ASHLY 3.6SP [6/16] Operating manual protea 4 sp and 3 sp system processors
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ASHLY 3.6SP [6/16] Operating manual protea 4 sp and 3 sp system processors

ASHLY 3.6SP [6/16] Operating manual protea 4 sp and 3 sp system processors
Operating Manual - PROTEA™ 4.8SP and 3.6SP System Processors
6
4.6 Audio Functions
4.6a Gain
Input and Output Gain are
separately adjustable from -40dB to
+12dB in 0.1dB increments.
The output gain menu also
provides for selection of input source(s)
for a given output channel, as well as
polarity of the outgoing signal. Any
input or combination of inputs can
be routed to any or all outputs. Keep
in mind that two signals which share
significant content, such as a stereo
source, will be up to 6dB louder when
combined.
4.6b EQ
The Protea SP EQ section of-
fers full parametric EQ as well as 1st
and 2nd order shelving lters on inputs
and outputs. Each input channel has six
selectable EQ lters, while each output
channel has four selectable EQ lters. In
all cases, each lter is selectable between
parametric (PEQ), 1st order Low Shelf
(LS1), 2nd order Low Shelf (LS2), 1st
order High Shelf (HS1), and 2nd order
High Shelf (HS2).
Shelving EQ lters: 1st order lters use
a gentle 6dB per octave slope, while 2nd order
lters use a 12dB per octave slope for more a
pronounced boost or cut. All shelving lters have
a boost/cut range of +/-15dB. Low shelving lters
have a frequency range from 19.7Hz through
2kHz, and the high shelving lters range from
3.886kHz through 21.9kHz. Shelving lters are
most useful as broad tone controls to boost or
cut the high end or low end of an audio signal's
frequency content. Because they affect a wider
spectrum of audio, they are not as suitable for
feedback control as parametric lters.
Parametric EQ (PEQ) uses peak lters
with the ability to control boost or cut, frequency
center, and bandwidth. Think of one band of parametric EQ as a single graphic equalizer fader except that the frequency is
variable, not xed, and that the bandwidth, or how "wide" the lter affects the frequency spectrum at the center frequency, is
completely variable. The smaller the bandwidth, the less the audio signal on either side of the frequency center is boost or cut,

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