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Equalizer operation is exceptionally user-friendly. All adjustments are
made from the multi-function RDAT in real-time. This means that the
user can actually hear changes as they are being made. Also, all
equalizer settings are displayed both graphically and numerically on
the system's large, easy to read RDAT display. This allows the user to
instantly see exactly how much boost or cut is being applied to any
particular band.
In the past, potentiometers have been used as the control elements for
equalizers. Being the electro-mechanical devices they are, it was only
a matter of time before they became dirty or just wore out. The EPX's
equalizer utilizes state-of-the-art solid state devices as the control
elements. They don't wear out, they don't get dirty, and they'll be just
as accurate tomorrow as they are today.
The optional EQ modules feature 14 or 28 bands of adjustments to
satisfy even the most discriminating of listeners. The 14-band equal-
izer module adjusts 1/2 octave centers in the region below 1kHz, and
octave centers at 1kHz and above. The 28-band equalizer module,
commonly used in competition, allows for adjustment at 1/3 octave
centers. Left and Right channels may be calibrated independently or
simultaneously. Additionally, each band may be adjusted over a
12dB range in exact 1dB increments.
Electronic Crossover
The EPX
's active electronic crossover is, arguably, the unit's most
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outstanding feature. Its primary purpose is to do to sound what a prism
does to light. That is, it splits the composite musical signal into
discrete frequency "bands." Most loudspeakers are not capable of
efficiently reproducing the entire musical spectrum. By splitting the
music into discrete bands, individual components of the musical
signal can be routed to loudspeakers that are specifically designed to
reproduce that part of the musical spectrum.
features a fadable , 3-way active crossover network. Four-
The EPX
2
teen discrete outputs are provided.
Front
Left and Right All Pass (passes all frequencies)
Front
Left and Right High-Pass (passes high frequencies)
Front
Left and Right Bandpass (passes midrange frequencies)
Back
Left and Right All Pass (passes all frequencies)
Back
Left and Right High-Pass (passes high frequencies)
Back
Left and Right Bandpass (passes midrange frequencies)
Constant Bass Left and Right Low-Pass (passes low frequencies)
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