Operational Elements

MHF-HF Cut and HF Boost

Passeq’s high frequency bands have a different layout for the cut and boost ranges: The MHF-HF cut band exhibits a (wide-band) shelving characteristic, while the HF boost band exhibits a variable Q, peak filter characteristic.

As seen above, one can also note and intensification in choice of frequencies in the high range. Here the same reasons apply as in prior cases: Individually designed and constructed coil-condenser-resistor configurations result in slightly differing sonic characteristics. Thus beginning at 10 kHz there are seven additional switchable frequencies. The available variable Q (ranging from Q=0.1 to Q=1.0) allows the engineer access to an enormously flexible range in high frequency boost options.

HF Boost Q Settings with the Proportional Q Principle

With the proportional or variable Q principle, boost control settings would apply only if the HF boost Q were to be set at Q=1.0 (control set fully clockwise). Were the value to be reduced (thus increasing the bandwidth), the boost would also be reduced. This can lead to a situ- ation wherein, for example, a HF boost Q setting of 0.1 and a boost of 3 dB would result in effectively no audible boost in the chosen frequency—at this value the Q value resides at about 0.3 dB. With this Q value, don’t hesitate to turn turn up the HF band boost control to its full 12.5 dB setting—this results in an actual overall increase of around 3.5 dB. Narrower Q settings, for example, to 0.6, result in further level boosts again.

The advantage of proportional Q as compared to constant Q designs rests with the musi- cally superior way it functions. The wave energy which resides below the bell curve remains essentially the same and in the process, retains the balance of high frequencies in relation to the entire frequency spectrum as one experiments with varying Q values. While it is true that one must think independently of the scaled HF boost dB values in such cases (because these only apply to a value of 1), the result is a simpler, more musically sensible and worthwhile way to work that does not require continual additional corrections.

MHF-HF Cut

The MHF-HF cut band is similar to a shelving filter that can reduce higher frequencies in a wide bandwidth. It is appropriately wide, beginning with 580 Hz and extending to 19.5 kHz, a range of over 5 octaves and overlapping the lowest, LF-LMF cut band by just about two octaves. With it one can lower a very wide bandwidth and with the peak mid range filters further reduce—or raise—specific ranges. The process can result in the creation of very interesting curves. Here the maximum cut is -14.5 dB, while the maximum boost reaches +12.5 dB.

The Passeq is not limited to any one particular kind of application, and, for example, is also especially well suited to processing individual instruments in recording sessions. In such cases the wide downward reaching MHF-HF cut band may be play an exceptional role. Individual instruments can easily be cut upwards, either to give them a more compact sound or when higher frequencies might be supplied from different microphone—or because the mix simply suggests it.

Output Control

The Output control serves as output level regulator. If boosts increase levels at the output, they can be reduced again to the input level‘s value. (compare the block diagram “passive filter at +18 dB boost” on page 21).

The proven “Big Blue” potentiometer from ALPS with 41 steps is employed here to ensure precise control and minimum tolerances over both channels.

 

 

 

 

 

 

 

 

 

.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

L

 

)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

'

 

 

 

 

 

 

 

 

 

 

 

L

 



 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



°

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

L )

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 



 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

'

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



$

 

 

 

 

 



 

 

 

 

 

 

 

 



 

V

 

 

 

 

 



 

 

 

 

 

 





 

 



°

 

 

 

 

 

 

 

 

 



 

 



 



 

 

 

 



 

 

 

 



L

 



 

 

 

 

E

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

L

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

#

 

 

 

 

 



 



 

 

 



 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 



 

 

 

 

 





 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

L



 

 

 

 

 

 

 

 

 

 

 

 

 

'

 

 

 



 

L

 

 

 

 

 

 

 

 

 

 

 

 

)



 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 



 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 



 

 

 

 

#

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

E



 



 

 

 

 

 

 

 

 

 



 

 

 

 



 

L

 

 

 

 

 

 

 

 

U 

 

 

 

 



 



 

 

 

 



 

P

P

T

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 



 

 

 

 

 

 



 

L

 

 



 

 

 

 

 

 

 

 

 

 

 



 

L

 

 

 

#

 



 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 



 

 

 

 

 

 



 

 

 

 

 

 

 

 

 



 

 

 

 

 

 



 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 



 

 

 

 

 

 





 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

.

 

 

 

 

 

 

 

 

 



L

 

)

 

 

 

 

 

 

 

 

 

 

'

 

 

 

 

 

 

 

L

 



 

 



 

 

 

 

 

 

 

 

 

 

 

 

°

 

 

 

 

 

 



 

 

 

 





 

 

 

 

 

 

 

 

 

 

L )

 

 

 

 

 

L

 

 

 

 



 

 

 

 

 



 

 

 

 

 

 

 

'

 

 

 

 

 



 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

L

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 



 

 

 

 

 



 

 

 

 

 

 

 



 

 

 

 

 

L

 

 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 

 

 

 

 

 



$

 

 



 

 

 

 

 





 

 



U



 

 

 

 





 

 



 



 



 

 



L



 

 

 

 

E

 



 

 

 

 

 

 

 

 

 



 

L

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

#

 





 

 

 



 

 

 

 

 



 

 

 

 

 



 

 

 

 

 

 



 

 

 

 

 



 

 

 

 

 

 



 

 

 

 

 



 

 

 

 

 

 



 

 

 

 

 

 



 

 

 

 

 



 

 

 

 

 

 



 

 

 

 

 



 

 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 

 



 

 



 

 

 

 

 

 

 

 

 

 

 



 

 

 

 







 

 

 

 



 

 





 

 

 



 

 

 

 



 

 

 



 

 

 

 



 

 

 

 

 

 

 



 

 



 

 

 

 



 

 





 

 

 

 

 





 

 

 

 

 

 



 

 

 

 

 

 

 



 

 

 

 

 

 

 

 





 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 



 

 

 

 

 

 

 





 

 

 

 

 

 

 





 

 

 

 

 

 

 

 



 

 

 

 

 

 

 





 

 

 

 

 

 

 



 

 

 

 

 

 

 





 

 

 

 

 

 

 





 

 

 

 

 





 



 

 

 

 

 

 



 

 

 

 

 

 

 

 



 

 

 

 

 



 

 

 

 

 

 



 

 



 

 

 

 



 

 



 

 

 

 



 

 

 



 

 

 

 



 

 

 



 

 

 

 

 

 

 

 

0VUQVU E#

 

 

 

Passeq

15

Page 15
Image 15
Sound Performance Lab 2595 MHF-HF Cut and HF Boost, HF Boost Q Settings with the Proportional Q Principle, Output Control

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.