12
S T E R E O
Fig.1:
The dotted line shows
frequency responses for a
soft Bass (S
OFT
) at
maximumP
ROCESS
and a
M
ID
-H
I
T
UNE
of 3.5 kHz.
The solid line shows the
phase response, which
always drifts only a few
degrees if the amplitude is
increased.
Fig. 2:
The dotted line shows
frequency responses for a
hard Bass(T
IGHT
) at
maximum P
ROCESS
and a
M
ID
-H
I
T
UNE
of 3.5 kHz.
The solid line shows the
phase response whichhas a
phase relation of -180° at
50 Hz, but otherwise also
drifts only by a few degrees
at increasing amplitudes.
Control elements
The P
ROCESS
control determines the processing ratio between the set
bass sound colour and the original signal. This results in varying bass
sound structures: if you combine high bass amplification on the B
ASS
control with a lower P
ROCESS
value, you get a different bass structure than
with a lower bass amplification combined with a higher P
ROCESS
value.
Choosing the best solution is a matter of personal taste and also depends
on the type of original signal involved.
The M
ID
-H
I
T
UNE
control is used to set the starting frequency of the
broad-band shelving filter. In line with the setting of P
ROCESS
control, all
frequencies above this value right through to the end of the audio range
are processed.
The control range of the M
ID
-H
I
T
UNE
control is between 1 kHz (extreme
right) and 20 kHz (extreme left). In practice, common settings vary
between 3.5 kHz and 8 kHz.
As the human ear perceives the range between 1 kHz and 3 kHz parti-
cularly clearly, at all volumes between 0 and 120 phon it makes sense to
adapt this frequency range. You might feel inclined to say "Yes, but I do that
with my graphic EQ as well". The main difference is that the graphic EQ
really reduces the effective loudness of the frequency, i.e. cuts out the
4
Mid-Hi Tune
