In a market fairly awash with budget equalisers, Roland's latest contribution, the EQ-231, offers the added advantage of variable frequency high and low-pass filters on each channel. Paul White checks it out.

No modern PA system would be complete without a graphic equaliser, so perhaps it's no wonder that so many are sold, but what does surprise me is how many companies produce similarly specified, low to mid-priced graphic equalisers aimed at exactly the same market sector. Most use similar circuitry, the front panel control layout for a graphic equaliser is predictable at the best of times, and the most fashionable colour still seems to be black. What then is the difference?

It's certainly true that the performance of up-market equalisers is significantly better than that of most budget models, but the main differentiation between different budget models is down to added features and build quality. For example, Peavey have a graphic EQ with lights above the faders to show you where feedback is occurring, and on the whole, this is a great idea. The Alesis claim to fame is that their graphic equaliser is slim and lightweight, while the Roland model reviewed here has the benefit of variable frequency high and low-pass filters on each channel. This may not seem a big deal, but I know a number of engineers, both live and in the studio, who use the side-chain filters on their Drawmer DS201 gates as additional EQ. If you're faced with a situation where you just need to shave away a little from the bass end of the spectrum, or if you need to pull down the top end without resetting individual graphic faders, this type of filter is ideal.

CONTROL LAYOUT

A cursory glance at the front panel reveals a traditional two-channel, 31-band equaliser with two rows of short travel, centre-detented faders located one above the other. All the rotary controls and buttons are mounted to the right of the faders. The power switch is on the extreme left; power comes directly from the mains via a captive cable. Because short faders can be fiddly to set up, each channel has its own range button that allows the maximum cut/boost range to be set to either 12dB or 6dB. Green and yellow status LEDs provide a visual indication of the current selection. Usually you don't need a huge EQ range, and in such situations, using the 6dB range provides you with twice the resolution. A peak indicator comes on 6dB before clipping, and the bypass button has its own red status LED.

Rotary controls are provided for the high and low-pass filters as well as the overall output level, and the Level control is detented at its unit gain position. Both variable filters have a 12dB/octave shelving characteristic, with the Low Cut being variable from 10Hz to 250Hz, and the High Cut from 3kHz to 40kHz. These controls have a multi-detent or stepped action. If not required, the Low Cut control should be set fully anticlockwise, and the High Cut control fully clockwise. In a typical live situation, the Low Cut control could be used to prevent too much low end getting into the stage monitor system, while in a backline application, such as with a bass amp or keyboard amp, it may be useful to trim off the very deep bass, and possibly reduce the high end to prevent the sound from getting too scratchy or raspy.

Rear panel connections provide both jack and XLR balanced input and outputs, but unfortunately, using the balanced jacks with unbalanced equipment loses you 6dB of level. This can be compensated for using the output Level control, but I'd rather have seen balanced XLRs and unbalanced jacks. As I've said so often, most consoles have unbalanced insert points, so if you're going to use the jack connections at all, the chances are you'll be plugging into something unbalanced. If, on the other hand, you want to put the graphic between the mixer outputs and a power amp, you'll almost certainly use the XLRs.

EQ TESTING

As I'd expect from Roland, this is a clean, positive sounding equaliser that compares well with other non-esoteric graphic EQs, although the short faders are a little more fiddly to use than long-throw faders. Given that most graphic EQs end up being used on a stereo signal with both channels set the same, Roland might do well to think about adding a version with stereo, long-throw faders to their existing range. In addition to the EQ-231 reviewed here, the range currently comprises a single-channel 31-band unit and a dual 15-band model.

On its own, the equaliser is capable but unremarkable — pretty much what you'd expect. It becomes rather more flexible, though, when you start to use the shelving filters, and I think Roland have done the live sound community a great service by adding these. Again it's not a unique feature, but it's one most of the competition miss out.

"... this is a clean, positive sounding equaliser that compares well with other non-esoteric graphic EQs..."

CONCLUSION

Given its relatively low price, tough build quality, and good electrical performance, the Roland EQ-231 Graphic Equaliser is a practical choice for main or monitor EQ, keyboard and bass backline EQ, and general purpose applications. The addition of sweepable shelving filters really adds to its usefulness and versatility, although the 6dB loss when you use it unbalanced is a little sloppy. It is possible to design balanced circuits with built-in gain compensation for when they're used unbalanced, although as I pointed out earlier, there is enough extra left on the Level control to make up for it.

While graphic equalisers don't cause a lot of excitement, they are necessary, and they need to be reliable. In most instances, the graphic EQ is between the sound source and the power amp, so if the EQ dies, everything dies. In the case of a model in this price range, relay bypasses in the case of power failure are probably an unreasonable expectation, but it's reassuring to note that the bypass button does feed signal from input to output, even without power disconnected.

Roland's contribution to the EQ marketplace is clearly set out, nicely engineered and has the added value of adjustable shelving filters. A feedback detection system would have been nice, but if you're on the lookout for a straightforward workhorse of an equaliser, then this model will do the job nicely.

EQ-231 £320 inc VAT.

Roland UK Ltd, (Contact Details).