MINDPRINT DTC Especificações descarregar pdf (Página 10)

2.3 Mid-Bell-Filter

The designation “bell filter” derives from the bell

shape of the frequency curve. A certain frequency

range is boosted or cut. The farther from the

center frequency, the more mild the effect.

Operation:

FREQUENCY: Sets the center frequency

of the band.

LMF: Operating range from 47 Hz to 1600 Hz

HMF: Operating range from 190 Hz to 13 kHz

LMF & HMF: switches the Lo-Mid or Hi-Mid

frequency band into the signal path.

LEVEL: permits a boost of 15 dB and a cut

of 25 dB.

Q: adjusts the bandwidth of this frequency band.

Filter Bandwidth: The “Q“ Factor control

determines the bandwidth that is affected.

The maximum Q Factor of 3 affects a narrow,

1/3-octave range, while the minimal setting of

0.15 corresponds to a very broad band

of 6 octaves.

Note : Boosting and cutting do not

occur in equal measure, as is typical

for parallel circuits. If cuts and boosts

are set to the same dB level, the cut

will have a narrower bandwidth.

The DTC™ permits a maximum overall boost of

approximately 20 dB. Additional boosting from

the overlapping of several equalizer filter curves

does not occur, but rather results in the shape

of the filter curve itself changing. In other

words, the level will no longer change,

but the sound will.

MindPrint-DTC

QUESTION: The treble band and the bass band are

set up as shelving filters, whereas both mid bands are

laid out as bell filters. An adjustable Q control,

common with bell-shaped filters, is uncommon with

shelving filters. How are we to understand

a "bandwidth" with shelving filters?

ANSWER: A Q-factor control is quite uncommon

with shelving filters, although it adds considerably to

the sonic flexibility. High Q-factor settings in the case

of boosting will at first produce a slight dip in the

middle frequency range before the curve rises at the

edges.

One can think of it like this. If you want to boost the

highs above 10 kHz, for example when mastering,

you can shape the curve in such a way that the

frequency range below it, from 8 to 10 kHz, is cut.

This will result in a supremely soft sound. Or you can

boost the low bass without having to worry about

ending up with mud between 150 and 300 Hertz.

When cutting instead of boosting, the effect is just

the opposite. At first there is a boost, and only then a

cut. The good thing about it is that this can be

adjusted with infinite variation. This gives you a lot of

control, so much so that you often don't even need

to use the mid controls. The applications are really

very flexible and lead to astonishing sonic results.

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