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user manual
pocket tools
colourizer
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colourizer:
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Page 2
pocket tools
colourizer
user manual
Contents Page
1. Introduction 3
2. Safety Instructions 4
3. Controls and Connections 4
4. Operation Summary 5
4.1 Cabling and Starting-up 5
4.2 Level Adjustment 5
5. Functional Characteristics 5
5.1 DI Level 5
5.2 Phase 5
5.3 24V Phantom Power 5
5.4 Filter Network and Filter Stages 6
5.4.1 Tone 6
5.4.2 Enhancer 6
5.4.3 Equalizer 6
5.4.4 Frequency Poti-Rotation 7
5.4.5 Bandwidth Poti-Rotation 7
6. Technical Specications 8
7. Circuit Diagram 9
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Page 3
1. Introduction
Welcome to AER !
Thank you for purchasing an AER Pocket Tool. You are now the owner of a professional au-
dio preamp, designed and manufactured to the highest pro audio technical specications;
capable of shaping, maximizing and delivering the tonal character of your instrument. At
AER our complete focus, some say obsession, is on the ‘true’ reproduction of natural acoustic
sound. A lifetime spent listening to and working with acoustic instruments helps us to create
and rene the very best devices available; to enable you to craft your own unique acoustic
identity. Make your instrument the very best it can be ...
Please take a moment to read this brief manual. We want you to understand how our pro-
duct works and what it can do for you. We want you to gain benet from its many features
but most of all we want you to ENJOY it!
The AER Colourizer is a preamplier for instrument or microphone (vocal or instrument microphone). You insert it into the signal chain between source and next point in the audio path
(e.g. amplier or mixing desk) to produce sound improvement – your signal will be stronger,
richer and more stable.
How is this achieved? – The high grade input stage we have created makes your instrument’s
tone noticeably more rounded and fuller. Three individually switchable and adjustable lter
systems – tone, enhancer and equalizer – may be used separately or in combination to inuence sound character, harmonics and frequency spectrum. Furthermore these lters can be
used to dampen natural resonant frequencies, helping to limit feedback.
The AER Colourizer also provides 24V phantom power for a condenser microphone, an adjustable pro standard DI output for direct connection to a mixing desk and a phase switch.
Read on and have fun!
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2. Safety Instructions
clip
gain DI level
balance intensity
intensity
level bandwidth
frequency
f1 = 90 Hz – 1,6 kHz
f2 = 680 Hz – 11 kHz
volume
pocket tools colourizer
line
mic
tone
enhancer
clip
input
gain DI level
balance intensity
intensity
level bandwidth
frequency
f1 = 90 Hz – 1,6 kHz
f2 = 680 Hz – 11 kHz
power
volume
pocket tools colourizer
line
mic
tone
enhancer
The following guidelines shall help minimize the risk
of injury through re or electric shock.
1. Carefully read these safety notes before you use
the device!
2. Keep these safety notes in a safe place.
3. Pay attention to all warnings, instructions and additional texts on the unit.
4. Do not install or use your device in close proximity
to water or if you are wet yourself.
5. Use your device in a safe place where nobody can
step on cables or trip over and damage them.
6. Always pull the mains plug before cleaning your
device. Use only a dry cloth for cleaning. Avoid the
use of detergents and do not let any liquids seep into
the unit.
7. Never install your device close to units with strong
electromagnetic elds such as large mains transfor-
3. Controls and Connections
pocket tools colourizer
4
clip
line
mic
gain DI level
tone
balance intensity
level bandwidth
input
phantom
dc 24 V
24V
power
volume
intensity
frequency
line out
enhancer
f1 = 90 Hz – 1,6 kHz
f2 = 680 Hz – 11 kHz
DI-out
1 = gnd
2 = pos
3 = neg
power
mers, revolving machines, neon illumination etc. Do
not lay signal cables parallel to power current cables.
8. There are no user-serviceable components inside
the unit. To avoid the risk of an electric shock, the
unit must not be opened. All maintenance, adjustment and repair works should be carried out by quali-
ed staff only. Any unauthorized tampering will void
the 2-year warranty.
9. In keeping with the EMV regulations screened
cables with correctly tted connectors must be used
for all signal connections.
10. Always use an earthed power supply with the
correct mains voltage. If you are in doubt about the
power outlets ground, have it checked by a qualied
technician.
11. Cable up your device only when it is powered off.
Top Side
gain input level control
clip overload indicator
line/mic signal source selector switch (combo socket):
line: (only via jackplug) for instruments
(pickup) and other line level sources
mic: (only via XLR-connector) for microphones
DI level DI signal level control
volume line out signal level control
phase phase invert switch
tone tone balance circuit
balance tone balance emphasis control
intensity tone balance level control
enhancer harmonic enhancement
intensity enhancer level control
off/on enhancer activation switch
equalizer parametric filter network
level level control
bandwidth lter bandwidth control
frequency lter frequency control
f1/f2 lter frequency range switch
Front Side
input signal input, combo socket for 6,3 mm
mono jackplug and XLR-male-connectors
power on/off status indicator
Rear Side
dc 24 V power supply connector socket (24 Volt DC)
24 V phan- 24V phantom power switch
tom power
line out signal output, 6.3 mm mono jack socket
DI-out signal output, symmetrical, XLR socket
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4. Operation Summary
4.1 Cabling and Starting-up
Before connecting to the mains, please ensure that
your local mains voltage (e.g. 230V in mainland Europe, 120V in the USA) is suitable for the voltage input range of the included power supply. The relevant
specs and safety symbols are printed on the rear side
of the unit.
Note: 24V power supply
The 24VDC power supply is a certied wide-range
model, capable of handling input voltages between
100V and 240V. A substantial amount of research, effort and testing went into the selection of this power
supply. It is critical to the function of the preamp –
please use no other power supply!
Also please bear in mind that any device powered
from a power supply (as opposed to battery operation),
may suffer interference carried by the electricity supply
itself. To avoid this, always try and keep signal cables
as short as possible.
We have opted for a „non-earthed power supply“
(class 2 with protective insulation) in order to avoid
unwanted earth or ground loops that occur when
using several earthed mains powered devices in the
signal chain.
Please ensure that both the tone balance and the
equalizer level controls are in their middle position
(centre detent) and all other controls are turned all
the way to the left. The pushbuttons should be off,
i.e. not pushed.
Make all signal cable connections as desired (e.g. instrument or microphone to input, line out to amplier
input and maybe DI out to the mixing desk input).
Now you can connect the unit to the power supply.
The green power control LED indicates operational
readiness.
4.2 Level adjustment
Note: Level adjustment
By setting the level correctly we mean that the signal
level in one or several devices in a signal chain is neither too high nor too low. This applies equally to all
components of a unit (here tone, enhancer or equa-
lizer included).
Consequently, care must be taken that no part of the
circuit is overloaded, or that distortion is unintentionally added to the signal. We have carefully designed
the circuit to achieve this objective whilst also providing potentiometers (gain, level, volume) for „manu-
al” intervention.
The colourizer is equipped with a high-quality preamp which can handle line and microphone signals
and has therefore a wide input sensitivity range.
Using the line/mic switch, select the preamp function
to suit your signal source. Mic (pressed in) is suitab-
le for microphones. (with condenser microphones
please activate 24V phantom power) Line should be
used for instrument pickup systems and most other
signal sources. The gain control is used to match the
colourizer input stage to your signal source, ensuring
optimum function with the best possible signal-to-
noise ratio (SNR).
Having selected the appropriate preamp function
(mic or line) and with the gain controls set fully coun-
ter clockwise (minimum gain), turn up the gain whilst
playing your instrument until the red clip indicator
LED lights up occasionally with heavy strumming.
Now turn down the gain control (or the volume con-
trol on the source) by a tiny amount to allow additional headroom for undistorted reproduction.
During play, the clip control LED should only icker
intermittently at most. With line (signal sources with
a sufcient input signal level) the gain controls will
probably sit between minimum gain and the 10
o’clock position. It’s likely that in mic position the
setting will be signicantly higher. Finally the desired
output level of the line output is controlled by the
volume control. Please note that some of the lter
stages are active and will therefore affect the overall
level setting.
5. Functional Characteristics
5.1 DI level
The DI-out carries a balanced preamp signal. The DI level control determines the preamp’s output signal level.
5.2 Phase
The phase switch allows reversal of the phase of the
output signal of the colourizer relative to the input
signal by 180°, thus matching it to the phasing of
other devices in your signal chain.
5.3 24V Phantom power
The 24V phantom power switch is located on the rear
side of the housing. This provides phantom power to
the XLR input for devices that require it eg condenser mics. The 24V phantom supply of your AER device
complies with the DIN EN 61398 regulations in view
of a 24V phantom power supply. Please note the supplement text on page 7.
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5.4 Filter network and filter stages
volume
clip
gain DI level
balance intensity
intensity
volume
pocket tools colourizer
line
mic
tone
enhancer
clip
gain DI level
intensity
volume
pocket tools colourizer
line
mic
enhancer
5.4.1 Tone Balance – How does it work?
tone
balance intensity
bass and treble are increased simultaneously and are
mixed to the original signal (parallel mode). If the
intensity control is far over to the left (min, s. g.),
then the original signal is not inuenced (flat). Tur-
ning the control to the right (--> mid --> max) mixes
the relevant bass and treble mix to the original signal.
The balance control inuences the relationship between bass and treble. If it is in middle setting, bass
and treble are balanced. The tone balance is now in
equation. (s. g. 1)
The „tone balance“ is served by
the two controls balance and
intensity. The intensity control
determines the degree to which
A turning to the right (g. 3) affects an increase in
treble whilst at the same time reducing the bass.
level
max
intensity
mid
min
100 Hz
1 kHz
balance in right position
10 kHz
frequency
g. 3
level
max
mid
intensity
min
1 kHz100 Hz 10 kHz
balance in middle
If you turn the balance control to the left (g. 2), the
bass range is further increased, but the treble is decreased by max. 0dB.
level
max
intensity
mid
min
1 kHz100 Hz 10 kHz
balance in left position
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(at)
frequency
g. 1
frequency
g. 2
In its function and signal path the tone balance is deliberately designed as a somewhat „different“ equali-
zer. It offers a comfortable way of giving the original
signal more zip without distorting it. Especially on
those occasions, when the equalizer has to be used to
suppress resonance or feedback.
5.4.2 Enhancer
enhancer
The enhancer built into the colourizer adds harmonics to the source
signal thereby creating more brilli-
intensity
ance and clarity. The enhancer level can be adjusted
with the intensity control. Pressing the off/on switch
will deactivate or activate the enhancer.
5.4.3 Equalizer
The equalizer is a parametric lter network, adjustable from 90 Hz to 11 kHz in two ranges: f1= 90 Hz
– 1,6 kHz and f2= 680 Hz – 11 kHz. The ranges have
been designed to meet the special requirements of
acoustic instruments, microphones and other signal
sources and to allow useful and accurate signal manipulation in order to suppress resonances and feed-
level bandwidth
frequency
f1 = 90 Hz – 1,6 kHz
f2 = 680 Hz – 11 kHz
back. The lter
technology ensures a constant
bandwidth at any
selected frequency.
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Note:
A parametric equalizer is a lter network where all
features of a lter (amplitude, i.e. boost or cut = level, frequency and Q factor = bandwidth) can be
adjusted. Parametric means that not only the boost
/cut, but also the location and width of the frequency bands can be adjusted. It offers the possibility to
equalize (atten) notches or peaks in the frequency
response (hence the name equalizer) and to suppress
feedbacks or resonant peaks. It can also be used as a
exible tone control for targeted sound alterations.
Sample application:
Suppose you notice an excessive signal increase (feedback). To counteract you will need to reduce the signal level of the corresponding frequency range. To
do this, rst set the level control (amplitude) to maximum cut (left-hand stop). Make sure that the band-
width control is set to maximum bandwidth (right-
hand stop). Using the frequency control you can
now detect the centre frequency of the offending
frequency range. (use the f1/f2 preselect switch also)
The peak should now be gone. To enhance the sonic
result, you may reduce the bandwidth (increase the
Q factor) or lower the amplitude (decrease the reduction), if necessary.
The control ranges of the potentiometers are not
running linear and thus allow specic inuence of
critical ranges. (e.g. 87,5%/f1 control the range of
300 Hz)
5.4.4 Frequency poti-rotation
poti-position rotation 300° f1 f2
lefthand stop 0% 55 Hz 600 Hz
50% 100 Hz 1,3 KHz
75% 180 Hz 2,3 KHz
87,5% 300 Hz 3,7 KHz
93% 455 Hz 5,6 KHz
righthand stop 100% 870 Hz 11 KHz
Supplement to article 5.3:
Use of 24V- rsp. 48V-Phantom-Power
(Phantom power = remote supply, here: powering an
audio device via the connected audio line)
Turn on the phantom power only if the unit connected to the XLR socket is designed to handle it!
In general, suitable units are e.g. condenser microphones, active DI boxes and other special audio devices, whose power supply is drawn from the
phantom power. Such devices are also labelled accor-
dingly; please heed the permissible power consumption (max.10mA).
High-quality dynamic microphones with a balanced
signal need no phantom power, but can handle it
anyway.
Other devices which have not been designed explicitly for phantom power operation can suffer from
considerable malfunctions, and damage may result as
well.
Examples of devices that may be damaged by incorrect application of phantom power include:
Low-cost dynamic microphones with a mono jack
plug (unbalanced signal) that were tted afterwards
with an XLR connector.
Audio devices with a balanced XLR output (e.g. DI
boxes, effects devices, instrument preamps with a DI
output etc.) which are not protected against phantom power applied to their XLR output. (The DI connectors on AER products are protected against applied phantom power.)
Other audio devices (such as preamps, effects pedals
etc.) whose unbalanced line output was replaced by
an XLR socket.
If in doubt please consult the manufacturer of the
device you are using.
5.4.5 Bandwidth poti-rotation
poti-position rotation 300° octave
lefthand stop 0,0% 1/6
12,5% 1/3
25 % 1/2
50% 2/3
righthand stop 100% 1
Experiment and enjoy your new route to alternative
soundscapes!
Any questions or suggestions? Please do contact us at:
tachauch@aer-amps.com
Thanks for reading!
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Page 8
6. Technical Specications: pocket tools colourizer
Technical data
Input
input
Switchable microphone or line input
Combo socket, XLR and ¼“ jack (6.35 mm)
line mode (jack input)
Unbalanced high impedance input for
instrument pick-ups and line-level sources
Gain adjustment range: +3…+20 dB
Min. input voltage: 100 mV (–20 dBV)
Max. input voltage: 3 V (+10 dBV)
Input impedance: 2.2 M || 150 pF
Signal-to-noise ratio (A-weighted)
Min. gain: 104 dB
Max. gain: 98 dB
Frequency response: 20 Hz…20 kHz / 1 dB
THD + N (1 kHz): < 0.3%
Phantom power: Ring contact of l
connected to ring contact of i
external phantom power applied at the ring
of l
ine out will be available at the input.
mic mode (XLR input)
Balanced microphone input
1 = ground, 2 = positive (+), 3 = negative (–)
Gain adjustment range: +4…+40 dB
Min. input voltage: 10 mV (–40 dBV)
Max. input voltage: 3 V (+10 dBV)
Input impedance: 2.1 k
Unbalanced: 1.1 k
Signal-to-noise ratio (A-weighted):
Min. gain: 104 dB
Max. gain: 95 dB
Frequency response: 20 Hz…20 kHz / 1 dB
THD + N (1 kHz): < 0.1%
Phantom power: 24 V, R = 1.2 k per
terminal, switchable, total current max. 10
mA, short circuit protected
Warning:
External equipment may be
damaged by inappropriate use of phantom
power. In case of doubt keep the 2
p
hantom power switch off (not pushed).
lip indicator
C
Red LED
Headroom: 12 dB
Outputs
line out Unbalanced line output after master
DI-out Balanced XLR output
Mono jack, ¼” (6.35 mm)
Nominal output voltage: 1 V (0 dBV)
Max. output voltage: 9 V (+19 dBV)
Output impedance: 47
Min. load impedance: 2 k
Residual noise (m
A-weighted: 1.2 μV (–118 dBV)
1 = ground, 2 = positive (+), 3 = negative (–)
Level control
Nominal output voltage (differential),
adjustment range:
41…410 mV (–28…–8 dBV)
Output impedance:
47 each terminal to ground
Min. load impedance (differential): 1 k
Residual noise (both channels in line mode):
A-weighted: 2.3 μV (–113 dBV)
aster fully anticlockwise):
ine out is
nput. Any
4 V
Tone controls
Tone Flat if intensity is set fully anticlockwise. The
Enhancer Enhancer intensity fully clockwise, 1 V RMS at
Parametric
e
qualizer
Power
Supply
v
oltage
Mains
a
dapter
following values apply if i
clockwise:
b
alance left:
+9 dB at 100 Hz, shelf type
b
alance center:
+7 dB at 100 Hz, and
+12 dB at 10 kHz, shelf type
b
alance right:
-1 dB at 50 Hz
+12 dB at 10 kHz, shelf type
ine out:
l
Frequency response: +3 dB at 10 kHz
Harmonic distortion: THD 10% at 1 kHz
Adjustable band boost / cut (bell curve) filter
Frequency range:
90 Hz…1.6 kHz / 680 Hz…11 kHz (switchable)
Gain range: 15 dB at center frequency of
filter
Bandwidth range: 0.4 – 2.2 octaves
(“half-dB” method, measured between +7.5
dB points with l
24 V=, 0.2 A
Use only supplied mains adapter.
Mains voltage: 100-240 V~
Power consumption when used with
Colourizer: max. 10 W
ntensity is set fully
evel set to +15 dB)
General
Metal
h
ousing
Finish Anodized black
Dimensions 65 mm (2.56“) high
Weight 480 g (1.06 lbs)
Definitions and conditions
I
nput and output voltages are RMS values for a sine signal
and 1 kHz unless stated otherwise.
T
one controls in neutral position (equalizer level in center
position, tone intensity and enhancer intensity fully
anticlockwise) unless stated otherwise.
M
in. input voltage: Input voltage for nominal output
voltage at line out with gain and volume fully clockwise.
M
ax. input voltage: Permissible input voltage that does not
cause distortion more than the rated THD + N (assuming
suitable control settings).
S
ignal-to-noise ratio (SNR): Ratio of nominal output voltage
to noise voltage at line out, at specified gain setting,
master fully clockwise, input shorted, 20 Hz…20 kHz.
N
ote: SNR is specified for each channel depending on its
control settings. The SNR found at line out may be less
than the specified SNRs of the channels because both
channels contribute to the output noise.
R
esidual noise: Noise voltage at an output when all gain
and level settings are minimal.
T
HD + N: Total harmonic distortion + noise for nominal
output voltage at line out
Specifications and appearance subject to change without
notice.
Aluminium
105 mm (4.13“) wide
135 mm (5.31“) deep
TD20111123
8
Page 9
7. Circuit Diagram: pocket tools colourizer
DI OUT
3
1
2
CLIP
CLIP DETECT
DI LEVEL
PHASE 0 / 180°
ENHANCER
EQUALIZERTONE BALANCE
LINE OUT
B090529B_20111114
PH
VOLUME
OFF/ON
LEVEL INTENSITY
f1 f2
RANGE
FREQ.
BALANCE INTENSITY BW
GAIN
LINE/MIC
+24 V
24 V PHANTOM POWER
1.2 k
1.2 k
2
3
1
MIC
INPUT
High impedance
PH
TR T R
LINE
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notes
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notes
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www.aer-amps.com
Colourizer - 2011_11_GB
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