Operation Manual

292 Appendix A: Application Notes
PRO2 Live Audio System
Owner’s Manual
brightness and sparkle to the programme, producing extremely natural and lively
sounding compression of acoustic instruments.
Shimmer mode (overshoot peak - slow) - output only
This is a peak sensing compressor with an exponential release and unusual second
order attack character that tends to overshoot.
If used sparingly, the compressor sounds very soft and natural and can provide
additional control of material that already has a fairly low dynamic content. It can
sound very transparent on vocals where it retains a good degree of life in the
performance.
If used at higher ratios with slow attack and fast release times, the compressor can
produce a very soft bouncy sound character.
PRO2 input channel EQ modes
This section aims to provide an understanding of the input channel EQ modes contained
within the PRO2 control centre.
Basic specification
The PRO2 input EQ comprises four bands: treble; hi mid; lo mid; and bass. The default
operation for all four sections is full parametric sweep (peak), with the following
controls:
• Gain: continuous adjustment of boost and cut from + 16dB to - 16dB.
• Width: continuous adjustment f bandwidth from 0.1 to 3.0 octaves (this only
operates in parametric mode for Bass and Treble).
• Treble: continuous adjustment of the frequency range that the treble equaliser acts
on from 1kHz to 25kHz.
• Hi mid and lo mid: hi mid frequency control gives continuous adjustment of the
frequency range that the hi mid equaliser acts on from 320Hz to 8kHz. Lo mid
frequency control gives continuous adjustment of the frequency range that the lo
mid equaliser acts on from 80Hz to 2kHz.
• Bass: continuous adjustment of the frequency range that the bass equaliser acts on
from 16Hz to 400Hz.
The treble EQ band can be switched from parametric to any of three other shelving
modes: Soft; Classic; and Bright.
The bass EQ band can be switched from parametric to any of three other shelving
modes: Warm; Classic; and Deep.
Description
The difference between the shelf filters is subtle and, if you do not have time to
experiment, it is probably best to use classic because this is the best all round filter.
However, when you do have time to experiment you may find the other types each
have their uses. The minimum harmonic types, and in particular the bass, can sound
very natural, even with very aggressive EQ, but the psycho-acoustic principles that they
operate on do not always work so well on multiple source or pre-mixed material.
Soft treble
The soft treble response provides a very gentle gradient between EQ’d and non-EQ’d
frequency areas. This produces the absolute minimum of phase shift but does not
provide much differentiation, thus frequencies outside the area of interest are often
unintentionally EQ’d. This is best used to provide gentle shaping of pre-mixed material.