![]() The first and last bands of the Para EQ are used to literally define the width and shape of the overall tonal response of the patch by these steps: (it is assumed that the PEQ will be positioned after the Amp & Cab) A more definable type of boost or cut.īlocking - Just the name alone sounds rather negative and unusable, no? WRONG! :shock: IMO, this is just what we need to sculpt almost any response curve desired. bell curve), are boosted referenced to the selected db amount, as defined by the width of the Q setting. ![]() Peaking - The frequencies at or or close to the specified frequency (i.e. Most Treble & Bass amp EQs operate this way. Shelving - All frequencies at or below the specified frequency are boosted by the selected db amount. Although the user manual is rather sparse on description, there are 3 selections for the Type parameter of these 2 outer bands: The real magic for accomplishing this is found in the first (1st) and last (5th) bands of the AFX Parametric - it is here we can define the overall frequency spread (narrow or wide), as well as the specific contour (shape) of that spread, while the remaining 3 para bands are still available for whatever else we may want to alter in the remaining EQ curve. This has never been an easy thing to accomplish, but with the AFX we have been given an incredible tool to do just that - it is the AFX Para-EQ. How many times have you wanted to filter some ultra-lows or ultra-highs from a patch without losing the ‘overall personality’ or ‘punch’ of the sound? You know - remove some cumbersome low end and fizzy highs, without losing fullness or hi-end articulation. Here’s another technique I’ve been using lately to get the most out of the AFX’s Parametric EQ - Cliff’s version of the classic 5-band parametric EQ is QUITE versatile, but some aspects of it’s versatility may not be so obvious, and hence this thread.
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