Ashly PQX-572, PQX-571 Connecting Into a Sound System, General Tone Control, Feedback Control

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Operating Manual - PQX 571 and PQX 572 Parametric Equalizer

 

Mixer

 

 

PQX 571 Parametric Equalizer

 

 

Compressor - Limiter

 

 

Crossover

 

 

Power Amplifier

 

 

 

Typical Sound System Design

6.

TYPICAL APPLICATIONS

Lower midrange (“warmth” frequencies) -

 

 

400Hz-1KHz

6.1Connecting Into a Sound System

Typically an equalizer is used in a sound system which has a mixer or some other sort of preamplifier. In such cases, the equalizer normally should be connected after the mixer but before any electronic crossovers or limiters. The PQX equalizers are line level devices de- signed to operate at nominal +4 dBu signal levels; there- fore, the equalizer should not be connected directly to microphones, phonograph players or low level musical instruments.

6.2General Tone Control

The parametric equalizer is a very useful device for general tone shaping because the filter’s center fre- quency, bandwidth and level are all continuously vari- able. To use the power of the equalizer effectively, you need to translate your idea of the tone you want to pro- duce 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, al- most felt as much as heard -40Hz-80Hz.

The low register of a male voice - 200Hz

The low register of a female voice - 350Hz

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 cannot be solved with equalization alone.

6.3Feedback Control

The PQX equalizers are powerful tools when ap- plied to eliminating feedback problems. On a traditional graphic equalizer, the fixed filter center frequencies are insufficient when the frequency of feedback occurs be- tween two slide faders, or is extremely narrow. The con- tinuously variable center frequency and bandwidth of a parametric equalizer allows very sharp notching of feed- back frequencies.

The following procedure outlines how to use a parametric equalizer to suppress feedback frequencies:

1.Start with all the PQX EQ switches out ex- cept the master EQ switch in and the master Level at 0.

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Contents Operating Manual Table Of Contents Introduction AC PowerAudio Connectors and Cables UnpackingLow Shelving Filter Filter No GroundingControls Parametric Filters Filters NoClip Indicator High Shelving Filter Filter NoMaster Level Connecting Into a Sound System General Tone ControlFeedback Control Theory Large Room EqualizationSmall Room Equalization Console Channel EqualizationTroubleshooting Tips Dimensional DiagramSpecifications Warranty InformationSchematics PQX 571, PQX 572 Schematic Diagram 2 PQX Rev

PQX-571, PQX-572 specifications

The Ashly PQX-572 and PQX-571 are advanced audio processing devices designed to enhance sound quality in professional audio applications. Known for their exceptional performance and reliability, these two models are vital tools for sound engineers and audio professionals. Both devices integrate cutting-edge technologies that enable them to deliver superior sonic precision.

Starting with the Ashly PQX-572, this model serves as a 2-channel parametric equalizer that offers extensive control over audio frequencies. One of its standout features is the adjustable Q factor, which allows users to fine-tune the bandwidth of each frequency band. This feature enables precise adjustments, making it easier to eliminate unwanted resonances or enhance desirable frequencies. The PQX-572 also incorporates 20 Hz to 20 kHz frequency ranges, which ensure that audio processing can be applied across the audible spectrum, accommodating diverse audio sources.

Equipped with high-headroom circuitry, the PQX-572 provides low distortion levels, allowing for clean and transparent audio processing. Its front panel includes intuitive rotary controls for gain, frequency, and Q, enabling real-time adjustments during any audio session. Additionally, the device features bypass switches for each channel, providing flexibility when comparing processed and unprocessed audio.

On the other hand, the Ashly PQX-571, a single-channel version, shares many features with its twin yet possesses its unique strengths. This model is especially beneficial in setups where space is a concern since it occupies a single rack unit. The PQX-571 is ideal for musicians, small venues, and mobile setups that require high-quality sound processing without extensive equipment.

The PQX-571 maintains the same stellar audio performance found in the PQX-572, offering discrete, high-performance circuitry and low-noise operation. It also provides similar capabilities in frequency adjustment, emphasizing the importance of flexibility in audio manipulation. Both models are ruggedly built, making them suitable for various environments, from recording studios to live sound applications.

In summary, the Ashly PQX-572 and PQX-571 are robust audio tools designed for precise sound control and exceptional audio quality. Their intuitive interfaces and advanced features make them essential components for any audio professional looking to elevate their sound production capabilities. Whether in a recording studio, live venue, or mobile setup, these devices deliver performance and reliability that audio engineers can trust.
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