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About Equalization
CONTOUR
0
3
5
15
-18
3
5
10
15
+18
0
3
5
10
15
-18
3
5
10
15
+18
LOW PASS HIGH PASS
Contour controls
IN
OUT
+15
+12
+9
+6
+3
+2
-2
-3
-6
-9
-12
-15
+15
0
-15
8KHz
5KHz3KHz2KHz1KHz500Hz250Hz125Hz64Hz30Hz
8KHz
5KHz3KHz2KHz1KHz500Hz250Hz125Hz64Hz30Hz
GRAPHIC EQUALIZER
IN
OUT
+15
+12
+9
+6
+3
+2
-2
-3
-6
-9
-12
-15
+15
0
-15
8KHz
5KHz3KHz2KHz1KHz500Hz250Hz125Hz64Hz30Hz
8KHz
5KHz3KHz2KHz1KHz500Hz250Hz125Hz64Hz30Hz
GRAPHIC EQUALIZER
IN
OUT
+15
+12
+9
+6
+3
+2
-2
-3
-6
-9
-12
-15
+15
0
-15
8KHz
5KHz3KHz2KHz1KHz500Hz250Hz125Hz64Hz30Hz
8KHz
5KHz3KHz2KHz1KHz500Hz250Hz125Hz64Hz30Hz
GRAPHIC EQUALIZER
Graphic equalizer
The Hartke Systems Model 2500 Bass Amplifier gives you enormous control over
shaping the sound of your bass, using a process called equalization. To understand
how this works, it’s important to know that every naturally occurring sound consists
of a broad range of pitches, or frequencies, combined together in a unique way. This
blend is what gives every sound its distinctive tonal color. EQ controls allow you
to alter a sound by boosting or attenuating specific frequency areas—they operate
much like the bass and treble controls on your hi-fi amp, but with much greater preci
-
sion. The Model 2500 provides you with two different means for equalizing your bass
sound:
• Low Pass and High Pass Contour controls provide 18 dB of cut or boost in
two broad frequency bands.
• A Graphic Equalizer provides 15 dB of cut or boost in ten narrow frequency
bands.
Normally, you will adjust the two Contour controls before “fine-tuning” your EQ with
the Graphic Equalizer. The Low Pass Contour control affects a broad band of frequen-
cies with 100 Hz as the center point; similarly, the High Pass Contour control affects a
broad band of frequencies with 10 kHz as the center point. When either is in its cen
-
ter detented position (“0”), it is having no effect. When it is moved right of center, the
particular frequency area is being boosted; when it is moved left of center, the fre-
quency area is being cut (“attenuated”). Because there is very little bass guitar energy
at 10 kHz, the High Pass Contour control should be thought of as your overall “noise”
control—turning it down (to the left of the “0” position) will help to eradicate hiss and
buzz while having very little effect on the bass guitar signal. Similarly, the Low Pass
Contour control, when set left of 0, can be used to eliminate rumble and “woofiness.”
The ten-band graphic equalizer provides ten sliders, each corresponding to a single
narrow frequency band (at 30 Hz, 64 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 3 kHz, 5
kHz, and 8 kHz). This allows you to “draw” the desired tonal response of your system.
When a slider is in its center detented position (“0”), it is having no effect. When it is
moved above center (towards “+15”), the particular frequency area is being boosted;
when it is moved below center (towards “-15”), the frequency area is being attenu
-
ated. We carefully selected these frequency areas because they have maximum
impact on bass signals. For example, the lowest slider (30 Hz) affects the very lowest
audible frequencies (in fact, most humans cannot hear below 20 Hz), while the high
-
est four sliders (2, 3, 5, and 8 kHz) affects the “twang” of a bass string.
WARNING: Use caution when raising the 30 Hz slider above 0 if you are operating
at high volume levels (especially if Compression is not being used) since this can
place undue stress on connected loudspeakers.