Apex PE 133 MkII Paragraphic Equaliser (part 2)
We all know the theory behind graphic and parametric EQ so there isnt really very much to explain. Or is there? Apex have departed from the conventional norms and produced a new type of graphic and a new type of parametric.
We all know the theory behind graphic and parametric EQ so there isnt
really very much to explain. Or is there? Apex have departed from the conventional
norms and produced a new type of graphic and a new type of parametric. Well,
maybe not totally new, but new to many I would suspect. One thing we do know
about graphic equalisers is that they are the biggest liars apart from politicians
at election time. The curve produced by the sliders on the front panel looks
so much like a frequency response graph that it is almost instinctive to think
that what we see is in fact what we get. In fact, the responses of adjacent
bands interact so that if three adjacent sliders are pushed up to +3dB, then
the response at the centre will actually be somewhere between +6 and +9dB -
rather more than one might expect. Obviously there isnt any real harm
in this as long as you know what is going on. Also the Q of any individual filter
changes as the setting of the slider is increased or decreased from zero. At
low settings the Q will be low, at higher settings the Q will be higher too.
(Q of course being the sharpness or flatness of the response). Apex have used
a constant Q design which, while not necessarily giving a better
or worse subjective result, helps fit the curve produced by the sliders match
the actual audio response.
The parametric section of the PE 133MkII also differs from what you might
expect since the curve produced by each band is distinctly different according
to whether you are boosting or cutting. The boost curve is pretty normal giving
up to +15dB of gain at your chosen centre frequency with a Q of 0.5 to 8. The
cut curve however can go down as far as -45dB , justifying Apexs non-reciprocal
terminology. The curves are both, by the way, constant Q so if you set a Q of
1.5, then it stays close to 1.5 no matter how little or how much cut or boost
is applied. It seems strange at first to have an asymmetrical cut and boost
in this way but when you think about it it makes a lot of sense. When you want
to boost, it is usually because you want to enhance a sound or bring out an
instrument from a mixed recording. Would you ever need more than 15dBs
worth of enhancement? Not often I think. But when you come to use cut, then
as likely as not its because you have a problem that you want to get rid
of; hum, dimmer noise or feedback. Anyone who has been involved in PA will know
the dilemma of using EQ to ameliorate the effects of feedback; cut the feedback
and you are also cutting programme frequencies. Particularly if your feedback
is within the predominant vocal range around 2-4kHz then you have to strike
a careful balance. But with a unit such as this, the Q can be set to a high
value and the cut to a great depth so you strike at the heart of the feedback
while only losing a very small proportion of wanted sound. Its a win-win
“It isn't about equipment and software -
it's all about knowing how to use it”
Is the time right to buy Waves plug-ins at bargain-basement prices?
Waves currently has an offer on plug-ins - up to 50% off and more. Wow that's a lot - but is there something else you need to consider? Read more...
Should the slope of your filter be 6, 12, 18 or 24 dB per octave?
Low-pass and high-pass filters often have a 'slope' control. What is the slope of a filter? How do you select the right slope? Read more...
Now at last you can replace your nearfield monitors with proper main monitors!
Any pro studio would have both main monitors and nearfields. But now you can have both in one package. Read more...
An interesting phase problem in drum overheads
Using microphones in a stereo pair always raises a good question - are you SURE they sound right? Read more...
How many sound waves can you fit into your studio?
Do you think your studio is big enough to fit all of your sound in? You might be surprised to learn just how BIG sound can be... Read more...
This is why we advised not upgrading to Pro Tools 9 straight away. (But now you can!)
Every time you upgrade your software, you take a risk it won't work properly. But what will you achieve by waiting? Read more...
To impress a client, your work needs to be IMPRESSIVE
One of the fundamental principles of Audio Masterclass is that if you want to get work in the audio industry, you have to be able to impress potential clients. If your audio or music is not impressive, then the work will go to someone else whose audio or music is impressive. Read more...
How do you know when your performance has peaked?
You might make twenty takes of a track before you get one that really works. But could the twenty-first have been better? Read more...
Pro Tools or Logic? (or Cubase or Sonar?)
Is it a must to work with Pro Tools or could I survive with Logic in the professional environment? Should I learn Pro Tools even if I use Logic? Read more...
Can your virtual orchestra imitate a real one exactly?
Virtual instruments are getting better all the time. But does a virtual orchestra always sound like a real one? Read more...
Apogee Duet audio interface features soft limiting to prevent clipping
Should a pro engineer prevent clipping through correct gain setting? Or can soft limiting be relied on to save the day? Read more...
Belgian truck drivers to be made to pay to listen to music
Belgian music royalty collection agency SABAM wants to enforce a licence for truck drivers to listen to music in their cabs. Is this fair? Read more...
Q: Why do I hear echoes in a PA system?
I recently saw a concert in a circular stadium. I could hear the sound come from different directions at different times. Why was that? Is it unavoidable? Read more...
Jessie J steals Will Loomis's song. Or does she?
Will Loomis thinks that Jessie J's song 'Domino' is a ripoff of his song 'Bright Red Chords', allegedly. But how many notes does it take to be scoundrel in the music business? Read more...
Can a $1599 microphone match up to an undisputed classic? Hear it for yourself...
For many engineers, the Neumann U47 is the undisputed champion of microphones. Here you can judge it against the $1599 Lauten Audio Atlantis. You might be in for a surprise. Read more...
Dead for 171 years, but still in copyright!
How can it be that music by a composer who died in 1840 is still in copyright? Does his immortal soul get the royalties? Read more...
The weirdest Neumann mic you've ever seen!
Think you know your Neumann microphones? Well think again. And be prepared to go green (with envy?) Read more...
Subwoofers - do you really understand what you are doing?
Mike Leader of Leader Cinema systems, manufacturers of world class large-scale systems for both music industry and motion picture industry professionals, tells you more about subwoofers than you thought you could possibly want to know... Read more...
A song that can't be sung effectively by one person with one instrument isn't a great song
Written any great songs lately? Did they need a massive production with hundreds of tracks to sound good? Then they are not great songs. Read more...
Why do microphone preamplifiers come in sets of eight?
Microphone preamplifiers, if they are not single-channel, always seem to come in sets of eight channels. But if you had a ten-channel mic pre, how much more could you do with it? Read more...