Regardless of the equalizer, its function is to adjust the frequency response (AUDIO RESPONSE) of the amplifier through the audio frequency (AUDIO FREQUENEY) filtering process. This adjustment can make the sound level of certain frequencies greater or less than the sound of other frequencies, and the method of raising or attenuating the frequency of a certain frequency by several decibels is the frequency equalization (EQUALSATIOM), referred to as EQ. There are two ways for the equalizer to increase the frequency (BOOS) (FADE): one is the Shelving mode (SHELVING); the other is the PEAK SLAP AND DIP. The names of these two methods are named after the frequency response curve shape that attenuates the frequency boost (there is also a classification that is divided into a graphic equalizer and a parametric equalizer). Below we discuss these two ways further.
The so-called shelving method actually divides the signal by frequency, and a part of the frequency passes directly, and another part of the frequency (height section or low frequency band) is attenuated, thereby achieving relative lifting or attenuation of a certain frequency in the sound, forming a frequency response. The shape of the frame. This method is mostly used for the high-pass filter (HIGHT PASS FILTER) and the low-pass filter (LOW PASS FILTER), except that the attenuation outside the passband (PASS BOND) is not balanced. Specifically, its attenuation is continuously increased.
The high pass filter and low pass are as their name implies, the levels of some frequencies are straight through and the other frequencies are attenuated. The frequency with less than 3dB attenuation is the passband frequency, and those with attenuation above 3dB are the frequency within the stopband. They have a power of 1/2 of the passband power. The frequency at which the signal attenuation is exactly 3 dB is the cutoff frequency or the crossover frequency. The amount of stopband attenuation outside the cutoff frequency is generally attenuated by a decibel value of the same amount per frequency. The ratio of this attenuation is called the slope (SIOPE). For example, the commonly used attenuation slope is 12dB, 15dB, 18dB and other parameters per frequency. The cutoff frequency of the high pass filter is typically between 20 Hz and 250 Hz. The cutoff frequency of the low pass filter is typically between 6 KHz and 12 KHz. Typically, the high and low pass filters can be mounted on a dedicated equalizer as an accessory function for frequency strobe or high and low frequency noise. If both the high-pass filter and the low-pass filter are used for attenuation, and the intermediate band is output flat (FATTENS OUT), a bandpass filter (BAND PASS FILTER) is formed. The bandwidth of this filtering mode passband is controlled by the high and low pass filtering cutoff frequency, while the Q value is controlled by the attenuation slope of the high and low pass filter. This band-pass filtering frequency response curve can be flexibly adjusted and can be made very wide.
The harmony interval frequency is more than the harmonic order. The whole harmony is pure 1/11 (the fundamental wave)
Pure octave 2/12, 4, 8, 16
Pure five degrees 3/23, 6, 12, 24
Pure four degrees 4/321
Semi-harmonic major third degree 5/45, 10, 20
Small third degree 6/519
Big sixth degree 5/313
Small sixth degree 8/525
Disharmony, second degree, 9/89, 8
Small second degree 17/1617
Big seventh degree 15/815
Small seven degrees 7/47, 14
Increase four degrees 11/811, 22, 33
Through this table, we can find the frequency that is harmonious or discord with it based on any fundamental frequency. Just by simple integer multiplication, we can know the frequency value of any first harmonic, which is convenient to adjust EQ instead of blind start. . However, the pattern of each harmonic combination must also reflect the relative intensity of the spectral state. In other words, we must understand the correspondence between the timbre and the spectrum. Only by mastering this law can we be truly targeted. Below, we will introduce the correspondence between the tonal and chromatographic states of several curved patterns with the spectrum of the stable sound.
From the spectral spectrum, the following subjective tone can be obtained:
1. There are not many harmonics and the fundamental frequency is strong. If it is located in the low frequency band or the middle frequency band, the listening sound is as soft as velvet and has a certain warmth.
2. There are not many harmonics and the fundamental frequency is strong. If it is located in the high frequency band, the tone is sharper and harder.
3. There are not many harmonics and the harmonics are strong. The sense of hearing is thin and slender, and it has a certain sense of coolness.
4. The harmonics are not too much, the low-frequency harmonics are strong, and the less important harmonic power is weakened, and the sense of hearing is round and warm.
5. There are many harmonics, but each harmonic is very weak, the intensity of hearing is insufficient, and there is a sense of dullness.
6. There are many harmonics, low harmonics, and the harmonics are arranged in a power-saving manner. The sense of hearing is full, bright and full of life.
7. Lack of mid-band harmonics, high and low harmonics at both ends, the sense of hearing is empty or has a sense of sorrow.
8. There are more harmonics, but the higher harmonics are prominent, the sound is sharp and harsh, and the sense of hearing is not harmonious.
9. The odd harmonics are strong, the even harmonics are weak, the sound is stiff, and the sound is not correct and grotesque.
10. The even harmonics are strong, the odd harmonics are weak, the sound color is transparent, and the sound has a pure color.
From the above examples, we can understand that the tone adjustment should conform to the physical properties of the sound. Any combination of frequencies will produce completely different effects. Only by mastering the laws of the spectrum and understanding the acoustic results of various spectral states can we truly EQ adjustment of the sound of the sound.
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