PreSonus Acousti-Q - Manual (Page 10)

boosted (fully clockwise) by as much as 12dB. As a rule, it is preferable to cut
a frequency rather than to boost one. The ear is more sensitive to frequency
boosts than it is to cuts and, therefore, the effect of boosting a frequency is
much more pronounced. The Level control has no effect on a selected frequency
in the twelve o’clock position. Rotating the Level control counter clockwise can
reduce the selected frequency, as well as adjacent frequencies, by as much as
(-12) twelve dB. Turning the Level control clockwise can boost the selected and
adjacent frequencies by as much as (+12) twelve dB. This control has a Q that
is equal to 1. This means that the center frequency, the frequency selected
by using the Mid-Range frequency selector, is cut or boosted the most while
frequencies on either side of the selected frequency are also affected but
to a lesser and lesser extent, the farther they are from the selected center
frequency. So while you may select 1kHz to boost by +6 dB, remember you
are also boosting 1.1 kHz and 900Hz to a slightly lesser extent and 1.2kHz and
800Hz a little less than 1.1 kHz and 900 Hz, etc.
Brilliance/Bass Control
The Brilliance/Bass dual concentric control can be used for boosting or cutting
the frequencies of 8kHz and above and 100Hz and below by as much as +/-
12 dB. The inner dual concentric control is labeled Brilliance. The frequencies
of 8kHz and above can be increased or decreased by adjusting this knob. The
twelve o’clock position is zero and no effect on the high frequencies is heard.
By rotating the Brilliance control clockwise from the twelve o’clock (0) position,
the brighter, more treble portion of the signal becomes more pronounced. If the
instrument seems dull and lifeless, boosting the brilliance control results in
a sound with more air and sparkle. If the instrument’s sound seems thin,
rotating the Brilliance control counter clockwise can reduce the harsh quality
and make the overall tone of the instrument rounder and more full range.
A little adjustment goes a long way and gradual adjustment of this control
produces a much more pleasing sound than extreme positions. The outer dual
concentric control is labeled Bass. As it’s name implies, this control adjusts the
Bass frequencies from 100Hz and below. Once again, the twelve o’clock position
corresponds to zero boost or cut. No effect is exerted over the low frequencies
of the signal while the control remains in this position. The Bass frequencies
(100Hz and below) can be boosted by rotating this control clockwise. The
instrument’s tone becomes smoother and richer. Over adjustment of the Bass
control can result in a mufed sound and can induce feedback if care is
not taken. Conversely, counter clockwise rotation of the Bass control from
the twelve o’clock (0) position can reduce 100Hz and below by as much as
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2 CONTROLS & OPERATION