Ashly SWAMP 4-8SP Betriebshandbuch - Seite 6

Blättern Sie online oder laden Sie pdf Betriebshandbuch für Computer Hardware Ashly SWAMP 4-8SP herunter. Ashly SWAMP 4-8SP 16 Seiten. Dsp loudspeaker system processors

Seite drucken

Operating Manual - SWAMP 4-8SP System Processors

4 .6 Audio Functions

4 .6a Gain

Input and Output Gain are

separately adjustable from -40dB to

+12dB in 0.1dB increments.

The output gain menu also

provides for selection of input source(s)

for a given output channel, as well as po-

larity of the outgoing signal. Any input

or combination of inputs can be routed

to any or all outputs. Keep in mind that

two signals which share significant

content, such as a stereo source, will

be up to 6dB louder when combined.

4 .6b EQ

The Protea SP EQ section of-

fers full parametric EQ as well as 1st

and 2nd order shelving filters on inputs

and outputs. Each input channel has six

selectable EQ filters, while each output

channel has four selectable EQ filters. In

all cases, each filter is selectable between

parametric (PEQ), 1st order Low Shelf

(LS1), 2nd order Low Shelf (LS2), 1st

order High Shelf (HS1), and 2nd order

High Shelf (HS2).

Shelving EQ filters: 1st order filters use

a gentle 6dB per octave slope, while 2nd order

filters use a 12dB per octave slope for more a

pronounced boost or cut. All shelving filters have

a boost/cut range of +/-15dB. Low shelving filters

have a frequency range from 19.7Hz through

2kHz, and the high shelving filters range from

3.886kHz through 21.9kHz. Shelving filters are

most useful as broad tone controls to boost or

cut the high end or low end of an audio signal's

frequency content. Because they affect a wider

spectrum of audio, they are not as suitable for

feedback control as parametric filters.

Parametric EQ (PEQ) uses peak filters

with the ability to control boost or cut, frequency

center, and bandwidth. Think of one band of

parametric EQ as a single graphic equalizer fader except that the frequency is variable, not fixed, and that the bandwidth, or

how "wide" the filter affects the frequency spectrum at the center frequency, is completely variable. The smaller the bandwidth,

the less the audio signal on either side of the frequency center is boost or cut, whereas a larger "wider" bandwidth produces an