
-3
-6
-9
-12
-15
+15
0
-15
8KHz
5KHz
3KHz
2KHz
1KHz
500Hz
250Hz
125Hz
64Hz
30Hz
8KHz
5KHz
3KHz
2KHz
1KHz
500Hz
250Hz
125Hz
64Hz
30Hz
GRAPHIC EQUALIZER
IN
OUT
+15
+12
+9
+6
+3
+2
-2
-3
-6
-9
-12
-15
+15
0
-15
8KHz
5KHz
3KHz
2KHz
1KHz
500Hz
250Hz
125Hz
64Hz
30Hz
8KHz
5KHz
3KHz
2KHz
1KHz
500Hz
250Hz
125Hz
64Hz
30Hz
GRAPHIC EQUALIZER
To find out how each graphic equalizer slider affects the sound of your particu-
lar bass, start with all ten bands flat (that is, all ten sliders at their detented “0”
center position). Then, one by one, raise and lower each slider, listening care-
fully to the effect of each. If you don’t specifically need to utilize the ten-band
graphic equalizer, bypass it by setting the In/Out switch to its “Out” position.
Alternatively, you can preset a custom graphic equalization curve (for example,
for a feature solo) and activate it simply by pressing the switch when needed.
Note that turning all EQ controls up the same amount will have virtually the
same effect as simply turning up the Master Volume; conversely, turning them
all down the same amount will have virtually the same effect as turning down
the Master Volume. Both approaches are pointless (after all, that’s why we
gave you a Master Volume control!)
In many instances, the best way to deal with equalization is to think in terms of
which frequency areas you need to attenuate, as opposed to which ones you
need to boost. Be aware that boosting a frequency area also has the effect of
boosting the overall signal; specifically, too much low frequency EQ boost can
actually cause overload distortion or even harm a connected speaker, though
the Model 3500’s compression circuitry—if on—will act to some extent to pre-
vent this from occurring. In general, if you’re going to apply a fair amount of
low frequency EQ boost, it’s a good idea to keep Compression on, if only to
protect your speakers from potential damage.
The specific EQ you will apply to your bass signal is very much dependent
upon your particular instrument and personal taste and playing style.
However, here are a few general suggestions:
•
For that super-deep reggae or Motown sound, boost low frequencies
slightly while attenuating the highest ones (leave mid-range frequen-
cies flat or slightly attenuated), as shown in the illustration on the right.
•
To remove boxiness and make your instrument sound more “hi-fi,” try
attenuating mid-range frequencies while leaving low and high frequen-
cy settings flat, as shown in the illustration on the right.
•
For a twangy, cutting sound, try boosting the high and high mid-range
frequencies, as shown in the illustration on the right (putting new
roundwound strings on your bass will help a lot also!)
•
Whenever you get a really good EQ setting for a particular instrument
or song, write it down (you’d be amazed how easy it is to forget these
things!).
Finally, as you experiment with the EQ controls of the Model 3500, don’t forget
that your bass also provides EQ controls in the form of its tonal settings—this
can be particularly effective in instruments that have active circuitry. Also, try
various EQ settings with different Pre-Amp blends and with and without
Compression. For more information, see the “About Compression” section on
the following page.
