Manual

208 PRO X User Manual
PRO X output channel EQ modes
This section aims to provide an understanding of the output channel EQ modes contained within the PRO X Control Centre.
Basic specication
The PRO X output EQ comprises six bands strategically positioned at certain frequencies ranging from the low end (bass) to the high (treble) of the frequency band.
The default operation for all six 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.
• Frequency: continuous adjustment of the frequency range that the band EQ acts on from 16 Hz to 25 kHz.
Band 1 can be switched from bell to any of three shelving modes:
• Warm
• High pass lter 6 dB
• High pass lter 12 dB
Band 2 can be switched from bell to high pass lter 24 dB shelving mode.
Band 6 can be switched from bell to any of three shelving modes:
• Soft
• Lo pass lter 6 dB
• Lo pass lter 12 dB
Description of the output channel EQ modes
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.
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.
High pass lter (HPF)
The HPF attenuates (not boosts) all frequencies below a certain level (cut-o frequency) while allowing all those above it to pass through. The harshness or
smoothness with which the sound is removed beyond this point is determined by the dB/octave, with 6 dB being the most common. The HPF is generally used to take
rumble or hum out of any sound source, but may also produce a sound eect by manipulation of the controls.
The high pass lters of the PRO Series have gain roll o before the corner frequency, which is variable.
Lo pass lter (LPF)
The LPF attenuates (not boosts) all frequencies above a certain level (cut-o frequency), while allowing all those below it to pass through. The harshness or
smoothness with which the sound is removed beyond this point is determined by the dB/octave, with 6dB being the most common. The LPF is generally used to reduce
noise in quiet passages or to take the zz o any source with excessively high frequencies, but may also produce a sound eect by manipulation of the controls.
The low pass lters of the PRO Series have gain roll o after the corner frequency, which is variable.