Applied Research and Technology (ART) Tube EQ Owner's Manual

TUBE EQ
PROFESSIONAL TUBE PARAMETRIC EQUALIZER
USER’S GUIDE
TTaabbllee ooff CCoonntteennttss
Introduction 2 Features 2 Registration 3 Overview 3 EQ Tips 4 Unpacking 7 AC Power Hookup 7 Audio Connections 7 Installation 7 Safety Precautions 7 Powering Up 8 Front Panel Controls and Indicators 8
Rear Panel Connections 13
Power Switch 13 Input 14
Output 14 Tube Replacement 14 Applications 15 Specifications 16 On-line Information 16 Warranty Information 17 Service Information 18
1
128-5004-101
IInnttrroodduuccttiioonn Thank you for purchasing Applied Research and Technology’s
Tube EQ. The Tube EQ may be used anywhere you need equal­ization or frequency adjustments. Offering a superb level of sound quality, the Tube EQ will enhance the sonic textures of your audio system for years to come.
FFeeaattuurreess The Tube EQ is a unique product. While every EQ gives you the ability to alter the frequency characteristics of a signal, very few sound
really
good when doing so. Developed in partnership with studio and live sound engineers, the Tube EQ possesses flexibility and “sound” that is not available from any other product on the market - at any price! The Tube EQ was designed and construct­ed with the best components, assuring a lifetime of quiet, reli­able performance. The Tube EQ offers:
- The award-winning A R T “SOUND”!
- Tube-based four-band equalization
- Selectable Low shelving filter - 40Hz or 120Hz
- Selectable High shelving filter - 6KHz or 18KHz
- Sweepable Lo and Hi mid-frequency bands
- Mid-frequency bands overlap from 200Hz to 2KHz
- Mid-frequency bands sweepable from 20Hz to 20KHz
- Hand-selected 12AX7a tube
- XLR balanced inputs and outputs
- 1/4” TS unbalanced inputs and outputs
- Custom extruded aluminum chassis
- Independent input and output level controls
2
- Detented rotary controls
- >90dB dynamic range
- Internal power supply
- One year warranty
- Designed and manufactured in the USA
RReeggiissttrraattiioonn If you haven’t done so already, please take the time to fill out the User Registration Card for your purchase. Having you in our database allows us to keep you informed of updates, application notes, and new product introductions. It only takes a moment, and it will ensure that you are constantly up to date with your purchase.
Fill in the following for your future reference:
Date of purchase: ___________________ Purchased From: ____________________ Serial Number: 128-________
OOvveerrvviieeww Great recordings and great mixes are made from great sounds.
With the exception of some classical and environmental record­ings, equalization plays a large role in creating, tweaking and capturing great sounds in contemporary music. A good equalizer will make good sounds sound better, and (more importantly) bad sounds sound better.
Since we don’t live in a perfect world where all instruments and sounds are “record-ready”, A R T created the Tube EQ to make our recordings a little easier and (hopefully) a little better.
The Tube EQ was designed to help “fix” the instruments that give us the most headaches when we’re recording: kick, snare, bass, toms, guitar amps, voice, etc. The two sweepable parametric bands and selectable shelving bands have been optimized for
3
musical instruments. The two sweepable bands overlap them­selves and the high and low shelving bands, providing you with the ultimate in flexibility. The Tube EQ gives you all the control you need to effectively alter and dial in great sounds from even the poorest of sources.
EEQQ TTiippss WWhhyy uussee aann eexxtteerrnnaall EEQQ?? The shortest signal path is the best way to get a signal to tape. In most cases, the shortest path is: mic to preamp to compressor to EQ to tape deck. The signal doesn’t even go through the mixer! This isn’t a new concept, but it has become more relevant with the availability of affordable mixing consoles. As their name implies, most affordable mixers excel in signal routing and mix­ing capabilities. However, they are not necessarily your best option for recording tracks. While their onboard EQ is nearly always adequate for tweaking a good recorded track during mixing, the simple truth is that the Tube EQ is a better sounding and more flexible equalizer. Mixer manufacturers need to make trade-offs to keep prices down while keeping performance up. Imagine the price of your mixer if each channels’ EQ cost over $200 (and we’re not
talking about those of you who have one of
those $250,000+ consoles!)
The use of external processing (equalizers, preamps and com­pressors) has sonic and practical benefits when you consider that most recording is done one or two channels at a time. For those of us on a budget, it just doesn’t make sense to spend a ton of money on a “cadillac” console when a budget mixer and a few pieces of external gear is more cost effective. Even those engi­neers who regularly work on “big” consoles use external EQs and preamps!
The goal of any recording is to get the sounds right before you commit them to tape. The Tube EQ exists to help you get it right so you don’t have to “fix it in the mix”.
4
WWhhyy sshhoouulldd II uussee aa ppaarraammeettrriicc EEQQ iinnsstteeaadd ooff aa ggrraapphhiicc EEQQ?? Every EQ has its place. As a general rule of thumb, parametric EQs are used for individual instruments (or tracks) and graphic EQs are used for mixed material and for playback systems. Parametric EQs give you more control over a signal -- they can provide subtle or drastic results because they can be tuned to specific frequencies. Parametric EQs allow you to boost or cut narrow frequency bands to make individual instruments “sit” bet­ter with other instruments when combined in a mix. This is usual­ly accomplished with one or two bands. Graphic EQs are used more for the shaping of material. They are nearly always used in PA systems because they can adjust the speaker system to fit the needs of a room while still sounding natural. Their application is “broader” than that of a parametric.
WWhhaatt iiss tthhee bbeesstt wwaayy ttoo uussee EEQQ?? There are two schools of thought on EQ: 1) Use as much as you need to make things sound good. 2) Don’t use any EQ. Most people follow the suggestion of “if it sounds good, it is good.” You need to use your ears and judge for yourself as their are no steadfast rules for EQ’ing. Here are a few pointers to guide you.
Always tweak the instrument you are EQ’ing while listening to it in the mix. EQ’ing an instrument when it is soloed doesn’t give you a good representation of how it will sound when mixed with other instruments. You’d be surprised at how
bad
a killer guitar track can sound when it is isolated from the rest of the mix. Remember, what makes it killer is how it sounds in relation to the other instruments! Keep the big picture in mind.
Most people think of EQ as boosting only (“we’ll just add a little EQ...”). Many times a “bad” sounding instrument can be fixed by simply isolating the bad frequency and pulling it out. After you determine approximately where the “problem area” is in the instrument (highs, lows, mids), isolate the track and boost one of
5
Loading...
+ 14 hidden pages