Ashly GQX-3102 운영 매뉴얼 - 페이지 8

{카테고리_이름} Ashly GQX-3102에 대한 운영 매뉴얼을 온라인으로 검색하거나 PDF를 다운로드하세요. Ashly GQX-3102 13 페이지. Graphic equalizer
Ashly GQX-3102에 대해서도 마찬가지입니다: 운영 매뉴얼 (16 페이지), 운영 매뉴얼 (12 페이지), 기술 노트 및 사양 (2 페이지)

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Page - 8

Introduction - 4

Typical Applications

GQX Equalizers – 5

Connectors & Cables – 5

Physical Description - 6

Installation – 7

Typical Applications - 8

General Tone Control

Feedback Control

Console Equalization

Room Equalization

Troubleshooting - 9

Dimensions - 9

Specifications - 10

Warranty - 11

The following information will help you make the most of your new equalizer:

General Tone Control

The graphic equalizer is a very useful device for general tone shaping because it is intuitive

and easy to adjust. The visual reference provided by the slider position gives an

approximate idea of the frequency response generated, with the lower frequencies on the

left and higher frequencies on the right. To use the power of an equalizer effectively, you

need to translate your idea of the tone you want to produce into a range of numerical

frequencies. This is simple after a little practice. Here are a few references which are

useful for starting points:

Very low bass (the "wind" in a kick drum, almost felt as much as heard -40Hz-

80Hz.

The low register of a male voice - 200Hz

The low register of a female voice - 350Hz

Lower midrange ("warmth" frequencies) - 400Hz-1KHz

Upper midrange ("harshness", snare drum "bite", "hot" sound) -2.5KHz-4KHz.

Sibilance ("sss" sounds, cymbal "sizzle") - 8KHz-15KHz.

Try using these starting points as a guide when you want more or less of these types of

sounds. Adjust by ear from there. It is always a good idea to remember that a little

equalization usually works out much better than a lot, and that there are many audio

problems which can not be solved with equalization alone.

Feedback Control

A graphic equalizer can be used to provide some control over moderate feedback

problems, but does not have enough flexibility or resolution to handle severe situations.

You will achieve the best results when you can eliminate one or two feedback points by

setting one or two sliders for no more than a 6dB cut. Often you can find a feedback point

by boosting sliders in succession to determine which frequency ranges contain the

feedback modes, and then cutting those ranges. Be very careful in this process to avoid

explosive feedback and possible system and hearing damage. If you find feedback points

with many equalizer bands, cutting every band may not help (all you will do is reduce

system gain). The combination of a graphic equalizer for tone control and a parametric

equalizer for feedback control is highly recommended.

Console Channel Equalization

Many mixing consoles provide only simple equalization for individual channels. If your

console has channel inserts, you can patch your graphic equalizer into a channel requiring

more precise equalization.

Large Room Equalization

Large rooms tend to suffer from multiple reflections with long time delays, long

reverberation times, and "ringmodes", all of which lead to reduced intelligibility and a

generally "muddy" sound. As sound travels long distances through the air, high

frequencies are attenuated more than low frequencies. In general, large rooms benefit from

some low frequency roll-off, high frequency boost, and attenuation of ring mode

frequencies. As in the case of feedback control, a graphic equalizer can help reduce an

isolated ring-mode or two, but a tunable narrow-band equalizer such as a parametric is

more effective here.

Operator Manual – GQX-3102 Equalizer