A parametric equaliser allows the operator to address multiple parameters with high precision when applying filters to an audio signal, i.e., a specific frequency can be cut or boosted by an exact amount across an adjustable bandwidth or “Q”. Such surgical-level equalisation enables fine tuning the filter to reduce the gain at frequencies that are prone to feedback, or remove undesirable tonal qualities and their overtones. Conversely, the ability to increase (boost) the gain at certain frequencies provides the ideal way to add punch to bass and kick drum signals, or to add presence to vocal or solo instrument tonalities. The PARAMETRIC EQUALISER 512 utilises 4 overlapping frequency bands to easily and expertly craft professional-grade output signals – both in the studio and during live performance. And when it comes to sound quality, MIDAS products are recognized by engineers the world over as the class leader for their warm and responsive delivery
Precision Dual Concentric Controls
Built from the bottom up, the 512 EQ strip operates across 4 overlapping frequency bands: Bass (20 Hz to 400 Hz); Lo Mid (100 Hz to 2 kHz); Hi Mid (400 Hz to 8 kHz); and Treble (1 kHz to 20 kHz). The Frequency and Gain (-15 dB to +15 dB) adjustments are provided in the form of stacked dual concentric controls, with Gain on the knob and Frequency on the outer ring. All give instant access to fully variable gain and frequency settings in their respective operating bands.
Bass and Treble Bell Switches
512’s Bass and Treble Width controls (Q) are non-functional while in traditional MIDAS shelving mode, which is the default (Bell switches disengaged). When the Bell switches are pressed and illuminated, the Bass and Treble Width controls provide parametric operation. The Lo Mid and Hi Mid frequency bands are always in parametric operating mode – so when both Bell switches are engaged, all 4 Width controls provide fully variable parametric equalisation.
High Performance Balanced Input Stage
Decades of experience, paired with the premium-grade components that make up every input stage we build, ensures the ultimate in signal integrity that is the very foundation of our design process. That warm and organic MIDAS sound has been heard by millions of concert goers – and recorded for posterity on countless live albums. The input stage of the 512 is second to none with its low noise performance, which boasts an enviable Common Mode Rejection Ratio (CMRR) of -70 dB @ 1 kHz