Manual

207 PRO X User Manual
PRO X input channel EQ modes
This section aims to provide an understanding of the input channel EQ modes contained within the PRO X Control Centre.
Basic specication
The PRO X 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 + 16 dB to - 16 dB with a 0 dB 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 1 kHz to 25 kHz.
• 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 dierence between the shelf lters 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 lter.
However, when you do have time to experiment you may nd 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 dierentiation, 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 dierentiation and minimal phase shift, but there is some undershoot error, that is, when boosting the treble, the mids are slightly cut and vice
versa. This is the best all round EQ and especially eective when microphones are covering multiple sources.
Bright treble
The bright treble response provides a slightly steeper gradient than the classic and it is uniquely shaped to provide minimum harmonic disruption to the EQ’d material.
As for the classic EQ, this provides better dierentiation and minimal phase shift, but now there is no undershoot error corrupting the mids. This is best used on single
source material and especially good for acoustic performances.
Warm bass
The warm bass 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 dierentiation, 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 bass
The classic bass response provides a much steeper gradient between EQ’d and non-EQ’d frequency areas and is modelled on the XL4. This provides better
dierentiation and minimal phase shift, but there is some undershoot error, that is, when boosting the bass, the mids are slightly cut and vice versa. This is often
desirable on bass EQ and it is the best all round, general purpose EQ curvature.
Deep bass
The deep bass response provides a slightly steeper gradient than the classic and it is uniquely shaped to provide minimum harmonic disruption to the EQ’d material.
As for the classic EQ, this provides better dierentiation and minimal phase shift, but there is no undershoot error. Powerful boost/cut can be used that still sounds
very natural and does not corrupt the mids. This is best used on single source material.