In the '80s it was the first to use a different approach to tonal adjustments. In conventional analog equalizers, whether they are shelving, sweepable, graphic or parametric types, various sections of the audio spectra are boosted or attenuated by adding or subtracting bandpasses. In this case, frequency shaping is achieved by summing bandpasses. Our emulation of this method is quite similar to the original and improved with additional possibilities of digital technology. Now you can hear it for yourself.
There are five broad, overlapping, interacting bands: 10 (Sub), 40, 160, 650, and 2.5 кHz, along with the "rock (airy) band" control, which is an HF boost-only control.
When using the RE3Q, remember that the bands are broad — 2 octaves approximately. They overlap one another. For example: when boosting the 10 kHz "rock band" to a +6 position of the knob, to keep the response flat through in 2.5 kHz region you should rotate the 2.5 kHz coarse knob to about a -1 position. The amount you back off the 2.5 kHz control should, of course, be set by ear. Following this kind of procedure will accomplish a more airy sound, with much more clarity.
You can accomplish the same thing for the low frequency response by applying the same principles. The RE3Q will reach further into your mix than you've ever heard before with minimal phase distortion.
As a result, you may need to take a little time and "play around" with the controls on the RE3Q before you can make intuitive adjustments.
- Boost only shelf at 2.5 kHz, 5 kHz, 10 kHz, 20 kHz, and 40 kHz;
- 2.5 kHz fixed boost and cut shelf;
- 650 Hz fixed boost and cut bell;
- 160 Hz fixed boost and cut bell;
- 40 Hz fixed boost and cut bell;
- SUB (10 Hz) fixed boost and cut bell;
- PEAK indicator light;
- SIGNAL indicator light;
- INPUT ATTENUATION knob;
- CV control for all six bands with attenuation knobs for input CV signal.