73
5
Digital Effects | Master Control
5.4
Graphic Equalizers
StudioLive™ 32.4.2AI
Owner’s Manual
5.3.7
AutoStore
It is not necessary to create a scene for your StudioLive in order to preserve its
settings when you power it down. The StudioLive takes continuous snapshots of the
current position of every parameter on the mixer and stores them to memory every
3 seconds. This ensures that the next time you turn your StudioLive on, all of your
settings will be restored to the same setting they were in when you powered down.
Note:
If you make changes to a stored scene, AutoStore will not save these changes as
a permanent part of the scene. Any changes made to a scene in the StudioLive’s library
must be saved using the Scene menu, as described in the first part of this section.
5.4
Graphic Equalizers
The StudioLive features a 31-band graphic EQ for each of the analog aux buses
and a stereo, 31-band graphic EQ for the Main bus. A graphic EQ is a multiband
equalizer that uses physical or virtual sliders to adjust the amplitude for each
frequency band. It gets its name from the positions of the sliders, which graphically
display the resulting frequency-response curve. While the GEQ menu is active, the
encoders in the Fat Channel are used to make amplitude adjustments, and the
meter LEDs display the “slider” positions. The center frequency and bandwidth
are fixed; the level (amplitude) for each band is the only adjustable parameter.
Graphic EQs are generally used to fine-tune the overall mix for a particular
room. For instance, if you are mixing in a “dead” room, you may want to boost
high frequencies and roll off some of the lows. If you are mixing in a “live”
room, you might need to lower the high-midrange and highest frequencies. In
general, you should not make drastic amplitude adjustments to any particular
frequency band. Instead, make smaller, incremental adjustments over a wider
spectrum to round out your final mix. To assist you with these adjustments, here
is an overview of which frequencies affect different sound characteristics:
Sub-Bass (16 Hz to 60 Hz). The lowest of these bass frequencies are felt, rather
than heard, as with freeway rumbling or an earthquake. These frequencies give
your mix a sense of power, even when they only occur occasionally. However,
overemphasizing frequencies in this range will result in a muddy mix.
Bass (60 Hz to 250 Hz). Because this range contains the fundamental notes
of the rhythm section, any EQ changes will affect the balance of your mix,
making it fat or thin. Too much emphasis will make for a boomy mix.
Low Mids (250 Hz to 2 kHz). In general, you will want to emphasize the lower
portion of this range and de-emphasize the upper portion. Boosting the range
from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to
bass and lower frequency instruments. The range between 500 Hz and 2 kHz
can make midrange instruments (guitar, snare, saxophone, etc.) “honky,” and too
much boost between 1 kHz and 2 kHz can make your mix sound thin or “tinny.”
High Mids (2 kHz to 4 kHz). The attack portion of percussive
and rhythm instruments occurs in this range. High mids are also
responsible for the projection of midrange instruments.
Presence (4 kHz to 6 kHz). This frequency range is partly responsible for the clarity of
a mix and provides a measure of control over the perception of distance. If you boost
this frequency range, the mix will be perceived as closer to the listener. Attenuating
around 5 kHz will make the mix sound further away but also more transparent.
Brilliance (6 kHz to 16 kHz). While this range controls the
brilliance and clarity of your mix, boosting it too much can cause
some clipping so keep an eye on your main meter.
