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This is one of many major features not found on any similar device: a high-quality 5-band para-
metric EQ, usable at up to 768 kHz sample rate, easy to set up and adjust, with a graphical display
showing the resulting curve, and multiple storage places including individual naming. So whatever
EQ setting you need, it is loaded and modified quickly. And there is not only one, but three such
EQs, separately for the analog inputs, and both stereo analog outputs. Bass and Treble, see
below, optionally become a part of the PEQ (BB, BT), effectively turning it into a 7-band PEQ
On a related topic: These days many people suffer from hearing loss in varying degrees. No
matter if it is biological, from abuse or an accident - hearing impaired is a plague of modern times.
And – no surprise when thinking about it – it never affects both ears identically. The number of
people having one sided hearing problems is huge, but they have learned to live with an industry
that totally ignores them. Although the solution is as simple as logical – have the EQ be adjustable
independently for left and right. Basically digital EQs are calculated this way, the common controls
are just for making it easier to operate. The ADI-2/4 Pro SE includes an option called Dual EQ –
a heaven send feature for many, for sure.
Of course a 5-band parametric EQ is also suitable for speaker and room correction, another ap-
plication where separate EQ left/right setups are necessary. Using the ADI-2/4 Pro SE as DAC
for the main monitors will benefit from this and all the other typical RME features available on all
analog I/Os: Phase and Mono in various options, Width and M/S Processing.
8.4 Bass / Treble
The simpler form of EQ has been the Bass and Treble controls as they are found on any 'standard'
HiFi stereo amplifier. They easily and quickly allow to modify the sound to your personal liking
(more or less Bass, more or less Treble, obviously). An even more useful application is to quickly
change the amount of Bass / Treble in smaller quantities so that music compilations don't have
one song making the cones fall out while another one makes you think that really happened.
Producers and mastering engineers not only have their own taste, they also sometimes fail in
providing a mix that is on an average sound level compared to others. In that moment a quick
turn on the two ADI-2/4 Pro SE's small encoders will make the music sound perfect.
The Bass and Treble controls were originally limited to ± 6 dB. Everything exceeding such values
should be handled by the EQ, and/or calls for better speakers/phones (due to the inclusion of B/T
with the PEQ their range is now ± 12 dB). The corner frequency and quality factor of Bass and
Treble is user-adjustable in the display's menu, making this feature even more useful. Adapt it to
meet your speakers/phones or your personal taste – it will greatly improve your pleasure in lis-
tening to music again.
8.5 Loudness
Another legacy of HiFi amplifiers: there has not been a single one missing a feature called Loud-
ness. It tries to address the changes in frequency-dependent hearing sensitivity over different
volume levels. If one listens to music loud, then drops the level by at least 20 dB, sound loses
punch and glitter. HiFi amps tried to fight this effect by adding more bass and treble the lower the
volume was set. Unfortunately that never worked as intended, and just became an additional
bass/treble booster. Reason: the manufacturer of the HiFi amp could not know what volume any
position of the volume knob equals at the customer's home. Room size, room dampening and
efficiency of the used speakers are all unknown.
But the effect of loss in perceived sound exists (read about the Fletcher-Munson curves), and can
be easily reproduced with any serious gear by comparing normal volume and DIM state (usually
-20 dB). The ADI-2/4 Pro SE offers Loudness for both analog stereo outputs, and probably is the
first time that Loudness works as intended. The user can decide how much maximum gain in
Bass and Treble should occur at lower volume settings. The user also sets the Low Vol Refer-
ence, where maximum gain is achieved. After extensive tests a 20 dB range has been defined as
range for maximum gain to no gain while increasing volume. That seemed to be the perfect defi-
nition of the range that needs to be addressed by Loudness.
User's Guide ADI-2/4 Pro SE - v 1.0
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