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You can also edit the parametric filters in the CURVE mode, accessed by pressing the second soft
key button ("CURVE/LIST") until you see a frequency-by-amplitude display. This gives you an EQ-
curve view of the filters edited in the LIST mode, plus allows "click and drag" graphic editing for
parametric filters using the arrow keys to choose a filter's frequency, width, and depth, and the
data wheel to vary the parameter. The change will be displayed visually and audibly as the
parameters are varied.
Note that the curve displayed is a combination of all filters (parametric, FBX, HPF, LPF and
graphic) in the signal path for the selected channel. This is not only a powerful visual aid, showing
the combined effects of all the EQ and filter changes you've made, but also a handy "final tweak"
stage for your overall EQ. Assuming you have at least one unused parametric EQ filter, you can
add this to your overall EQ curve with "click and drag" editing, which is easily done on the fly in the
heat of live mixing.
If the filter frequency is set to "off," the width and depth cannot be entered. The POWER-Q
assumes the filter does not exist.
Unlike many conventional analog parametric filters, the POWER-Q's digital filters do not drift with
temperature or cause phase-shifting outside of the filters.
A fixed or dynamic FBX filter that has been set by the POWER-Q can be "frozen" by moving to the
appropriate type field and changing it to "PARAM." At this point, the filter can be left as is or edited
further. You may also decide to "consolidate" two or more closely spaced FBX filters into a single,
slightly wider parrametric filter. Then reset your FBX filters and eliminate even more feedback
with a second set up. (See Section 23, A Pro's Guide to Using the ADF Products, by Ken
Newman.)
these ONLY for setup) of identifying and eliminating feedback frequencies. For any of the modes,
you must have your sound system set up, plugged in, and all your microphones in place and
turned on. The three methods of setup are:
Normal (default) mode, which involves simply configuring your FBX filters as you desire (see
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Section 11.1), then slowly raising the master mixer output (assuming the POWER-Q is inserted
between the mixer and the power amp) with all the mics that might create a feedback problem
open and turned on. As feedback occurs, the POWER-Q will automatically set filters until you've
achieved the additional gain you desire, or until you've engaged all the filters available.
Turbo Setup mode maximizes the POWER-Q clip level and sets all FBX parameters to a
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more sensitive-to-feedback condition then normal operation. It also places a "moving limiter"
that tracks gain changes as feedback occurs, but allows the feedback to occur at a quieter
level. Feedback is created by slowly raising the master mixer output with all the mics that
might create a feedback problem open and turned on.
Automatic Turbo Setup mode is a form of Turbo Mode that lets the POWER-Q automatically
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control the gain and automatically "ring out" feedback frequencies. Automatic Setup also
imposes a limiter on the feedback volume, thus allowing system setup with quiet feedback
levels. This is the greatest benefit for ears since Mike Tyson was banned from boxing!
Normal FBX setup mode notes. Here's is a step-by-step guide to setting up the FBX function:
1. Place the microphones and speakers in the locations where they will be during the program,
and patch in the POWER-Q using one of the setups described on page 8. Set all controls for
your sound system at the settings that will be used during the performance, with this exception:
You should set up one channel at a time by turning the other channel all the way down on your
mixer or power amp.
2. First, make sure the main sliders on the mixer are pulled down, then power up the sound
system, the POWER-Q and finally the power amp.
You are provided with three optional methods (use
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