ALLEN & HEATH XONE 464, Руководство пользователя

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XONE:464 User Guide 27
FILTER TYPE SELECT The filters are ‘state variable’. This means that they
provide three simultaneous filter types, high-pass, band-pass and low-pass.
Three large illuminated switches select which type is active. You can press any
combination together to create different response types such as ‘notch’ and an
interesting ‘all-pass’ effect. The switches are ‘soft switched’ for live
performance, meaning that the audio signal is ramped between filter states to
prevent audible clicks. The selected type affects both X and Y filters.
Note that the last selected type is lost when power is removed from the console.
The LPF is always selected when power is applied.
The graphs below show the effect on the audio frequency response for the
three filter types. The range of sweep from low to high frequency is shown
together with the effect of adjusting RESONANCE (one frequency shown).
HPF Press this switch to select the high-pass filter.
Frequencies below the cut-off point are removed. The
cut-off point is adjusted using the large VCF control. At
minimum little effect is heard as only sub bass
frequencies are removed. Sweep clockwise to gradually
remove the bass line followed by the higher frequencies.
The highest frequency is limited to 10kHz as little useful
material is heard beyond this.
Try switching the HPF in with VCF set fully clockwise at
highest frequency, then sweeping the frequency back to
minimum. This can create an atmosphere of anticipation
as the dance floor awaits the power of the beat to kick in.
BPF Press this switch to select the band-pass filter.
Frequencies above and below the cut-off point are
removed leaving just a narrow band of sound. Sweep
VCF around its mid position to affect lead sounds such
as keyboard and vocals.
Try picking out individual sounds such as vocals and
mixing them into the beat and bass of the opposite track
to create a whole new mix. Add a little resonance to the
BPF to lift the sound out of the mix.
LPF Press this switch to select the low-pass filter.
Frequencies above the cut-off point are removed. The
cut-off point is adjusted using the VCF control. At
minimum only sub bass remains. Sweep clockwise to
gradually introduce the bass line followed by higher
frequencies into the mix.
Try sweeping the LPF back to a low setting to keep the
beat and energy going while talking over the mix. Try
also punching in the filter and sweeping it back from high
to low in time with the beat. Punch it out at the beginning
of the next bar.
In addition to the three basic filter types you can experiment with new effects by
selecting combinations of switches together. For example:
HPF+LPF = NOTCH. Used with RESONANCE you get a phasing effect.
HPF+BPF+LPF = ALL PASS. But with RESONANCE creates a dramatic effect.
Take some time to experiment with the filters before ‘going live’…
10k 20 1kHz 100 20k
0dB
+ 5
+ 10
+ 15
+ 20
-5
-10
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LO-PASS FILTER
LO
HI
BAND-PASS FILTER
LO HI
10k 20 1kHz 100 20k
0dB
+ 5
+ 10
+ 15
+ 20
-5
-10
-15
-20
10k 20 1kHz 100 20k
0dB
+ 5
+ 10
+ 15
+ 20
-5
-10
-15
-20
HI-PASS FILTER
LO
HI