The Langevin Model EQ-251A was the first equalizer to use slide controls. It featured two passive equalization sections, a bass shelving filter, and a pass band filter. Each filter had switchable frequencies and used a 15-position slide switch to adjust cut or boost.[8] The first true graphic equalizer was the type 7080 developed by Art Davis's Cinema Engineering. It featured 6 bands with a boost or cut range of 8 dB. It used a slide switch to adjust each band in 1 dB steps. Davis's second graphic equalizer was the Altec Lansing Model 9062A EQ. In 1967 Davis developed the first 1/3 octave variable notch filter set, the Altec-Lansing "Acousta-Voice" system.[9]
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A graphic equalizer also implements second-order filter functions in a more user-friendly manner, but with somewhat less flexibility. This equipment is based on a bank of filters covering the audio spectrum in up to 31 frequency bands. Each second-order filter has a fixed center frequency and Q, but an adjustable level. The user can raise or lower each slider in order to visually approximate a "graph" of the intended frequency response.
In the graphic equalizer, the input signal is sent to a bank of filters. Each filter passes the portion of the signal present in its own frequency range or band. The amplitude passed by each filter is adjusted using a slide control to boost or cut frequency components passed by that filter. The vertical position of each slider thus indicates the gain applied to that frequency band, so that the knobs resemble a graph of the equalizer's response plotted versus frequency.
The range of second-order filter functions is important because any analog filter function can be decomposed into a (usually small) number of these (plus, perhaps, simpler first-order responses). These are implemented directly by each section of a parametric equalizer where they are explicitly adjusted. And each element of a graphic equalizer based on a filter bank includes one such element whose Q is not adjustable by the user.
Equalizers can correct problems posed by a room's acoustics, as an auditorium will generally have an uneven frequency response especially due to standing waves and acoustic dampening. For instance, the frequency response of a room may be analyzed using a spectrum analyzer and a pink noise generator. Then a graphic equalizer can be easily adjusted to compensate for the room's acoustics. Such compensation can also be applied to tweak the sound quality of a recording studio in addition to its use in live sound reinforcement systems and even home hi-fi systems.
The Waves API collection includes the API 550A 3-band EQ, API 550B 4-band EQ, API 560 graphic EQ and API 2500 stereo compressor. These are all emulations of famed hardware units from Automated Processes Incorporated (API for short). Due to slightly differing functionality, the 550A and 550B EQ units serve their own purpose, but I have found them both to have a clear, open-sounding top end, punchy midrange and round, full low end. The 560 is a graphic equalizer and, personally speaking, gets the most usage out of the three. I often use the clarity of the 16 kHz band to enhance vocals, acoustic guitars and drums. 2ff7e9595c
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