INTRODUCTION:
The graphic equaliser is a vital component in any audio system. The entire signal passes through it and so any limitations imposed by the equaliser will compromise the performance of the whole system. For example, an indifferently designed equaliser may introduce severe phase distortion, noise and other anomalies related to centre frequency accuracy, filter shape and attenuation accuracy which may manifest themselves as an overall deterioration in the perceived sound quality of the system. Clearly, this is an unacceptable state of affairs, but fortunately your choice to utilise a Red Rock Sound RE302 Graphic Equaliser will eliminate these problems, offering you unprecedented product performance coupled with the highest filter calibration and reliability standards in the industry.
It should be noted that graphic equalisation cannot always overcome all frequency response related problems. There are applications where the ability to cut and boost the response at a particular frequency, or over a certain bandwidth other than the equaliser specified one, is required to overcome exceptionally difficult response anomalies or narrow band feedback problems.
When such an instance is encountered, it may be more appropriate to use the greater range of control provided by a parametric type equaliser, where the centre frequency, bandwidth and amplitude are all controllable.
Equalisers may be used for corrective or creative purposes and the Red Rock Sound RE302 is applicable in both live sound and studio applications.
For studio use, a pair of 1/3 octave equalisers might typically be used to compensate for deficiencies in the control room acoustics and in this instance, the precision allowed by 32 bands is a great advantage. Because it is almost impossible to set up an equaliser accurately without first analysing the room response, the centre frequencies of the filters have been chosen to correspond with those of the Red Rock Sound spectrum analyser, the RE60. In this way the readings can be transferred directly from the analyser to the equaliser.
Presets developed by Simon Bader @ MassiveSoundStudios (aka sbader)
http://www.mrpwebmedia.com
http://soundcloud.com/massivesoundcanada
FRONT PANEL FUNCTIONS:
LOW CUT FILTER switch enables a 30Hz subsonic
filter to be connected in or out of circuit.
The OVERLOAD LED The signal level is monitored at several
separate points within the circuitry of the unit, and any one of these
signals exceeding a threshold, set 3dBFS below clipping, will cause the
Led to light. This threshold is set at 0dBFS, but it must be remembered
that excessive boost of some frequencies combined with a high average
input signal, can occasionally cause this level to be exceeded. In this
event, the input level control should be turned down to correct the problems.
The SCALE switch selects maximum boost and cut
for the equaliser of either 6dB or 12dB.
The INPUT LEVEL control allows
the system gain to be up to+6dB
when in its fully clockwise position,
and offers full attenuation in
its anti-clockwise position.
BACK PANEL FUNCTIONS:
2 AUDIO INPUTS and 2 AUDIO OUTPUTS
32 FREQUENCY BAND CV INPUTS
INVERT CV inverts input CV-signal to opposite sign (e.g 1.0, 0.5, etc. to -1.0, -0.5, -etc)
CV ATTENUATION is a general sensitivity parameter for CV inputs. It works as а scale factor for each CV-input value (e.g CV-input value is 0.5 and CV-attenuation value is 0.75, final CV-value will be 0.375).
UPDATE HISTORY:
New in 2.0.0
- We completely updated the equalizer algorithm, replaced the filters with the most modern and technologically advanced ones. If you haven’t used this EQ for a long time, give it another chance, it’s more musical, intuitive and easy to set up.
