Boosting with the LMF band delivers an incredibly broad peak that fills out the low mids, while the LF band boasts quite a steep shelf, aiding low-end weight. The behaviour is more typical in cut mode, with broad, predictable dips that are good for taming harshness in cymbals and electric guitars, but not narrow enough to notch out specific problem frequencies. Viewed in a spectrum analyser, it's also clear that while the HF band is a peak filter, HMF combines peak and shelving shapes. The HF and HMF bands are great for adding focused edge and musical air to vocals, snares and acoustic sounds such as guitars and orchestral instruments. The frequencies are at fixed points, rather than sweepable, which is also to be expected given the finely tuned methodology. ![]() ![]() The crucial thing here is that the boost curves emulate combinations of EQs rather than a single unit, and although this may seem like an odd approach, it actually emulates the way in which many pro mix engineers work.
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