If you are repeatedly using the same monitor loudspeakers, you can save the EQ settings which you have set for these speakers (store them under names such as wedge 15" or drumfill). Extremely low frequencies should be filtered out to avoid a “muddy” stage sound.
+Set the shelving tool to give you a high pass filter. (Set the shelving slope in EQ SETUP to 12 to 18 dB/oct.) By using the horizontal cursor keys you can easily change the
If you have a large system with a separate monitor mix and more than four independent monitor submixes, we recommend the use of one
The AFL output from the monitor mixing desk is normally used to feed a loudspeaker at the mixing position. You can feed this output through the analyzer line input. The
Fig. 3.3: Several
3.3 Using the
There are countless uses for the
As the equalizer for the studio monitor system. In addition to the usual graphic EQ use, you can use the parametric filters to eliminate narrow band room resonances, standing waves etc.
As mastering equalizer. By using the STEREOLINK function you need only set one channel of the equalizer to achieve the desired EQ setting. The parametric filters are also very useful for this purpose. By using the optional AES/EBU digital inputs and outputs you can treat material working solely in a digital environment.
+The STEREOLINK function does not apply to the parametric filters!
As a sound tool for any purpose. If you are working with a sequencer, you can program the equalizer, via MIDI, to give you a “moving EQ” automation - you can control individual graphic faders, and store their movements per MIDI, enabling you to reproduce the EQ mix settings at any time.
3.4 The ULTRA-CURVE PRO as a delay unit
In a large sound installation loudspeaker systems are often placed a considerable distance away from the stage, or are suspended at a height (flown), in order to give those sections of the audience further away from
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