–15 20Hz
+15
+10
+5
0
–5
–10
–15 20Hz
–10
–5
0
+5
MIX-B SPLIT

The SPLIT switch (14) in the MIX-B section splits the EQ section of the channel when depressed. In the up position, all four sections of EQ remain, if en- gaged, in the primary channel signal path feeding the channel fader and the 8-plus-2 buses. In this mode there is no equalization in the MIX-B path.

When the SPLIT switch is de- pressed, the HI and LO shelving sections of the EQ are removed from the channel signal and inserted into the MIX-B signal path. The HI-MID and LO-MID parametric sections of the EQ re- main, if engaged, in the channel signal path.

The SPLIT function allows you to EQ the channel’s signal and its MIX- B signal separately.

NOTE: When the EQ is split, the main EQ IN/OUT switch only switches the channel signal’s parametric sections. It does not affect the shelving sections split to MIX-B.

EQ SECTION

Each 8•Bus channel strip equalizer section has four bands (HI MID, LO MID, LO, and HI) plus a low-cut filter. The equalizer can be split between main channel signal and MIX-B signal.

+15

+10

+5

0

–5

–10

–15 20Hz

+15

+10

+5

0

–5

–10

–15 20Hz

+15

+10

+5

0

–5

–10

–15 20Hz

+15

+10

+5

0

–5

–10

–15 20Hz

100Hz

1kHz

10kHz 20kHz

Freq. center: 1k;

Bandwidth: 1/12-octave;

±15dB boost/cut

100Hz

1kHz

10kHz 20kHz

Freq. center: 1k;

Bandwidth: 1-octave;

±15dB boost/cut

100Hz

1kHz

10kHz 20kHz

Freq. center: 1k;

Bandwidth: 3-octave;

±15dB boost/cut

100Hz

1kHz

10kHz 20kHz

When you put these consoles on the test bench, you see that the bandwidth of their EQ is simply too narrow — often around one octave. This is OK for extreme adjustments in live situations, but that’s about it. It’s just not wide enough to gently alter the multiple octaves that voices and instruments span.

This is just

the opposite

of “classic”

big-studio

consoles.

Their EQ (including Hi Mid) can be adjusted to be extremely broad — three or more octaves wide in many cases. When you apply this wideband EQ, it sounds far more “sweet” and “natural.” Changes sound so gradual and smooth that you can add considerably more EQ than would ever be possible with narrower -band consoles, yet without compromising the overall sound.

On the other hand, ultra-narrow -band EQ also has its place, both as a corrective tool and for special effects. So why not give you even tighter control than would be possible with a 1/3-octave graphic equalizer? Thus was born the 8•Bus’ 1/12-octave to 3- octave width range.

SHIFT

16

PRE

CHANNEL

MIX-B

SOURCE

U

HI

MID

–15 +15 3k

1k

5k FREQ

500 18k

NORMAL

2

BAND

WIDTH

OCTAVES

31

12

U

LO

MID

–15 +15 250

220350 FREQ

453k

U

HI

12k

–15 +15

U

LO

80

–15 +15

EQ

EQ IN

75 Hz 18dB/oct

LOW CUT

HI MID EQ

The HI MID EQ section (15) is a

+15

true 3-control parametric design, of- fering: A) bandwidth variable from 3 +10 octaves to 1/12 octave (16); B) ± 15dB of equalization (17) and; C) variable frequency center from 500Hz to 18kHz (18).

We spent a lot of time on this part of the 8•Bus Series’ EQ. One of the things we’ve always noticed about lower-priced consoles was how “drastic” their Hi Mid EQ sounded. Even a little boost could induce honkiness and nasality. Frankly, Hi Mid EQ on many boards is not that useful in studio applications for just this reason.

Freq.: 500Hz-18kHz sweep;

Bandwidth: 1/12-octave;

±15dB boost/cut

100Hz

1kHz

10kHz 20kHz

Freq.: 500Hz-18kHz sweep;

Bandwidth: 1-octave;

±15dB boost/cut

At this point, as we played

around with the Bandwidth and Boost/Cut controls using actual music, we realized that to limit this circuit to just Hi Mid (typi- cally above 2.5kHz) would actually limit its usefulness. The flexibility that true parametric control provides is nice to have in the octaves below the Hi Mid region as well. So we came up with what is probably the first console Hi Mid control that can be swept all the way down to 500Hz. If Hi Mid doesn’t do it for you as a name, think of these three controls as the Roving- Parametric-Problem-Solver-O-Matic. O-Rama.

100Hz

1kHz

10kHz 20kHz

Freq.: 500Hz-18kHz sweep;

Bandwidth: 3-octave;

±15dB boost/cut

7