Sound Performance Lab 2595 manual Frequency Filters, Shelf Filters, Peak Filters, Bandwidth

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The Basics of Frequency Filtering

Frequency Filters

As a rule almost everyone of us has first made an aquaintance with frequency filtering through our listening to home stereos. Such elementary kinds of filters are simple ampli- tude-based filters: When one turns a bass control clockwise, one hears a general or overall increase in bass frequency energy.

But with the explanation above on the composition of a complex, natural tone, it is clear that such a low frequency control does not only influence the energy of the fundamental frequency, but also always the sound of a tone—the relationship between energy of the fundamental and harmonics frequencies is changed.

Typically amplitude-based frequency filtering boosts or cuts the energy of a specific audio frequency band. In such processes it is possible to employ filters with design and function that are very different from each other: Depending upon the technical construction, such filters may, for example, process only high or low frequencies in certain way.

Filter Types

There are two types of filters used in the Passeq: wide-band filters which are comparable to shelf-filter characteristics and bell-formed peak-filters with narrower bandwidths.

Shelf Filters

A shelf filter increases or decreases the energy of all frequencies above or below a chosen frequency. Depending upon the direction of processing one refers to high frequency (HF) or low frequency (LF) shelf filters. Beginning with the threshold frequency, the frequency band is boosted or cut much like a shelf. The maximum boost or cut achieved at the point furthest from the threshold frequency. The threshold frequency is usually about 3 dB less (with the overall increase set to maximum). This gives the typical rising form of the shelf filter’s response curve.

Peak Filters

A peak filter boosts or cuts a chosen frequency‘s energy with a maximum amplitude and a definable frequency range around this frequency with a fall off of up to 3 dB to both sides. The chosen frequency with the maximum amplitude is called center frequency—it takes place in the middle at the peak of the response curve. The response curve forms a bell, thus peak filters are also often referred to as bell filters.

Bandwidth

The width of a frequency range or band is musically defined in octaves. The technical coun- terpart to this is the “Quality” of a filter, and the abbreviated “Q” is the most common value for the bandwidth of a filter.

A high Q value means a narrow bandwidth while a smaller Q factor corresponds to a wider one:

Bandwidth 2 Octaven: 0.7 Q

Bandwidth 1 1/3 Octaven: 1 Q

Bandwidth 1 Octave: 1.4 Q

Bandwidth 1/2 Octave: 2.8 Q

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Passeq

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Contents Manual SPL electronics GmbH Sohlweg Manual Passeq, ModelWeee Registration 973 349 88 Contents Important Safety Information Hook Up Symbols and NotesRack Mounting Special Features IntroductionFilter Types Advantages of Passive FilteringPassive Filters with 120 Volt Makeup Amplifiers Single Core CoilsInput Stages of the Supra Components Volt Makeup AmplifiersSPL Supra Op-Amps Intermediate Stages of the Supra ComponentsLundahl Transformers Other FeaturesConclusion IPU/% DPME   Power switch and voltageRear Panel Selector Please refer toConnections OperationFrequency Table/per Band One Coil per Filter, one Core per CoilAllocation of Frequencies Boost Cut FrequenzCut LF-LMF Cut MF-MHF Cut MHF-HF Boost LF Boost HFLF-LMF Cut and LF Boost Operational ElementsMF-MHF Cut and LMF-MHF Boost MHF-HF Cut HF Boost Q Settings with the Proportional Q PrincipleMHF-HF Cut and HF Boost Output ControlBasic Approaches and Working Techniques Recommendations on using EqualizersEQ Yin & Yang Reducing bleed within an instrument‘s frequency range First control levels, then apply EQFirst cut, then boost Boosting harmonic frequency levelsMix-or not? Cutting fundamental levelsEmphasis of an instrument‘s main frequencies Splitting frequency bands to reduce masking effectsImproves the presence of bass lines Classical instruments and their frequencies Tone and Sound Basics of Frequency FilteringFrequency and Energy Sound Correction and Sound DesignPeak Filters Frequency FiltersShelf Filters BandwidthEqualizer Passive EQsParametric EQs Active EQsGraphic EQs Power Supply SpecificationsGuarantee & Product Registration Copy Master Recall Settings Engineer Artist Tracks/Groups Album Date TitleManual Passeq

2595 specifications

The Sound Performance Lab 2595 is a cutting-edge audio processor designed to elevate mixing and mastering workflows for both professionals and enthusiasts alike. This device stands out in the competitive landscape of audio equipment, thanks to its blend of innovative technologies, high-quality sound processing, and user-friendly features.

One of the main features of the 2595 is its dual-channel architecture. This allows users to process two audio signals simultaneously, making it an ideal choice for stereo applications. Designed for flexibility, the device can be used for various purposes, including mixing, mastering, and live sound reinforcement. The 2595 boasts an intuitive layout, making it easy to navigate its range of functions and settings, even for those who may be new to audio processing.

The heart of the 2595 lies in its advanced digital signal processing (DSP) capabilities. The device is equipped with high-resolution converters, allowing for pristine audio quality with minimal latency. This ensures that the integrity of the original sound is maintained, which is a crucial aspect for any serious sound engineer or musician. Additionally, the built-in algorithms are designed to enhance the audio signal intelligently, providing users with options for dynamic range control, spectral processing, and various filtering techniques.

Another notable characteristic of the Sound Performance Lab 2595 is its extensive connectivity options. The device includes both analog and digital I/O, making it compatible with a wide range of audio sources and studio environments. This versatility is essential for professionals who often work with various formats and formats, ensuring that the 2595 can seamlessly integrate into any setup.

The user experience is further enhanced by the inclusion of a bright, user-friendly display that provides real-time feedback on processing parameters. This feature allows users to make precise adjustments quickly, facilitating a more efficient workflow. Furthermore, the 2595's robust construction ensures that it is built to withstand the rigors of both studio and live applications, making it a reliable choice for any audio professional.

In conclusion, the Sound Performance Lab 2595 represents a significant advancement in audio processing technology. With its dual-channel processing capability, high-quality DSP, extensive connectivity options, and user-friendly interface, it caters to a wide range of audio applications while maintaining exceptional fidelity and performance. This makes the 2595 a valuable tool for anyone looking to achieve professional-grade sound in their projects.
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