Midas PRO6, Руководство пользователя

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PRO6 input channel EQ modes
315
PRO6 Live Audio System
Operator Manual
PRO6 input channel EQ modes
This section aims to provide an understanding of the input channel EQ modes contained
within the PRO6 control centre.
Basic specification
The PRO6 input EQ comprises four bands: treble; hi mid; lo mid; and bass. The default
operation for all four sections is full parametric sweep (peak), with the following
controls:
• Gain: continuous adjustment of boost and cut from + 16dB to - 16dB with a 0dB
centre detent.
• Width: continuous adjustment of bandwidth from 0.1 to 3.0 octaves (this only
operates in bell mode for Bass and Treble).
• Treble: continuous adjustment of the frequency range that the treble equaliser acts
on from 1kHz to 25kHz.
• Hi mid and lo mid: hi mid frequency control gives continuous adjustment of the
frequency range that the hi mid equaliser acts on from 320Hz to 8kHz. Lo mid
frequency control gives continuous adjustment of the frequency range that the
lo mid equaliser acts on from 80Hz to 2kHz.
• Bass: continuous adjustment of the frequency range that the bass equaliser acts on
from 16Hz to 400Hz.
The treble EQ band can be switched from bell to any of three other shelving modes:
• Soft
• Classic
• Bright
The bass EQ band can be switched from bell to any of three other shelving modes:
• Warm
• Classic
• Deep
Description of the input channel EQ modes
The difference between the shelf filters is subtle and, if you do not have time to
experiment, it is probably best to use classic because this is the best all round filter.
However, when you do have time to experiment you may find the other types each
have their uses. The minimum harmonic types, and in particular the bass, can sound
very natural, even with very aggressive EQ, but the psycho-acoustic principles that they
operate on do not always work so well on multiple source or pre-mixed material.
Soft treble
The soft treble response provides a very gentle gradient between EQ’d and non-EQ’d
frequency areas. This produces the absolute minimum of phase shift, but does not
provide much differentiation, thus frequencies outside the area of interest are often
unintentionally EQ’d. This is best used to provide gentle shaping of pre-mixed material.
Classic treble
The classic treble response provides a much steeper gradient between EQ’d and
non-EQ’d frequency areas, as made famous by previous Midas consoles like the XL4.
This provides better differentiation and minimal phase shift, but there is some
undershoot error, that is, when boosting the treble, the mids are slightly cut and vice