Manual

221 PRO X User Manual
Appendix C: KLARK TEKNIK DN370 GEQ
This appendix contains information on the KLARK TEKNIK DN370 GEQ unit that is pertinent to the PRO X.
Notes
When reading the KLARK TEKNIK DN370 GEQ in relation to the PRO X, take the following into consideration:
• Constant-Q versus Symmetrical-Q: In the manual, Constant-Q is referred to as Symmetrical-Q. There is a note in the manual to say that Symmetrical-Q is
inaccurately referred to as Constant-Q.
• For “DN370” in manual, read “GEQ”.
• SPL = sound pressure level.
• Although the manual refers to a physical unit, this can still apply to the virtual GEQ equivalent of the PRO X. For example, the pushbuttons in the units on the
Graphic EQs screen have the same functions as the ones on the physical unit, and the on-screen faders represent the unit’s long-throw ones etc.
• The GEQ of the PRO X has 31 bands, as compared to 30 on the DN370. The extra band is at a frequency centre of 20Hz, and is adjusted by the leftmost fader.
Using the GEQ
This 31-band, third octave graphic equaliser provides a high degree of accuracy and control. Graphic equalisers may be used for corrective or creative purposes,
depending upon whether they are used live (MON or FOH) or in the studio (broadcast or recording).
Studio and creative use
In the control room, a graphic equaliser may be used to remove problem frequencies and improve deciencies in room acoustics. This is commonly achieved with the
use of a real time analyser (RTA). As the frequency centres of the PRO X Control Centre conform to ISO standards, corrections can be made by sight directly from the RTA
to the graphic.
There are many creative and corrective uses for the GEQ. For example, by using the 31 equaliser bands and the high and low pass lters you can achieve the eect
of someone speaking on the telephone. When used in conjunction with a compressor, you can create a de-esser. The GEQ can also be used for tonal correction of
instruments or vocals.
Live use (MON)
A monitor engineer may use an RTA to detect these peaks but, more often than not, monitor engineers have a developed sense of hearing that enables them to remove
these frequencies by ear. The GEQ’s 31 bands allow a majority of feedback to be removed from the monitors. High and low pass lters are provided that can be used to
remove high frequency feedback and bass rumble or over-excursion of bass drivers (the GEQ on the PRO Series has no variable notch lters). It may also be undesirable
to have large amounts of bass in the on-stage monitors. In vocal monitors, bass does not assist projection of vocals and can make the stage sound unbearable, hence,
the bass element can be rolled o at the desired frequency. The fundamentals of vocals are transmitted in a narrow audible range and will appear unaected.
Bypassing the EQ
It may be desirable to hear the eect of the graphic equaliser settings, for example, during a sound check. To do this, press the EQ in/out switch so that it is set to out
(the red out LED is illuminated); this bypasses the EQ (and gain) settings of the GEQ, allowing the user to hear the original audio without adjusting any fader or control.
Placing the fader of any band at the extreme upwards position will apply 12dB gain to frequencies in that band. Placing the fader of any band at the extreme
downwards position will apply 12dB of attenuation, depending upon the RANGE switch’s setting, to the frequencies in that band.