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Equalization, or simply EQ, in sound recording and reproduction is the process of adjusting the volume of different frequency bands within an audio signal. The circuit or equipment used to achieve this is called an equalizer. [1] [2] Most hi-fi equipment uses relatively simple filters to make bass and treble adjustments. Graphic and parametric ...
Marantz 2050L AM/FM stereo tuner (USA; 1978-1980) [1]. In electronics and radio, a tuner is a type of receiver subsystem that receives RF transmissions, such as AM or FM broadcasts, and converts the selected carrier frequency into a form suitable for further processing or output, such as to an amplifier or loudspeaker.
For example, the RIAA pre-emphasis in the popular Neumann SAB 74B equalizer applies a second-order roll off at 49.9 kHz, implemented by a Butterworth (maximally flat) active filter, plus an additional pole at 482 kHz. [2] This cannot be compensated for by a simple zero even if it were necessary, and in any case, other amplifiers will differ.
The Q factor is a parameter that describes the resonance behavior of an underdamped harmonic oscillator (resonator). Sinusoidally driven resonators having higher Q factors resonate with greater amplitudes (at the resonant frequency) but have a smaller range of frequencies around that frequency for which they resonate; the range of frequencies for which the oscillator resonates is called the ...
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Transformers, autotransformers, and baluns are sometimes incorporated into the design of narrow band antenna tuners and antenna cabling connections. They will all usually have little effect on the resonant frequency of either the antenna or the narrow band transmitter circuits, but can widen the range of impedances that the antenna tuner can match, and/or convert between balanced and ...
The controls enable the operator to adjust the amount of signal that will be sent from its corresponding channel into the signal bus routed to its corresponding aux-send output. The largest, most expensive mixers have a number of aux-send knobs on every channel, thus giving the audio engineer the flexibility to create many live sound and/or ...
The first research on the topic of how the ear hears different frequencies at different levels was conducted by Fletcher and Munson in 1933. Until recently, it was common to see the term Fletcher–Munson used to refer to equal-loudness contours generally, even though a re-determination was carried out by Robinson and Dadson in 1956, which became the basis for an ISO 226 standard.