MOTU UltraLite-mk3 Hybrid User Manual page 82

EQ filters
The EQ filters have three parameters:
Control unit
Gain dB
Frequency Hertz
Q n/a - see note below
Q
The Q setting does not have a unit of measurement.
Rather, it is the ratio of the filter's center frequency
to the bandwidth of the filter. In addition, the
actual Q value for the EQ curve being applied is
dependent on three factors: the gain setting, the
filter style, and the Q setting.
Filter types
Each filter can be independently set to one of four
different filter types: I, II, III and IV. These, and the
additional shelf filters for the LMF and HMF band,
are discussed in the section "EQ filter styles".
Returning to zero (or nominal frequency)
To return a knob to zero, or it's nominal frequency,
double-click it.
EQ filter styles
EQ is one of the most widely used processing tools
and can be applied to many different situations,
from minor corrective tasks to highly creative
applications. Over the years, many EQs have been
engineered for specific applications or to achieve a
certain sound. The Vintage EQ has been designed
to be flexible enough to cover a broad range of
applications. To that end, several different filter
types are supplied, varying mostly in the way they
handle the dynamic interaction between Gain and
Q. This crucial relationship has been modeled to
emulate the smooth and musical character of
classic analog EQ circuits, in which the Gain/Q
dependency was dictated by the actual circuit
design and electrical components used.
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The following sections describe the character of
each type of EQ filter and their suggested
applications. In the illustrations for each filter style
range
(Figure 11-18 through Figure 11-21), the settings
-20.00 to +20.00
for the three example curves are the same for the
purpose of comparison:
20 Hz to 20 kHz
0.01 to 3.00
Frequency = 1.00 kHz
■
Q = 1
■
Gain = +3, +10 and +20 dB
■
Type I
Figure 11-18: Type I EQ filter style.
The Type I EQ filter has the least amount of Gain/Q
interaction, providing the most precision and
control of all the EQ filter types. Even small
adjustments in gain or reduction produce relatively
high Q. This EQ style is best for situations that call
for precise EQ adjustments requiring the
maximum amount of individual parameter
control. For more general shaping (e.g. full mixes)
or subtle control (e.g. vocals), the other styles
discussed in the following sections might be more
appropriate. This filter type is the most similar to a
standard parametric EQ.
C U E M I X F X