Symetrix 551E, Руководство пользователя

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Applications Chapter 7
Studio Applications
Sound Systems
Monitor Mixes
Though graphic equalizers are the most popular tools for equalizing onstage monitors, the task of
feedback suppression is an area where parametrics excel. The continuously variable FREQUENCY
KNOB on the 551E/552E allows you to zero in precisely on the feedback area. Narrowing the
bandwidth allows you to make very drastic cuts while minimizing the effect on the rest of the audio
spectrum. Graphic EQs, while easy to use, cannot approach this kind of precision.
Mains
There is no better tool than a parametric EQ for balancing the frequency response of your sound
system. Use a couple of bands in notch filter mode to compensate for standing waves or feedback
problems. You will still have a few bands left over for sweetening the PA sound.
Aux Send To Subwoofer
If you are using an Aux send on your console to drive your subwoofers, you will still need an EQ
somewhere before the crossover. Your best choice for this job is a parametric (a graphic EQ does not
have enough precision in the low end) especially if you set the subwoofer crossover point at 100 Hz or
lower. With five completely tunable filters at your disposal, you can ensure that your system delivers
maximum impact.
Channel Insert
Have you ever wished for a couple of extra EQ bands to really perfect your kick drum sound? The 551E/
552E is perfect for the job. Five bands give you the power to make any kick drum sound huge by dialing
out unpleasant rings, accentuating the attack of the high end, and adding extra low end. You can use
the 551E (or one channel of the 552E) at the channel insert of any mixer channel that requires special
attention, from drums to vocals.
Multitrack Recording
During tracking, the 551E (or one channel of the 552E) could either be placed in the insert point of a
console channel or, if you are using a direct-to-tape approach, following the mic preamp. Use the 551E/
552E for creative sweetening of the sound source, or to minimize unwanted noises that exist within the
signal you wish to record. Full frequency microphones are great, but can be overly sensitive to rumble
or air noise - you may want to eliminate this before it goes to tape. This is especially necessary if you are
forced to mix two signals onto the same track. It is much harder to fix problems once the signals are
combined.
Mixdown
Patch the 551E (or one channel of the 552E) into the signal path of an individual track - usually on the
insert point of the console channel. In this application, use the unit to boost frequencies needed to
make that instrument/voice/whatever stand out in the mix, or perhaps cut irritating or nonmusical
frequencies. The five, fully overlapping bands make the 551E/552E very versatile in this application.
Mixdown/Mastering
Another place you might need the power of a five band parametric equalizer is on the entire mix. Of
course, you need a 552E for stereo applications. Think of the difference a boost at 40 Hz will do for the
dance mix, while a boost at 4kHz could rescue a vocal part at the last moment.
Control Room Tuning
An entirely different studio application for parametric equalizers is in control room monitor tuning. Most
engineers want to be able to control the tuning of the speakers to fix problems caused by the room.
Graphic equalizers may be able to give you a quick picture of their settings, but they lack the precision
necessary to really dial in the sound. A parametric equalizer, especially one with five full range bands, is
perfect for tuning a room.