Quote:
Originally Posted by
Jim Williams
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For total control. A proportional Q 31 band graphic eq can create complex curves. Unlike more recent constant Q bandpass designs those older graphics using gyrators have smooth transitions between bands. A smile face curve looks like a smile. With 31 bands all frequencies can be addressed, all at the same time.
Modern band pass constant Q designs are used for room tuning because bandwidth is always a narrow 1/3 octave at any amount of boost or cut. Make a smile face curve and "nipples" are seen at each band's center. Sort of like a reversed picket fence.
Proportional Q gyrator designs Q varies with the amount of boost/cut. At +3db of eq bandwidth is about one octave. It narrows to 1/3 octave at full boost or cut. Therefore, the curves are very smooth, no "nipples".
Those older designs do poorly for room tuning but are an excellent choice for getting sounds.
Quote:
Originally Posted by
Fudanko
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I keep asking myself the same thing. Especially as it pertains to my 3RU BSS monstrosity . It was my trusty notch-****. It is still in my rack, flat-lined.
Unfortunately, it remains my favorite high pass. I have always liked the sound of this old Brontosaurus.
I DO wish I favored another. A 3RU HP is hard to justify, even for a hobbyist.
well, i still have a few tc eq stations here which (besides a peq, a dynamic eq or multiband comp, a limiter and a delay) have emulations of popular geq's from the olden days (tc, bss and klark) which had different filter characteristics ...
...but i find geq's only useful in hectic live situations and specifically on monitor sends - in all other situations, i'm using the peq's in my desks: admittedly, two of four bands can get switched between constant q and constant range which at least for me/my needs is enough in terms of 'control', so i very rarely feel the need for touching any outboard eq, except of course for system alignment or mastering.