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REFERENCE MICROPHONE. If you’re using a reference microphone and a Real Time Analyzer
(such as those integral to the Sabine POWER-Q or REAL-Q2), you may also wish to study the results
with the microphone at several locations. We recommend using a flat response, free-field reference
microphone such as the Sabine SQ 1001.
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INTERACTIVE FADERS. Remember pushing up or down a range of filters is actually boosting or
cutting beyond the range of any individual slider, because adjacent filters overlap and the settings
of each combine.
9.3.2. Using FBX filters
Once your graphic EQ curve is set, you are ready to move on to setting FBX filters. Setting filters in this
order (graphic before FBX) means you’re likely to get more benefit from your FBX filters. If there are
frequency ranges attenuated or boosted by your system or acoustics that are not first compensated for
by graphic EQ, your FBX filters may cluster together, using several narrow filters to address a problem
better solved by one, wider filter, and more quickly exhausting available FBX filters.
9.3.3. Changing FBX filters to Parametric filters
Using the remote control (see Section 8.2.5) you can change FBX filters to parametric filters. This allows
you to manually change the width and/or the depth of the feedback filter set automatically. This may prove
useful if you set FBX filters and see that some have been placed close together. You may be able to
program a parametric filter in between two filters with a slightly wider width or depth, and use one filter
to do the job of two FBX filters. You can then reset FBX filters, rerun your setup, and get additional gain
by adding another feedback filter to your arsenal.
Section Nine: Suggestions for Optimal Use of the GRAPHI-Q
