Midas PRO6, Owner'S Manual

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PRO6 Live Audio System
Owner’s Manual
Appendix C: Klark Teknik DN370 GEQ
This appendix contains information on the Klark Teknik DN370 GEQ unit that is
pertinent to the PRO6.
Notes
When reading the Klark Teknik DN370 GEQ in relation to the PRO6, take the following
into consideration:
• Constant-Q versus Symmetrical-Q: In the manual, Constant-Q is referred to as
Symmetrical-Q. There is a note in the manual to say that Symmetrical-Q is
inaccurately referred to as Constant-Q.
• For “DN370” in manual, read “GEQ”.
• SPL = sound pressure level.
• Although the manual refers to a physical unit, this can still apply to the PRO6’s
virtual GEQ equivalent. For example, the pushbuttons in the units on the Graphic
EQs screen have the same functions as the ones on the physical unit, and the on-
screen faders represent the unit’s long-throw ones etc.
• The PRO6’s GEQ has 31 bands, as compared to 30 on the DN370. The extra band is
at a frequency centre of 20Hz, and is adjusted by the leftmost fader.
Using the GEQ
This 31-band, third octave graphic equaliser provides a high degree of accuracy and
control. Graphic equalisers may be used for corrective or creative purposes, depending
upon whether they are used live (MON or FOH) or in the studio (broadcast or
recording).
Studio and creative use
In the control room, a graphic equaliser may be used to remove problem frequencies
and improve deficiencies in room acoustics. This is commonly achieved with the use of
a real time analyser (RTA). As the frequency centres of the PRO6 Control Centre
conform to ISO standards, corrections can be made by sight directly from the RTA to
the graphic.
There are many creative and corrective uses for the GEQ. For example, by using the 31
equaliser bands and the high and low pass filters you can achieve the effect of someone
speaking on the telephone. When used in conjunction with a compressor, you can
create a de-esser. The GEQ can also be used for tonal correction of instruments or
vocals.
Live use (MON)
A monitor engineer may use an RTA to detect these peaks but, more often than not,
monitor engineers have a developed sense of hearing that enables them to remove
these frequencies by ear. The GEQ’s 31 bands allow a majority of feedback to be
removed from the monitors. High and low pass filters are provided that can be used to
remove high frequency feedback and bass rumble or over-excursion of bass drivers
(the GEQ on the PRO6 has no variable notch filters). It may also be undesirable to have
large amounts of bass in the on-stage monitors. In vocal monitors, bass does not assist