Recording - April 2013 - 47
We have recently reviewed active monitors where the volume knob had no calibration markings, making it just about
impossible to adjust both cabinets exactly
the same. Well, the SC205 is the opposite—with such fine control on the knobs,
you can be absolutely sure that all of your
monitors are exactly matched.
You may never have a need for such fine
calculations and calibrations, but if you
wish to finesse your monitoring levels in
conjunction with your audio source and
possibly against some measurements taken
at your listening position, and you want to
make sure nothing and nobody disturbs
your settings, you can then lock your setting in by moving the Volume DIP switch on
the rear of the cabinet to “Fixed”.
The way to select these display modes:
Push in the knob, turn it to light up the single LED against the letters LED (bottom
left), push the knob in again, turn the
knob to cycle through the four choices,
push the knob to confirm your desired setting, and wait a few seconds for the circuit to reset. Now the knob is functional
again as the volume control.
Filters
It turns out that this knob in front is not just
a volume knob. Look again at Figure 1—
next to the four LED dots in the most counterclockwise location, at bottom left, you can
see the faint markings High, Desk, Low
(and LED, which is the volume display
mode selector we just discussed). Eve
Audio stresses that these filters are included
to help the user make the most of an
acoustically flawed room and setup, and I’ll
bet that this rings a bell with most readers...
To select and adjust these filters you do
what you did when selecting a display
mode, you push in the knob and select
which filter you wish to adjust. Your options
are as follows, as adapted from the manual:
The Low-Shelf Filter allows you to boost
or attenuate frequencies below 300 Hz in
0.5 dB steps, as shown in Figure 2.
The High-Shelf Filter allows you to boost
or attenuate frequencies above 3 kHz in
0.5 dB steps, as shown in Figure 3.
The Desk Filter has two functions.
When turned down it acts as a narrowband eq set to 180 Hz. The reflections of
mixers and similar surfaces usually result
in the boosting of low mids. With the
Desk Filter you can lessen this effect by
turning down the filter gain. When turned
up, the Desk Filter also works as an eq
but this time set to 80 Hz. This allows you
to give more punch to the lower frequencies. See Figure 4.
You can even combine the low and
high filters to affect the midrange, either
by attenuating it (creating a smiley curve)
or by attenuating the lows and highs,
leaving the midrange to stand out. See
Figure 5.
http://www.primacoustic.com
Recording - April 2013
Table of Contents for the Digital Edition of Recording - April 2013
Recording - April 2013
Fade In
Contents
Talkback
2013 Winter NAMM Show Report
Write Not Just Any Song, But A HIT Song! Q & A With Songwriter Robin Frederick
Royer SF-2 Active Ribbon Microphone
Big Money Drums—Part 3
Moog 500 Series Ladder Filter
Nimbit, Self-Promotion, Me—And You?
Eve Audio SC205 Monitors
Reader's Tapes
Akai MAX49 USB/MIDI/CV Keyboard Controller
Songwriting—The Money Angle
Advertiser Index
Recording Fundamentals. Chapter 16: Sweet Spot Conundrums—Part 3
Fade Out
Recording - April 2013 - Recording - April 2013
Recording - April 2013 - Cover2
Recording - April 2013 - 1
Recording - April 2013 - 2
Recording - April 2013 - 3
Recording - April 2013 - Fade In
Recording - April 2013 - 5
Recording - April 2013 - Contents
Recording - April 2013 - 7
Recording - April 2013 - Talkback
Recording - April 2013 - 9
Recording - April 2013 - 2013 Winter NAMM Show Report
Recording - April 2013 - 11
Recording - April 2013 - 12
Recording - April 2013 - 13
Recording - April 2013 - 14
Recording - April 2013 - 15
Recording - April 2013 - 16
Recording - April 2013 - 17
Recording - April 2013 - 18
Recording - April 2013 - 19
Recording - April 2013 - 20
Recording - April 2013 - 21
Recording - April 2013 - 22
Recording - April 2013 - 23
Recording - April 2013 - Write Not Just Any Song, But A HIT Song! Q & A With Songwriter Robin Frederick
Recording - April 2013 - 25
Recording - April 2013 - Royer SF-2 Active Ribbon Microphone
Recording - April 2013 - 27
Recording - April 2013 - 28
Recording - April 2013 - 29
Recording - April 2013 - 30
Recording - April 2013 - 31
Recording - April 2013 - Big Money Drums—Part 3
Recording - April 2013 - 33
Recording - April 2013 - 34
Recording - April 2013 - 35
Recording - April 2013 - Moog 500 Series Ladder Filter
Recording - April 2013 - 37
Recording - April 2013 - 38
Recording - April 2013 - 39
Recording - April 2013 - Nimbit, Self-Promotion, Me—And You?
Recording - April 2013 - 41
Recording - April 2013 - 42
Recording - April 2013 - 43
Recording - April 2013 - 44
Recording - April 2013 - 45
Recording - April 2013 - Eve Audio SC205 Monitors
Recording - April 2013 - 47
Recording - April 2013 - 48
Recording - April 2013 - 49
Recording - April 2013 - Reader's Tapes
Recording - April 2013 - 51
Recording - April 2013 - Akai MAX49 USB/MIDI/CV Keyboard Controller
Recording - April 2013 - 53
Recording - April 2013 - Songwriting—The Money Angle
Recording - April 2013 - 55
Recording - April 2013 - 56
Recording - April 2013 - 57
Recording - April 2013 - 58
Recording - April 2013 - Advertiser Index
Recording - April 2013 - 60
Recording - April 2013 - 61
Recording - April 2013 - Recording Fundamentals. Chapter 16: Sweet Spot Conundrums—Part 3
Recording - April 2013 - 63
Recording - April 2013 - 64
Recording - April 2013 - 65
Recording - April 2013 - 66
Recording - April 2013 - 67
Recording - April 2013 - 68
Recording - April 2013 - 69
Recording - April 2013 - 70
Recording - April 2013 - 71
Recording - April 2013 - Fade Out
Recording - April 2013 - Cover3
Recording - April 2013 - Cover4
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