LA Audio MPX10 - Manual (Page 25)

Page 25
The technique for reducing mic leakage is similar to the one above.
5 . 4 E Q U A L I S E R
The MPX10 offers High and Low shelving equalisers and two fully variable
parametric Mid sections. In general the shelving EQs are easy to use and
have a smooth, musical character.
HF (12kHz) is used to add sparkle and zing to vocals and guitars. The LF
control (80Hz) is used to fatten and add warmth to bass sounds.
More LF boost can be added if the 75Hz filter (INPUT section) is used to
cut sub-sonic frequencies which can cause signal overload.
Unless you are familiar with operating parametric equalisers a good starting
point for setting LMF and HMF controls is -
Set all Q controls to 0.5, this gives a bandwidth of around 2 octaves which
is similar to that found on mixers fitted with fixed Q, swept frequency mid
range controls. Use maximum (or nearly) boost so the effect of the EQ can
be clearly heard and now sweep through the frequency range to find the
area that needs attention. This is good practise even if the final solution
involves cutting rather than boosting as boosting produces a more apparent
effect of highlighting the hum, noise, boom or whatever. Gain and Q should
then be adjusted to give the best subjective result.
In general low Qs (wide bandwidth) are useful for boosting without
producing too much peaking or phasing effects. High and Low shelving
type
equalisation can be simulated by setting the HF and LF section Qs fully
CW (0.3) and sweeping their associated FREQUENCY controls out
towards the high and low frequency extremes.
High Qs are normally used for cutting sounds such as mains hum or
certain feedback frequencies. In this application Q should be set as high as
possible (narrow bandwidth). Lower Qs and cutting can be used for
reducing boominess found with some acoustic guitars.
A good example of low Q cutting is reducing the 1kHz content of guitars
and snare drums to leave a 'space' for the vocals to sit in. Often cutting in
this way gives a better result than trying to boost the vocals to cut through.
This usually has an added bonus that guitars can stay louder in the mix.
The compressor section may also be used together with equalisation to
bring a hidden vocal forward in the mix.