Tweeq双31段图示均衡器
31段专业均衡器使用大全声场、声反馈、音色调整技巧

31段专业均衡器使用大全声场、声反馈、音色调整技巧均衡器的主要功能就是调整音色、调整声场和抑制声反馈。
现在的专业音响系统中使用的图示均衡器通常都是31段,其推拉电位器的Q值是恒定的,一般为1/3倍频程,所以无论是提升或衰减某频率,滤波器的带宽始终是不变的,而频率提升和衰减的程度一般为6-18 dB,最常用的是12dB。
图式均衡器通过面板上推拉键的分布位置,可以非常直观地反映出各频率的提升和衰减情况。
常用的专业图示均衡器频率调节范围一般是20Hz~20kHz,频率调整点一般从低到高分为:20Hz、25Hz、32Hz、40Hz、50Hz、63Hz、80Hz、100Hz、125Hz、160Hz、200Hz、250Hz、315Hz、400Hz、500Hz、630Hz、800Hz、1kHz、1.25kHz、1.6kHz、2kHz、2.5kHz、3.15kHz、4kHz、5kHz、6.3kHz、8kHz、10kHz、12.5kHz、16kHz、20kHz共31个频点。
1使用均衡器调整声场在专业均衡器的三大主要功能当中,调整音色应该是最基本最经常用到的功能了,还有一个更重要的功能是用来调整声场和抑制声反馈的。
用专业均衡器来调整声场,专业的方法是要借助粉红噪声发生器和实时频谱仪来调整。
但我们现在大多数的音响师是不可能有这些设备的,只能就地取材,利用现有的设备想办法进行声场调整了,最简单最实用的办法就是用话筒调节了,如何利用话筒来调整声场和调整声反馈,具体调整步骤如下:1、首先找一只频响曲线较为平直、频响范围较宽的话筒,最好是电容话筒,也可以是质量比较好的动圈有线、无线话筒。
把这个话筒固定在话筒架上,放在一个声场的最佳听音区内,高度1.2米左右,话筒拾音头的水平位置与主音箱的中轴线平,基本上就是和主音箱成等腰三角型。
2、调整时要将除房间均衡器外的其它周边设备旁路直通,再把均衡器所有调节点清零,调音台上话筒所在通道的均衡器也要直通不做调整,功放打开并把音量开到合适的位置,然后打开调音台的总音量,开始慢慢往上推话筒音量推子,听到轻微的回输声时,再把话筒音量推子往下拉3—6个dB左右。
31段均衡器调节方法

31段均衡器调节方法没有仪器靠耳朵调,声音浑浊减60-80,低音压耳减125,中音过厚减400,500,中频打耳朵减1250-2000,人声太突出减3K,高频刺耳减4-6K,齿音太重减8K,高音发毛减12-16K。
反过来,低频不丰满加60-80,力度不足加125,人声单薄加200-400,声音发虚加1K附近,人声位置偏后,提3K,声音不亮,不通透加4-8K,空间感不足加12-16K。
低音太硬减160-200,男声喉音重减200,鼻音重减250。
在音乐节目的频域内,各个频段都有其独立的作用,对各段频率的提升或衰减都会使乐音的内含发生变化,下面我们把全音频分成六段作具体分析:(1)16—80HZ(超低音)的频率段,能给音乐带来强有力的感觉,尤其在20Hz以下的频率,可以加强空气振动感,过多地提升会使声音混浊不清。
但在我们语音的重放过程中,该段频率一般是无法重放出来的。
(2)80—250Hz(低音)的频率段,包含着语音中各声部的基础音,对这段频率的调整可改变音乐的平衡状态,使其趋向丰满或单薄,过多地提升会引发“隆隆”声(低频嗡声RUMBLE)。
为了加强一些声功率较弱的乐器演奏的丰满度,在人声的处理过程中,通常男低音的频率可以下到100Hz以下,但在切除100Hz以下的频率时,可消除低频噪音,使音色更纯净。
100-160Hz的频率多时,人声会低沉,沉闷。
(3)250HZ—2KHZ(中音)的频率段,包含着大多数声部的低次谐波,250-500Hz影响音色的力度和结实度。
330HZ给人声的坚实感,使低音柔和丰满。
但提升过多,会产生“嗡嗡”的浴室效应。
500—800多会使音色生硬。
如果在800Hz—2KHz 范围内加上个很宽的提升峰值,可以使声音更突出。
双31段均衡器设置方法

英文名称Equalizer相关简介均衡器是一种可以分别调节各种频率成分电信号放大量的电子设备,通过对各种不同频率的电信号的调节来补偿扬声器和声场的缺陷,补偿和修饰各种声源及其它特殊作用,一般调音台上的均衡器仅能对高频、中频、低频三段频率电信号分别进行调节。
在通信系统中,在系带系统中插入均衡器能够减小码间干扰的影响。
调整方法超低音20Hz-40Hz,适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音40Hz-150Hz,是声音的基础部份,其能量占整个音频能量的70%,是表现音乐风格的重要成份。
适当时,低音张弛得宜,声音丰满柔和,不足时声音单薄,150Hz,过度提升时会使声音发闷,明亮度下降,鼻音增强。
中低音150Hz-500Hz,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度。
提升过度时会使低音变得生硬,300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度。
中音500Hz-2KHz,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音。
适当时声音透彻明亮,不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音2KHz-5KHz,是弦乐的特征音(拉弦乐的弓与弦的摩搡声,弹拔乐的手指触弦的声音某)。
不足时声音的穿透力下降,过强时会掩蔽语言音节的识别。
高音7KHz-8KHz,是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出,语言的齿音加重和音色发毛。
极高音8KHz-10KHz,合适时,三角铁和立*的金属感通透率高,沙钟的节奏清晰可辨。
过度提升会使声音不自然,易烧毁高频单元。
平衡悦耳的声音应是150Hz以下(低音)应是丰满、柔和而富有弹性;150Hz-500Hz(中低音)应是浑厚有力百不混浊;500Hz-5KHz(中高音)应是明亮透彻而不生硬;5KHz以上(高音)应是纤细,园顺而不尖锐刺耳。
31段均衡器的使用

一、使用均衡器调整声场
在专业均衡器的三大主要功能当中,调整音色应该是最基本最经常用到的功能了,甚至于目前好多音响师只知道均衡器可以调整音色而不知道专业图式房间均衡器更重要的功能是用来调整声场和抑制声反馈的。用房间均衡器来调整声场,非常专业的方法是要借助粉红噪声发生器和实时频谱仪来调整。但我们现在大多数的音响师是不可能有这些设备的,只能就地取材,利用现有的设备想办法进行声场调整了,最简单最实用的办法就是用话筒调节了, 其实如何利用话筒来调整声场和调整声反馈也有一些文章介绍过,但我觉得介绍的不够详细或者不够通俗易懂,在多年的工作中,我总结了一套简单、实用、通俗易懂的调整方法,具体调整步骤如下:
1、找出回输最厉害的频率点:对声场影响最大的回输点一般有2个左右,假如在一个代号为:W的舞厅里,当我们对400Hz和4kHz这两点进行大幅度提升时产生了回输,而其它频率点即使做了大幅度的提升(一般提升12dB左右)也没有产生声回输,那么我们就确定在这个声场中回输最厉害的有两个点,就是:400Hz和4kHz,此时我们要先把这两个点衰减6个dB左右,这样可以方便下一步的操作。当然不同的声场回输的频率也不可能一样。
A首先找一只频响曲线较为平直、频响范围较宽的话筒,最好是电容话筒,也可以是质量比较好的动圈有线、无线话筒。把这个话筒固定在话筒架上,放在一个声场的最佳听音区内,高度1.2米左右,话筒拾音头的水平位置与主音箱的中轴线平,基本上就是和主音箱成等腰三角型。
B调整时要将除房间均衡器外的其它周边设备旁路直通,再把均衡器所有调节点清零,调音台上话筒所在通道的均衡器也要直通不做调整,功放打开并把音量开到合适的位置,然后打开调音台的总音量,开始慢慢往上推话筒音量推子,听到轻微的回输声时,再把话筒音量推子往下拉6—9个dB左右。 C然后用房间均衡器从50Hz—16kHz每个点逐步进行提升,一般50Hz以下,16kHz以上的频率是不会产生声反馈的。具体调整步骤如下:
双31段均衡器设置方法

英文名称Equalizer相关简介均衡器是一种可以分别调节各种成分电信号放大量的电子设备,通过对各种不同频率的电信号的调节来补偿扬声器和声场的缺陷,补偿和修饰各种声源及其它特殊作用,一般上的均衡器仅能对高频、中频、低频三段频率电信号分别进行调节。
在通信系统中,在系带系统中插入均衡器能够减小码间干扰的影响。
调整方法超低音20Hz-40Hz,适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音40Hz-150Hz,是声音的基础部份,其能量占整个音频能量的70%,是表现音乐风格的重要成份。
适当时,低音张弛得宜,声音丰满柔和,不足时声音单薄,150Hz,过度提升时会使声音发闷,明亮度下降,鼻音增强。
中低音150Hz-500Hz,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度。
提升过度时会使低音变得生硬,300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度。
中音500Hz-2KHz,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音。
适当时声音透彻明亮,不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音2KHz-5KHz,是弦乐的特征音(拉弦乐的弓与弦的摩搡声,弹拔乐的手指触弦的声音某)。
不足时声音的穿透力下降,过强时会掩蔽语言音节的识别。
高音7KHz-8KHz,是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出,语言的齿音加重和音色发毛。
极高音8KHz-10KHz,合适时,三角铁和立*的金属感通透率高,沙钟的节奏清晰可辨。
过度提升会使声音不自然,易烧毁高频单元。
平衡悦耳的声音应是150Hz以下(低音)应是丰满、柔和而富有弹性;150Hz-500Hz(中低音)应是浑厚有力百不混浊;500Hz-5KHz(中高音)应是明亮透彻而不生硬;5KHz以上(高音)应是纤细,园顺而不尖锐刺耳。
31段均衡器使用说明以及心得

31段均衡器使用说明以及心得使用说明:1.连接:首先,将电源线连接到电源插座,并将音频信号线连接到输入和输出设备。
2.设置增益范围:31段均衡器通常具有±12dB的增益范围,可以根据实际需求进行设置。
3.调整频率:根据音频信号的特点,选择需要调整的频率范围,并将其对应的滑块上下拨动,以增加或减少该频率范围内的音频信号。
4.实时监控:在调整过程中,建议将音频信号连接到耳机或音箱上,以便实时监控变化效果。
心得:1.熟悉频率范围:在使用31段均衡器之前,建议熟悉各个频率范围对应的音频特性。
例如,低频范围通常用于增强低音效果,而高频范围则用于增强尖锐的音质。
2.注意频率重叠:在进行频率调整时,应注意避免频率范围的重叠。
频率范围的重叠可能导致音频信号的失真或频率冲突,影响音质效果。
3.耳朵为导向:虽然技术参数和文献可能提供了一些均衡器设置的建议值,但最终的调整应以个人喜好和实际效果为导向。
根据个人听觉感受,选定最佳的均衡器设置,使音频信号达到预期的效果。
4.注意增益范围:在进行音频调整时,应注意均衡器的增益范围。
适度增加或减少音频信号的增益可以改善音质效果,但过度增益可能导致失真和噪音,过度削减则可能降低音频的清晰度。
5.细微调整:31段均衡器提供了较高精度的频率调整,可以进行细微的音频调整。
因此,在进行频率调整时,应反复尝试不同的设置,并细致观察和聆听音频信号的变化,以达到最佳效果。
6.学习和沟通:音频处理是一个复杂的领域,使用均衡器进行调整也需要一定的学习和实践经验。
在使用均衡器之前,可以参考一些教程或专业人员的经验分享,同时也可以与其他音频爱好者或专业人士进行沟通交流,共同学习和进步。
总结起来,使用31段均衡器需要一定的技巧和经验,但也是一种很有趣的音频处理方式。
通过合理调整不同频率范围内的音频信号,可以改善音质效果,使音乐更加动听和舒适。
期望以上使用说明和心得对你的使用有所帮助。
EQ均衡器基础知识--Samplitude为例【普及篇】(1)

网络上关于EQ的教程不少,很多都是讲EQ的操作技巧和录音师自己的使用心得,但是涉及EQ的基本概念和知识的教程却寥寥无几。
我们知道,均衡器的使用在录音过程中起至关重要的作用,熟练掌握均衡器的操作方法是录音师一辈子的追求,但是其操作方法无法明确地用语言描述出来。
真挚地希望您在看了本教程之后,能从中获得对EQ更完整的了解,并结合自己的操作体验来形成属于自己的一套使用技巧。
教程中可能有少量内容曾出现在论坛的其他教程上,我尽量把重复的量控制到最低程度。
●什么是均衡器?均衡器(EQ)是一种可以分别调节各种频率成分电信号放大量的电子设备,其功能就是提升一个特定频率或衰减一个特定频率。
录音棚中使用的均衡器有两种:参数均衡器和图示均衡器。
其中参数均衡器一般可分为搁架均衡器和峰值均衡器(扫频均衡器),而搁架均衡器又可分为低频搁架均衡器和高频搁架均衡器。
●低频搁架均衡(图1)低频搁架均衡的图形说明了均衡器对低频的处理方式。
低频搁架均衡的转折频率为频率最大提升值衰减3dB处,超过该点后,每倍频程按照固定的dB值被衰减。
如图1,该低频搁架均衡器的最大提升量是6dB,转折频率为150Hz,则在150Hz处,信号的提升量为6-3=3dB。
图1低频搁架提升高通滤波器(图2)均衡器在高通滤波模式下工作时,只允许部分频率信号通过。
我们通常把最大频率输出值衰减3dB处的频点定位截止频率(图中的高通滤波器截止频率为150Hz)。
超过截止频率后,每倍频程按照固定的dB值被衰减。
一般来说,截止频率具有可调性,而每倍频程的dB衰减量在设计时已经固定,用户不能自行调整。
图2高通滤波高频搁架均衡(图3)与低频类似,高频也有搁架均衡器。
如上所述,转折频率亦为距离最大提升(衰减)量3dB 处。
图3高频搁架均衡低通滤波器(图4)低通滤波器的截止频率为最大频率输出值衰减3dB处,超过该点后,信号按照每倍频程固定dB值进行衰减。
图4低通滤波●参数均衡器参数均衡器具有可调的中心频率值(Freq)、带宽(Q)以及在某一频率上的增益值(Gain)。
31段均衡器使用说明以及心得

31段均衡器使用说明以及心得1、均衡器的调整方法一、超低音:20Hz-40Hz,适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清.二、低音:40Hz-150Hz,是声音的基础部份,其能量占整个音频能量的70%,是表现音乐风格的重要成份。
适当时,低音张弛得宜,声音丰满柔和,不足时声音单薄,150Hz,过度提升时会使声音发闷,明亮度下降,鼻音增强.三、中低音:150Hz-500Hz,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度。
提升过度时会使低音变得生硬,300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度.四、中音:500Hz-2KHz,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音。
适当时声音透彻明亮,不足时声音朦胧。
过度提升时会产生类似电话的声音。
五、中高音:2KHz-5KHz,是弦乐的特征音(拉弦乐的弓与弦的摩搡声,弹拔乐的手指触弦的声音某)。
不足时声音的穿透力下降,过强时会掩蔽语言音节的识别.六、高音:7KHz-8KHz,是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出,语言的齿音加重和音色发毛。
七、极高音:8KHz-10KHz合适时,三角铁和立*的金属感通透率高,沙钟的节奏清晰可辨。
过度提升会使声音不自然,易烧毁高频单元。
2、平衡悦耳的声音应是:一、150Hz以下(低音)应是丰满、柔和而富有弹性;二、150Hz-500Hz(中低音)应是浑厚有力百不混浊;三、500Hz-5KHz(中高音)应是明亮透彻而不生硬;四、5KHz以上(高音)应是纤细,园顺而不尖锐刺耳。
整个频响特性平直时:声音自然丰满而有弹性,层次清晰园顺悦耳。
频响多峰谷时:声音粗糙混浊,高音刺耳发毛,无层次感扩声易发生反馈啸叫。
, B% {' ^" F0 I9 y4 n2 s) _' J3、频率的音感特征;一、30~60Hz 沉闷如没有相当大的响度,人耳很难感觉。
图示均衡器

中高音:2KHz-5KHz,是弦乐的特征音(拉弦乐的弓与弦的摩搡声,弹拔乐的手指触弦的声音某)。不足时声音的
穿透力下降,过强时会掩蔽语言音节的识别。
高音:7KHz-8KHz,是影响声音层次感的频率。过度提升会使短笛、长笛声音突出,语言的齿音加重和音色发毛。
中低音:150Hz-500Hz,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度。提升过度时会使低音变得生硬,300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度。
中音:500Hz-2KHz,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音。适当时声音透彻明亮,不足时声音朦胧。过度提升时会产生类似电话的声音。
5KHz以上(高音)应是纤细,园顺而不尖锐刺耳。
补充回答:
这个跟你的音箱也有一定关系的,有些低音太沉的有些中高音比较多,所以调起来是不一样的,你就用你自己的感觉去调吧,一般年青人慢嗨都是两边向上调,中间向下调,也就是高音和低音加重,中间的减少,象一个开口向上的括号的弧形吧,调好后听起来低音不是那种混浊听不清,高音不剌耳也就差不多了
极高音:8KHz-10KHz,合适时,三角铁和立*的金属感通透率高,沙钟的节奏清晰可辨。过度提升会使声音不自然,易烧毁高频单元。
平衡悦耳的声音应是:
150Hz以下(低音)应是丰满、柔和而富有弹性;
150Hz-500Hz(中低音)应是浑厚有力百不混浊;
500Hz-5KHz(中高音)应是明亮透彻而不生硬;
频段分得越细,调节的峰越尖锐,即Q值(品质因数)越高,调节时补偿得越细致,频段分的越粗则调节的峰就比较宽,当声场传输频率特性曲线比较复杂时较难补偿。
31段均衡器使用说明以及心得1

31段均衡器使用说明以及心得1、均衡器的调整方法一、超低音 :20Hz-40Hz,合合时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过分提高会使音乐变得浑浊不清 .二、低音 :40Hz-150Hz,是声音的基础部份 ,其能量占整个音频能量的 70%,是表现音乐风格的重要成份。
合合时 ,低音张弛得宜 ,声音丰满柔和 ,不足时声音单薄 ,150Hz,过分提高时会使声音发闷 ,光明度降落 ,鼻音加强 .三、中低音 :150Hz-500Hz,是声音的结构部分 ,人声位于这个地点 ,不足时 ,演唱声会被音乐淹没 ,声音软而无力 ,适合提高时会感觉浑厚有力 ,提高声音的力度和响度。
提高过分时会使低音变得僵硬 ,300Hz 处过分提高 3-6dB,如再加上混响 ,则会严重影响声音的清楚度 .四、中音 :500Hz-2KHz, 包括大多数乐器的低次谐波和泛音 ,是小军鼓和打击乐器的特色音。
合合时声音透辟光明 ,不足时声音模糊。
过分提高时会产生近似电话的声音。
五、中高音 :2KHz-5KHz, 是弦乐的特色音 (拉弦乐的弓与弦的摩搡声 ,弹拔乐的手指触弦的声音某。
不足时声音的穿透力降落 ,过强时会遮蔽语言音节的鉴别 .六、高音 :7KHz-8KHz, 是影响声音层次感的频率。
过分提高会使短笛、长笛声音突出 ,语言的齿音加重和音色发毛。
七、极高音 :8KHz-10KHz合合时 ,三角铁和立 * 的金属感通透率高 ,沙钟的节奏清楚可辨。
过度提高会使声音不自然 ,易烧毁高频单元。
2、均衡动听的声音应是 :一、 150Hz 以下 (低音应是丰满、柔和而富裕弹性;二、 150Hz-500Hz(中低音应是浑厚有力百不浑浊;三、 500Hz-5KHz( 中高音应是光明透辟而不僵硬;四、 5KHz 以上 (高音应是纤细 ,园顺而不尖锐刺耳。
整个频响特征平直时 :声音自然丰满而有弹性 ,层次清楚园顺动听。
频响多峰谷时 :声音粗糙浑浊 ,高音刺耳发毛 ,无层次感扩声易发生反响啸叫。
31段均衡调试方法

EQ的基本定义EQ是Equalizer的缩写,大陆称为均衡器,港台称为等化器。
作用是调整各频段信号的增益值。
10段均衡器表示有10个可调节节点。
节点越多,便可以调节出更精确的曲线,同时难度更大。
从左到右的顺序是从低频到高频[100Hz, 200Hz, 400Hz, 600Hz, 1KHz, 3KHz, 6KHz, 12KHz, 14KHz, 16KHz]。
EQ各频段的基本知识1.[20-60Hz]影响音色的空间感,因为乐音的基音大多在这段频率以上,这段很难表现,powermp3没有这段均衡。
2.[60-100Hz]影响声音的混厚感,是低音的基音区。
如果这段频率很丰满,音色会显得厚实、混厚感强,如果不足,音色会变得无力;而如果过强,音色会出现低频共振声,有轰鸣声的感觉。
有大鼓、定音鼓,还有钢琴、大提琴、大号等少数存在极低频率的乐器多表现在此段。
3.[80-160Hz]主要表现音乐的厚实感,音响在这部分重放效果好的话,会感到音乐厚实、有底气。
这部分表现得好的话,在80Hz以下缺乏时,甚至不会感到缺乏低音。
如表现不好,音乐会有沉闷感,甚至是有气无力许多低音炮音箱的重放上限,具此可判断您的低音炮音箱频率上限。
4.[150-300Hz]影响声音的力度,尤其是男音的力度。
这段频率是男声声音的低频基音频率,同时也是乐音中和弦的根音频率。
5.[300-500Hz]表现人声的(唱歌、朗诵),这个频段上可以表现人声的厚度和力度,好则人声明亮、清晰,否则单薄、混浊。
6.[800Hz]影响音色的力度。
如果这个频率丰满,音色会显得强劲有力;如果不足,音色将会显得松弛,也就是800Hz以下的成分特性表现突出了,低频成分就明显;而如果过多,则会产生喉音感。
如果喉音过多了,则会失掉语音的个性,适当的喉音则可以增加性感,因此,音响师把这个频率称为"危险频率",人声,打击乐多表现于此。
7.[1kHz]是音响器材测试的标准参考频率,通常在音响器材中给出的参数是在1kHz下测试。
31段均衡器使用说明以及心得

31段均衡器使用说明以及心得 1、均衡器的调整方法:超低音:20Hz-40Hz ,适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音:40Hz-150Hz ,是声音的基础部份,其能量占整个音频能量的 70%,是表现音乐风格的重要成份。
适当时,低音张弛得宜,声音丰满柔和,不足时声音单薄, 150Hz ,过度提升时会使声音发闷,明亮度下降,鼻音增强。
中低音:150Hz-500Hz ,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度。
提升过度时会使低音变得生硬, 300Hz 处过度提升 3-6dB ,如再加上混响,则会严重影响声音的清晰度。
中音:500Hz-2KHz ,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音。
适当时声音透彻明亮,不足时声音朦胧。
过度提升时会产生类似电话的声音。
F i;c中高音:2KHz-5KHz ,是弦乐的特征音(拉弦乐的弓与弦的摩搡声, 弹拔乐的手指触弦的声音某。
不足时声音的穿透力下降,过强时会掩蔽语言音节的识别。
0r(v7}m0X'`"I高音:7KHz-8KHz ,是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出,语言的齿音加重和音色发毛。
极高音:8KHz-10KHz合适时, 三角铁和立 *的金属感通透率高, 沙钟的节奏清晰可辨。
过度提升会使声音不自然,易烧毁高频单元。
0U#m9N2、平衡悦耳的声音应是:150Hz以下(低音应是丰满、柔和而富有弹性; 音响技术超级论坛 ~3V w M ?/d- 150Hz-500Hz(中低音应是浑厚有力百不混浊;500Hz-5KHz(中高音应是明亮透彻而不生硬;5KHz以上(高音应是纤细,园顺而不尖锐刺耳。
9^y7g&Lm `Q!z整个频响特性平直时:声音自然丰满而有弹性,层次清晰园顺悦耳。
EQ 双31段均衡

12.[12k-16kHz]能够影响整体的色彩感,这段过于黯淡会导致乐器失去个性,过多则会产生毛刺感。13.[16k-20kHz]可能很多人都听不到,听不到并不意味着器材无法回放,只有很少人可以听到20kHz。这段频率可以影响高频的亮度,以及整体的空间感,过少会让人觉得有点闷,太多则会产生飘忽感,容易产生听觉疲劳。电子合声、古筝钢琴等乐器的泛音多表现于此。
《16》12-16KHz[过低]失掉光彩~[半满]金光四溅~[过高]刺耳。
《17》16-20KHz[过低]韵味失落,色彩失落缺乏音色表现力~[半满]靠人体颅骨传导感受声音的韵味,色彩富于音色表现力~[过高]宇宙声感和不稳定感。
【简单的说】
1、100Hz属于温暖段,如果使这部分加强能使低音部分更加的柔和温暖
【第二章.EQ各频段的基本知识】
1.[20-60Hz]影响音色的空间感,因为乐音的基音大多在这段频率以上,这段很难表现,powermp3没有这段均衡。
2.[60-100Hz]影响声音的混厚感,是低音的基音区。如果这段频率很丰满,音色会显得厚实、混厚感强,如果不足,音色会变得无力;而如果过强,音色会出现低频共振声,有轰鸣声的感觉。有大鼓、定音鼓,还有钢琴、大提琴、大号等少数存在极低频率的乐器多表现在此段。
5.[300-500Hz]表现人声的(唱歌、朗诵),这个频段上可以表现人声的厚度和力度,好则人声明亮、清晰,否则单薄、混浊。
6.[800Hz]影响音色的力度。如果这个频率丰满,音色会显得强劲有力;如果不足,音色将会显得松弛,也就是800Hz以下的成分特性表现突出了,低频成分就明显;而如果过多,则会产生喉音感。如果喉音过多了,则会失掉语音的个性,适当的喉音则可以增加性感,因此,音响师把这个频率称为"危险频率",人声,打击乐多表现于此。
31段均衡器使用说明以及心得1.

31段均衡器使用说明以及心得1、均衡器的调整方法一、超低音:20Hz-40Hz,适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清.二、低音:40Hz-150Hz,是声音的基础部份,其能量占整个音频能量的70%,是表现音乐风格的重要成份。
适当时,低音张弛得宜,声音丰满柔和,不足时声音单薄,150Hz,过度提升时会使声音发闷,明亮度下降,鼻音增强.三、中低音:150Hz-500Hz,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度。
提升过度时会使低音变得生硬,300Hz 处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度.四、中音:500Hz-2KHz,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音。
适当时声音透彻明亮,不足时声音朦胧。
过度提升时会产生类似电话的声音。
五、中高音:2KHz-5KHz,是弦乐的特征音(拉弦乐的弓与弦的摩搡声,弹拔乐的手指触弦的声音某。
不足时声音的穿透力下降,过强时会掩蔽语言音节的识别.六、高音:7KHz-8KHz,是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出,语言的齿音加重和音色发毛。
七、极高音:8KHz-10KHz合适时,三角铁和立*的金属感通透率高,沙钟的节奏清晰可辨。
过度提升会使声音不自然,易烧毁高频单元。
2、平衡悦耳的声音应是:一、150Hz以下(低音应是丰满、柔和而富有弹性;二、150Hz-500Hz(中低音应是浑厚有力百不混浊;三、500Hz-5KHz(中高音应是明亮透彻而不生硬;四、5KHz以上(高音应是纤细,园顺而不尖锐刺耳。
整个频响特性平直时:声音自然丰满而有弹性,层次清晰园顺悦耳。
频响多峰谷时:声音粗糙混浊,高音刺耳发毛,无层次感扩声易发生反馈啸叫。
, B%{'^"F0Iwww.c a001.c om9 y4 n2 s _' J3、频率的音感特征;一、30~60Hz 沉闷如没有相当大的响度,人耳很难感觉。
双31段均衡器设置方法

英文名称Equalizer相关简介均衡器是一种可以分别调节各种频率成分电信号放大量的电子设备,通过对各种不同频率的电信号的调节来补偿扬声器和声场的缺陷,补偿和修饰各种声源及其它特殊作用,一般调音台上的均衡器仅能对高频、中频、低频三段频率电信号分别进行调节。
在通信系统中,在系带系统中插入均衡器能够减小码间干扰的影响。
调整方法超低音20Hz-40Hz,适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音40Hz-150Hz,是声音的基础部份,其能量占整个音频能量的70%,是表现音乐风格的重要成份。
适当时,低音张弛得宜,声音丰满柔和,不足时声音单薄,150Hz,过度提升时会使声音发闷,明亮度下降,鼻音增强。
中低音150Hz-500Hz,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度。
提升过度时会使低音变得生硬,300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度。
中音500Hz-2KHz,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音。
适当时声音透彻明亮,不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音2KHz-5KHz,是弦乐的特征音(拉弦乐的弓与弦的摩搡声,弹拔乐的手指触弦的声音某)。
不足时声音的穿透力下降,过强时会掩蔽语言音节的识别。
高音7KHz-8KHz,是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出,语言的齿音加重和音色发毛。
极高音8KHz-10KHz,合适时,三角铁和立*的金属感通透率高,沙钟的节奏清晰可辨。
过度提升会使声音不自然,易烧毁高频单元。
平衡悦耳的声音应是150Hz以下(低音)应是丰满、柔和而富有弹性;150Hz-500Hz(中低音)应是浑厚有力百不混浊;500Hz-5KHz(中高音)应是明亮透彻而不生硬;5KHz以上(高音)应是纤细,园顺而不尖锐刺耳。
31段均衡器的使用

31段均衡器的使用1、均衡器的调整方法:超低音:20Hz-40Hz,适当时声音强而有力。
能控制雷声、低音鼓、管风琴和贝司的声音。
过度提升会使音乐变得混浊不清。
低音:40Hz-150Hz,是声音的基础部份,其能量占整个音频能量的70%,是表现音乐风格的重要成份。
适当时,低音张弛得宜,声音丰满柔和,不足时声音单薄,150Hz,过度提升时会使声音发闷,明亮度下降,鼻音增强。
中低音:150Hz-500Hz,是声音的结构部分,人声位于这个位置,不足时,演唱声会被音乐淹没,声音软而无力,适当提升时会感到浑厚有力,提高声音的力度和响度。
提升过度时会使低音变得生硬,300Hz处过度提升3-6dB,如再加上混响,则会严重影响声音的清晰度。
中音:500Hz-2KHz,包含大多数乐器的低次谐波和泛音,是小军鼓和打击乐器的特征音。
适当时声音透彻明亮,不足时声音朦胧。
过度提升时会产生类似电话的声音。
中高音:2KHz-5KHz,是弦乐的特征音(拉弦乐的弓与弦的摩搡声,弹拔乐的手指触弦的声音某)。
不足时声音的穿透力下降,过强时会掩蔽语言音节的识别。
高音:7KHz-8KHz,是影响声音层次感的频率。
过度提升会使短笛、长笛声音突出,语言的齿音加重和音色发毛。
极高音:8KHz-10KHz 合适时,三角铁和立*的金属感通透率高,沙钟的节奏清晰可辨。
过度提升会使声音不自然,易烧毁高频单元。
2、平衡悦耳的声音应是:150Hz以下(低音)应是丰满、柔和而富有弹性;150Hz-500Hz(中低音)应是浑厚有力百不混浊;500Hz-5KHz(中高音)应是明亮透彻而不生硬;5KHz以上(高音)应是纤细,园顺而不尖锐刺耳。
整个频响特性平直时:声音自然丰满而有弹性,层次清晰园顺悦耳。
频响多峰谷时:声音粗糙混浊,高音刺耳发毛,无层次感扩声易发生反馈啸叫。
3、频率的音感特征:30~60Hz沉闷如没有相当大的响度,人耳很难感觉。
60~100Hz沉重80Hz 附近能产生极强的“重感”效果,响度很高也不会给人舒服的感觉,可给人以强烈的刺激作用。
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2SAFETY INSTRUCTIONS1. Read Instructions — All the safety and operation instructionsshould be read before this product is operated.2. Retain Instructions — The safety and operating instructionsshould be kept for future reference.3. Heed Warnings — All warnings on this product and in theseoperating instructions should be followed.4. Follow Instructions — All operating and other instructionsshould be followed.5. Water and Moisture — This product should not be used nearwater – for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, near a swimming pool, etc.6. Cleaning — Clean only with a dry cloth.7. V entilation — This product should be situated so that its locationor position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilationopenings, or placed in a built-in installation such as a bookcase or cabinet that may impede the fl ow of air through ventilation openings.8. Heat — This product should be situated away from heatsources such as radiators, or other devices which produce heat.9. Power Sources — This product should be connected to apower supply only of the type described in these operation instructions or as marked on this product. 10. Power Cord Protection — Power supply cords should be routedso that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit this product. 11. Object and Liquid Entry — Care should be taken so thatobjects do not fall on, and liquids are not spilled into, this product.12. Damage Requiring Service — This product should be servicedonly by qualifi ed service personnel when: A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has spilled into this product; or C. This product has been exposed to rain; orD. This product does not appear to operate normally or exhibits a marked change in performance; orE. This product has been dropped, or its chassis damaged.13. Servicing — The user should not attempt to service thisproduct beyond those means described in this operating manual. All other servicing should be referred to the Tapco Service Department.14. To prevent electric shock, do not use this polarized plug withan extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.Pour préevenir les chocs électriques ne pas utiliser cette fi che polariseé avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent être insérées à fond sans laisser aucune pariie à découvert.15. Grounding or Polarization — Precautions should be taken sothat the grounding or polarization means of this product is not defeated.16. Power Precaution — Unplug this product during lightningstorms or when unused for long periods of time.17. This apparatus does not exceed the Class A/Class B(whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interferenceregulations of the Canadian Department of Communications.ATTENTION —Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage ” within the product ’s enclosure that may beof sufficient magnitude to constitute a risk of electric shock to persons. Le symbole éclair avec point de fl èche à l'int érieur d'un triangle équilat éral est utilis é pour alerter l'utilisateur de la pr ésence à l'int érieur du coffret de “voltage dangereux ” non isol é d'ampleur suffisante pour constituer un risque d'él éctrocution.The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation à l'int érieur d'un triangle équilat éral est employ é pour alerter les utilisateurs de la pr ésence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.Part No. 0009427 Rev. A 1/04©2004 LOUD Technologies Inc. All Rights Reserved.3What me, read a manual?Before you begin, please make sure you read the Safety Instructions on page 2 and Getting Started on page 4.Your new TAPCO ® T •231 is designed to set up quickly and operate easily. We know it ’s often seen as a sign of weakness to read a manual, along with asking for directions when lost, but maybe you can read the rest when nobody is looking.It is important to keep your receipt in a safe place, and not a bad idea to write your product information here for future reference (i.e., insurance claims, tech support, return authorization, etc.).Duration Per Day Sound Level dBA, TypicalIn Hours Slow ResponseExample8 90 Packed garage concert 6 924 95 VW Bus Peace Train 3 97 2 100 Cranked psychedelic tunes 1.5 102 1105 High speed chase on C.H.I.P .s 0.51100.25 or less115Loudest parts at a Heavy Metal concertProduct Serial #:Purchased at:Date of purchase:18. Exposure to extremely high noise levels may cause permanenthearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to suf fi ciently intense noise for a period of time. The U.S. Government ’s Occupational Safety and Health Administration (OSHA) has speci fi ed the permissible noise level exposures shown in the following chart.According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here.Getting StartedThe following steps will help you set up your T•231, and get the levels just right.SETTINGS:1.Be sure the T•231’s POWER switch is off.2.Set all the sliders to their center positions and all theswitches out.CONNECTIONS:1. Using balanced or unbalanced cables, connectyour mixer’s main outputs to the T•231’s inputs,and the T•231’s outputs to your amplifer’s (orpowered speakers’) inputs.If you are using the T•231 in a channel’s insert,connect your mixer’s channel inserts to yourT•231’s INPUTs and OUTPUTs.Note: The T•231 31-Band GraphicEqualizer is designed to be inserted“in-line” with the signal as aserial device. This means that theentire signal is routed through theprocessor, in contrast to a parallel device where the processed signal is mixed back with the unprocessed signal, like a reverb or echo.2. Connect the cables using either XLR or 1/4”TRS connectors (balanced), or 1/4” TS or RCAconnectors (unbalanced).• The XLR, TRS, and RCA inputs for each channelare wired in parallel. Use only one input per channel.• The XLR, TRS, and RCA outputs for each channel are wired in parallel.• The balanced XLR connectors are wired asfollows:Pin 1 = shield (ground)Pin 2 = hot (+)Pin 3 = cold (–)• The 1/4” TRS connectors are wired as follows:Tip = hot (+)Ring = cold (–)Sleeve = shield (ground)3. Plug all the sound system components into suitableAC outlets, properly grounded and capable ofdelivering adequate current.4. Turn all the equipment on. If you are monitoring thesignal through speakers, turn the power amplifi eron last to avoid getting any pops or thumpsthrough your speakers. SET THE CONTROLS:1.Make sure your signal source is turned up anddelivering signal to the T•231. The signal shouldpass through the T•231 unaffected because theCHAN 1 and 2 BYPASS buttons are out and thesignal processing circuitry is bypassed.2.Push in the CHAN 1 and 2 BYPASS buttons toenable the graphic equalizer circuits.3.You can turn up and down each individual sliderand hear how it affects the sound.4.You can turn up and down the input LEVEL controlsto make it louder or softer. When the LEVEL control is at the center detent, it is at unity gain (it doesn’t boost or cut the signal).Things To Remember:• When you shut down yourequipment, turn off the amplifi ersfi rst. When powering up, turn on theamplifi ers last.• Save the shipping box andpacking material! You may need itsomeday.CLOSER4ContentsSafety Instructions (2)Getting Started (4)Introduction (6)Hookup Diagrams (8)Typical Hookup: In-line with Main Outputs (8)Alternate Hookup: Individual Channel or Main Inserts ..8T•231 Features (9)FRONT PANEL FEATURES (9)1. EQ Sliders (9)2. Input LEVEL (9)3. HI-PASS (9)4. LOW-PASS (9)5. BYPASS (9)6. CLIP (9)7. RANGE (9)8. POWER (9)REAR PANEL FEATURES (10)9. Line Cord Socket and Fuse (10)10. AC Select Switch (10)11. GND LIFT Switch (10)12. OUTPUTS (10)13. INPUTS (10)GENERAL PRECAUTIONS AND CONSIDERATIONS (11)Rack Mounting (11)Thermal Considerations (11)AC Power Considerations (11)Appendix A: Service Information (12)Warranty Service (12)Troubleshooting (12)Repair (13)Appendix B: Connections (14)Appendix C: Technical Info (15)T•231 Specifi cations (15)T•231 Block Diagram (16)Frequency Chart (18)TAPCO LIMITED WARRANTY (19)Don’t forget to visit our website at for more information about this and other TAPCO products.5IntroductionThank you for choosing a TAPCO® Tweeq™ 31-band graphic equalizer by Mackie®. The TAPCO product line hails back to thedays of TAPCO Corporation, Greg Mackie’s fi rst company. TAPCO revolutionized the audio industry back in 1969 with the very fi rst 6-channel mixer specifi cally designed for keyboards and rock ‘N’ roll PA.In essence, TAPCO redefi ned the price performance ratio and made high-quality professional audio mixers accessible to virtually anyone. Today, TAPCO is reborn with the same ideals and is backed by the world-class engineering and manufacturing horsepower of Mackie. The TAPCO T•231 is the first graphic equalizer in the TAPCO by Mackie® family.About Graphic EqualizersThe tone controls on your home stereo system typically have a bass and treble control, and sometimes a midrange control, that you use to boost or cut a broad band offrequencies. When you leave the controls in the center position, they do nothing.A graphic equalizer works in much the same way, except that it has many more controlsthat operate over much narrower frequency bands. The T•231 has 31 controls that boost or cut different frequencies, each centered on ISO standard frequencies ranging from 20 Hz to 20 kHz and affecting 1/3 of an octave.Constant Q DesignThe T•231 is designed with constant Q fi lters. The Q of a fi lter refers to its quality. A fi lter with a low Q affects a broader band of frequencies than a fi lter with a high Q (Q=f c/BW, for you technoids!). Constant Q means that, as a slider is boosted or cut, the bandwidth of the fi lter (the “skirt” of the affected frequencies) remains the same. Lower quality proportional Q fi lters have a broader bandwidth as the fi lter is boosted or cut, which can extend out to an octave or more.Whazzit Used For?There are a number of uses for graphic equalizers in a sound system. They can be used to correct the frequency response of a loudspeaker, or to adjust for resonant peaks and dips in a room. Sometimes they are used to simply bring out the characteristics of a voice or instrument to improve the intelligibility and articulation of the sound.In any case, please remember that a graphic equalizer is a tool that can be used to improve the overall sound, but it cannot make up for frequency response defi ciencies caused by poor system design or poor acoustics. Try and get the best possible soundfrom the system before attempting to use equalization by paying attention to proper gain structure and loudspeaker placement. Often times just moving a loudspeaker to a different position can have a dramatic effect on the overall sound in the room.Probably the most common use of a graphic equalizer is placing it in-line between the mixing board’s main outputs and the power amplifi er inputs (see hookup diagram on page 8).When used with a real-time analyzer and pink noise generator, it can be used to fi ne tune the acoustic frequency response and get it as fl at as possible in a room.TAPCO version of GregTAPCO van (a.k.a. micro bus)6However, often times a perfectly fl at frequency response is not what you want in a live sound application. For example, if the low-frequency response of the loudspeakers only extends to 50 Hz, there is no need to amplify the frequencies in the lowest octave of theaudio frequency range, 20 Hz to 40 Hz. You can use the T•231 to roll off these frequencies, which reduces the drain on the amplifi er and provides more power to amplify the higher, more useful frequencies.You might want to boost the higher frequencies a bit to add brightness and sizzle to the sound. If the sound system is for the speaking voice, boosting the mid frequencies around2-4 kHz can improve the intelligibility of the voice. Boosting 125 Hz, 250 Hz, and 16 kHz can improve a vocal. Try as you might to eliminate it, there may still be a residual 60-cycle humin the speakers. You can use the 63 Hz slider to notch down the hum (the 125 Hz slider canhelp eliminate residual buzz).A graphic equalizer can be used to reduce feedback. If you don’t have a real-time analyzer to identify the peaks that cause the feedback, you can do a fairly good job byear using the following procedure.1. Set all the sliders on the T•231 to the center position (zero).2. Slowly turn up the master volume on the mixer until feedback just begins to occur.You can usually hear a soft ringing sound that gradually increases in volume. BUT BECAREFUL! Feedback can occur quickly and become very LOUD, very fast.3. Cut the appropriate slider, corresponding to the feedback frequency, until feedbackstops. It may take some practice to identify the frequency where the feedback isoccurring, but your accuracy will improve the more familiar you become with it.4. Repeat until you can’t isolate a specifi c frequency in the feedback.This procedure helps to minimize the resonant peaks in the room. It’s a little more diffi cultto identify and adjust for dips in the room response. This is best done from experiencelistening for gaps in the sound of particular instruments or voices. Once you’ve identifi ed them, boost the slider for that particular frequency range by 3 to 6 dB to help smooth the frequency response.Another application for a graphic equalizer is patching it into a channel insert toenhance the sound or change the tonal characteristics of a vocal or instrument (seehookup diagram). The Sound Frequency chart on page 18 is a good reference to locatethe frequency ranges of particular voices and instrument.The Tweeq Series™ of processors are powerful and tough. They are designed towithstand the punishing rigors of the road and continue to perform day after day, yearafter year.Here’s a quick glance at the features packed into the T•231:•2-channel 31-band graphic equalizer with constant Q circuitry and great sound quality•Switchable 6 and 12 dB control range for wide or fi ne tweaking• High-pass fi lter @ 40 Hz to remove unwanted low frequencies• Low-pass fi lter @ 16 kHz to remove unwanted high frequencies•Bypass switch allows quick A/B comparisons•Independent signal clip indicators on each channel•Input gain control for EQ signal compensation•Balanced 1/4" TRS and XLR, and unbalanced RCA input and output jacks•Selectable line voltage7Hookup DiagramsTypical Hookup:In-line with Main OutputsFROM MIXINGCONSOLE LEFT ANDRIGHT MAIN OUTPUTSTO POWER AMPLIFIER ORPOWERED SPEAKERS INPUTSAlternate Hookup:Individual Channel or Main Inserts895. BYPASSThis button effectively disables the EQ circuits. You can use this button to compare the EQ ’d signal to the unprocessed signal. When the BYPASS button is pushed in, the LED below the BYPASS button lights.6. CLIPThis LED lights when the output signal is within 5 dB of clipping. It is okay if the CLIP LED blinks occasionally, but if it blinks frequently or stays lit all the time, turn down either the LEVEL control or the output signalfrom the mixer or other device immediately preceding the T •231.7. RANGEThis determines the maximum boost and cut of the EQ sliders, either ±12 dB or ± 6 dB (pushed in). The corresponding LED below the RANGE button indicates the setting.The 12 dB setting provides more boost and cut if it is needed for more drastic EQ requirements . The 6 dB setting provides less boost and cut, but allows you to fi ne tune the controls with more precision.8. POWERUse this switch to turn the T •231 on and off. The LED above the switch lights when the power is on.FRONT PANEL FEATURESThe controls for Channels 1 and 2 are the same, so these descriptions apply to both channels.1. EQ SlidersWhen the EQ sliders are in the center position, they have no effect on the signal. Move a slider up ordown to boost or cut a particular frequency by up to ±12 dB (±6 dB when the RANGE switch is set to 6 dB).2. Input LEVELUse the Input LEVEL control to adjust the gain of the signal as it passes through the T •231. When the Input LEVEL control is in the center position, it provides no gain (unity gain). When the slider is all the way down the signal is off (-∞), and all the way up provides 17 dB of gain.3. HI-PASSThis button is used to roll-off the frequencies below 40 Hz. The LED below the button lights to indicate when the HI-PASS fi lter is turned on.This is useful to reduce stage rumble (low-frequency noise from footsteps picked up by microphones on stage) and microphone-handling noise.If the T •231 is used with monitor speakers, turning on this button can reduce the muddiness caused by the lows from the stage monitors feeding back into the main output through the microphones.4. LOW-PASSUse this button to roll-off the frequencies above 16 kHz. The LED below the button lights to indicate when the LOW-PASS fi lter is turned on.This is useful to remove hiss and high-frequency noise from the signal.REAR PANEL FEATURES9. Line Cord Socket and FuseHere is where you connect the detachable line cord that came in the box with your T•231. Plugthe other end of the line cord into an AC outlet properly confi gured with the voltage required for your particular model (see AC Select Switch next).The fuse is located behind the fuse cover, at the bottom of the IEC socket. See the “Troubleshooting”section on page 12 for information about replacing the fuse.10. AC Select SwitchSet this switch to the correct voltage setting for the country you are in, 115 V AC or 230 V AC.Note: The T•231 is shipped with the AC Select switch set to the 230 V AC position. If you are in a country that uses 100-120 V AC, remove the cover plate with a phillips-head screwdriver and set the switch to the 115 V AC position. A 315 mA fuseis used for both voltages (115V/230V). See the “Troubleshooting” section on page 12 for instructions on replacing the fuse.11. GND LIFT SwitchWhen the switch is in the GND position, the audio ground is electrically connected to the chassis “safety” ground. Normally, this is how the switch is set.However, occasionally a ground loop can be created in a system where the signal ground is connected to chassis ground, which can cause a hum or buzz to appear in the audio signal. If this isthe case, try moving the switch to the LIFT position to eliminate the hum or buzz.12. OUTPUTSThree types of connectors are provided for the outputs — balanced male XLR and 1/4” TRS (Tip-Ring-Sleeve), and unbalanced RCA. These balanced outputs are in parallel, and provide exactly the same signal on all three outputs, regardless of which input jack is used. You can connect either a balanced TRS connector or an unbalanced TS connector to the 1/4”output jack.13. INPUTSThree types of connectors are provided for the inputs — balanced female XLR and 1/4” TRS (Tip-Ring-Sleeve), and unbalanced RCA. These inputs are in parallel, so do not connect more than one signal at a time to the input jacks for each channel. You can connect either a balanced or an unbalanced signal to the 1/4” input jack.See “Appendix B: Connections” on page 14 for information on input and output connection wiring.1011GENERAL PRECAUTIONS AND CONSIDERATIONSRack MountingThe T •231 is designed to be mounted in a standard rack. It requires two rack spaces (2U = 3.5”). It also requires 7.5” depth inside the rack, not counting the rear connectors. When designing your rack, put the heavier items at the bottom and the lighter items toward the top.Secure the front panel of the T •231 to the front of the rack using four screws with soft washers to prevent scratching the panel.Thermal ConsiderationsAvoid mounting the T •231 directly over devices that produce heat, such as power ampli fi ers. As with all electronic components, it is best to provide cool air circulation around the T •231 to avoid overheating. The ambient temperature should not exceed 113˚ F (45˚ C).AC Power ConsiderationsBe sure the T •231 is plugged into an AC outlet that is able to supply the speci fi ed voltage, and the AC Select switch is set to the correct voltage.Be sure the AC outlet can supply enough current to allow full power operation of all the components plugged into it, especially if there are power ampli fi ers plugged in. The outlet should be a three-prong socket that matches the power cord.WARNING: Bypassing the plug ’s safety ground pin can be dangerous. Don ’t do it!Appendix A: Service InformationWarranty ServiceDetails concerning Warranty Service are spelled out in the Warranty section on page 19.If you think your T•231 has a problem, please do everything you can to confi rm it before calling for service. Doing so might save you from the deprivation of your equalizer and the associated suffering.These may sound obvious to you, but here are some things you can check. Read on.TroubleshootingNo Power•Our favorite question: Is it plugged in? Make sure the AC outlet is live (check with a tester or lamp).•Our next favorite question: Is the POWER switch on? If not, try turning it on.•Is the red LED above to the POWER switch illuminated? If not, make sure the AC outlet is live.If so, refer to “No Sound” below.•Is the fuse blown? If the POWER LED on the front panel is not illuminated and you are certain thatthe AC outlet is live, if is possible the fuse has blown. To remove and replace the fuse:1.Disconnect the line cord from the IEC socket.2.Remove the fuse drawer by prying it open with a3.Remove the fuse and replace it with anequivalent-type fuse:315 milliamp slo-blo (T315 A/250 V)Note: The same fuse is used for both 115 V AC and 230 V AC operation.4.Replace the fuse drawer by pushing it all the wayback into the IEC socket.5.Reconnect the line cord and turn the POWERswitch on.If two fuses blow in a row, then something is wrong.See the “Repair” section on the next page to fi nd out what to do.No Sound•Is the signal source turned up? Make sure the signal level from the mixing console (or whatever device immediately precedes the T•231) is highenough to produce sound through the system.•Are you using the T•231 with an insert plug in an insert jack? Make sure that you are using an insert cable, and not a mono Y-cable.Poor sound•Is it loud and distorted? Turn down the signal coming from the mixer or signal source.•Is the input connector plugged completely into the jack? Make sure all connections are good and sound.•Switch the BYPASS switch in and out to compare the sound with the equalizer in the signal path and out of the signal path. This can help determine ifthe problem is with the T•231 or elsewhere in thesystem.Noise/Hum•Check the signal cable between the mixer and the T•231. Make sure all connections are goodand sound.•Make sure the signal cable is not routed near AC cables, power transformers, or other EMI-inducing devices.•Is there a light dimmer or other SCR-based device on the same AC circuit as the T•231? Use an AC line fi lter, or plug the T•231 into a different ACcircuit.12135. Include a legible note stating your name, shippingaddress (no P.O. boxes), daytime phone number, RA number, and a detailed description of the problem, including how we can duplicate it.6. Write the RA number in BIG PRINT on top of the box.Units sent to us without the RA number will be refused.7. Ship the T •231 to us. We suggest insurance for allforms of cartage. Ship to this address:TAPCOSERVICE DEPARTMENT 16220 Wood-Red Road NE Woodinville, WA 980728. We ’ll try to fi x the T •231 within fi ve business days.Ask Tech Support for the latest turn-around times when you call for your RA number. The T •231 must be packaged in its original packing box, and must have the RA number on the box. Once it ’s repaired, we ’ll ship it back the same way in which it was received. This paragraph does not necessarily apply to non-warranty repair.RepairService for TAPCO products is available from one of our authorized domestic service centers or at our factory, located in sunny Woodinville, Washington. Service for TAPCO products living outside the United States can be obtained through local dealers or distributors.If your T •231 needs service, follow these instructions:1. Review the preceding troubleshooting suggestions.Please.2. Call Tech Support at 1-877-827-2669, 7 am to 5 pmPST, to explain the problem and request an RA (Return Authorization) number. Have your T •231’s serial number ready. You must have an RA number before you can obtain warranty service at the factory or an authorized service center.3. Keep this owner ’s manual and the detachable linecord. We don ’t need them to repair the T •231.4. Pack the T •231 in its original package, includingendcaps and box. This is very important. When you call for the RA number, please let TechSupport know if you need new packaging. You can order new packaging through our partsdepartment. LOUD Technologies is not responsible for any damage that occurs due to non-factory packaging.Lonely? Looking for that special someone? Do you have a question about your TAPCO product?Please call our Technical Support folks at 1-877-827-2669, Monday to Friday, from 7 am to 5 pm PST.After hours, visit and look under Support , or e-mail us at techmail@。