Marantz 5220 User Manual download pdf (Page 28)

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FILTERS'

RANGE

CORRECTION:

+12dB

FREQUENCY

(Hz)

Fig.

Combining filters

used indicidnally

and in

concert.

2Vote that the

effect

all controls

exceeds that

only

one.

anywhere from

two

octaves

to 1/3

oc-

tave

apart,

but Technics

has

dem-

onstrated a prototype

with variable

band

centers

and bandwidths.

You

just tune in

on the frequency

aberra-

tion

you

want to

correct and

zap

it.

Equalizers

are

very

good in

their

way

-incomparable, in

fact,

for the

purpose for

which they

are designed.

do not

personally

find them

that much

useful for

correcting most indi-

vidual

recordings

than

simple tone

controls.

Also, they

are much more

ar-

duous

to use in

that

application, re-

quiring the finicky

adjustment

of at

least five

slide pots

for

each channel.

Most

of their

appeal lies in

the

possi-

bility

fine

-tuning the

loudspeaker/

listening

-room interaction

and

mak-

ing precise,

permanent

alterations

of a

system's

frequency

response.

For this

sort of use, the

simple

five

-band units

with two-

octave spacings

are rarely

versatile

enough. The

octave -band

devices

begin to

approach

the neces-

sary

resolution,

but the 1/3-

octave

equalizers are

considered much

bet-

ter in most

cases.

The

elaborate

equalizers

(or

"filter

sets," as they

are

often aptly

called)

come in

variety

of types:

band

pass,

band

rejection,

active,

pas-

sive, boost

and cut,

cut only,

etc.

Not

all

these

are ideally

suited to

sound -

system

equalization,

but

between

those that

are there is

important

distinction

made:

the

difference

between

so- called "graphic

equaliz-

ers" and the

equalizers that use

"combining" filters.

The

graphic

equalizer

is the

most

common

type in the

consumer

area. It

apparently got

its

name

because

the

response

curve it introduces

can be

read

roughly from

the

control

settings

on the

front

panel.

the

controls

are

slide

pots, their

positions

form

0000 10000

frequency-

response

graph

that

can be

interpreted

a glance. The

sets with

combining filters,

of which

the

best

known

consumers is

probably the

Altec

Acousta

-Voicette,

may

look

identical

to the

graphic

devices,

but

their

control

settings

give

only the

vaguest

idea

what's

going

in-

side.

Combining filters

are

intended

interact

liberally

with neighboring

fil-

ters,

with

the result

that

variety

slopes,

degrees

attenuation,

and

center frequencies

can be

obtained

the

proper finagling

of adjacent filters.

This

means

that

even

very

compli-

cated

response

curve

can be

"dialed

in" in

great

detail.

However,

the

ad-

justment

of the filters

a painstaking

process

involving

careful monitoring

with

appropriate

instruments.

combining -filter

set is likely

to frus-

trate

even the most

expert

attempts

use it

"by

ear." In

contrast,

the graphic

equalizer

has fixed

center frequen-

cies,

and predetermined

slopes,

and is

generally limited

to the

extremes

boost and

cut for

each

band given in

the

specifications.

Figure

5 shows

the

effects

of combining

filters

used

one

time

and simultaneously.

Note

that

the

combining filters

together

can

produce

drastic

attenuation

than

any

one

filter

used individually,

and

that there is

slight

indication

the

ensemble

curve

the

slope varia-

tions

combining

filters

can achieve.

Figure

6, an actual

equalization

curve

for

sound

system,

gives

much

bet-

ter

idea

of how

closely

a combining

filter

set

can

"track"

desired

frequency-

response

curve. A

standard

graphic

equalizer

could manage

only

very

rough

approximation.

A final

note

elaborate

equalizers:

they can

be enormously

useful in

"tuning" the

overall

loudspeaker/

listening -room

response,

adver-

tised,

but they

can only

be predictably

useful

under

certain well-

defined

conditions.

room

large

enough to

support

a stable reverberant

field

(that

is,

sound field

which levels

and

frequency

response

are

almost per-

fectly

uniform

throughout),

they

can

equalize

that reverberant

field

with

excellent

results.

Unfortunately,

conceivable

home

listening

room is

large

enough

to qualify.

Conversely,

a smallish room,

such

as a recording-

studio

control

room,

they

can

equalize the

monitor-

ing

loudspeakers

for

any

desired re-

sponse

at the

ears

of some fixed

lis-

tener.

Usually

the listener

seated

the mixing

console, which

is rather

to the

speakers;

and

usually

the

speakers

are

quite directional,

that

most

of their

output is

beamed right

the

head

of the listener,

with reflected

sound

contributing

very little

what

he hears.

Should he move

away from

his favored

spot at

the mixing

desk,

chances

are

excellent that

will hear

a significantly

different

frequency

bal-

ance,

and

the

same would

be true for

you at

home

with your

equalized

sys-

tem. This

not to

say that

equalization

can't make

great improvements

BAND

NUMBER

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125

200 315 500

800 25 200 315 500

800 25

100

1000

FREQUENCY (Hz)

Fig.

The

iitterantiun of

cotttbioing filters

enables

the

resulting

entre

closely

rc'.tietnble

the

desired

dore.

10,000

home

sound

system.

Often it

can. But

is in

the home

environment

that it

encounters

severe limitations.

Syn

-Aud -Con.

indebted

to Don

Davis

for giving

an appreciation

the many

nuances

of sound

equaliza-

tion.

Recently, I

attended Mr.

Davis's

three

-day

Syn

-Aud

-Con (Synergistic

Audio

Concepts)

seminar. It is

evident

that

professional

sound people

are

developing

some powerful

tools in

their quest

for

optimum performance.

hope is

that we listeners

home

will

able

use these

developments

our

own benefit.

POPULAR ELECTRONICS

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