Germanium Tone Control Manual
Contents
1. OUT TREBLE 10k sk ga Wyk 0 2 2 e etlay 16k oka 4k7 3k y OUT 0 oF 2 2 26 gee s a 4a a Vv o gt IDILES LIMITED CE Certification Chandler Limited declares under its sole responsibility that all products manufactured by them are in compliance with EC directives 2004 108 EC Electromagnetic Compatibility 2004 108 EG Electromagnetic Compatibility 2006 95 EC Low Voltage Equipment Safety2. HANDLER LIMITED GERMANIUM TONE CONTROL Thank you for purchasing the Chandler Limited Germanium Tone Control This unit is proudly hand wired and assembled in the USA It uses a 100 discrete transistor circuit and specially wound transformers Included are item descriptions and hints to get you on your way For peak performance please allow the unit to warm up for at least 25 minutes before use Please feel free to call our shop anytime for help or questions Prior to sending in your gear for repair please contact our shop at the number below We will assist you in troubleshooting the problem and if needed we will issue you an RMA to send in the gear Phone 319 885 4200 Email support chandlerlimited com Send repairs to Chandler Limited Inc 222 S Cherry Street Shell Rock IA 50670 Connections All connections on the Germanium are transformer balanced with pin 2 hot Power supply This is designed to be used with Chandler Limited PSU 1 MKII power supply The power pin out is as follows 1 chassis and audio ground 2 48 volt 3 28 volt 4 28 volt Notes on Grounding On the back of the power supply are two black banana connectors These join the audio ground to earth ground with a solid wire between them Depending on your studio you may want this connected or disconnected Turn up your monitors or headphones a bit and experiment with which has a lower noise floor in your system You may also need to join t
3. e It is also effective for creating thinning effects such as telephone sounds CHANDILETD LIMITED Controls and Features continued 220 Oui 3 5 aS 4 4 6 gt ula 7 G re KJE s 56 2m mg ws z 19 g Sy 10 BOOST THICK BOOST The THICK Boost is an all inductor passive circuit capable of the fat dense lows that inductor type EQs are known for It is selectable between bell or shelf for flexibility and has 18db of boost so you can fatten up even the thinnest of instruments or tracks tend to like the 35 50 and 70 bell for drums while the 90 and 120 shelf are very effective for big guitars and bass See example settings PRESENCE PRESENCE is an active section designed to sound like the many different British console EQs from years past The twist to our PRESENCE control is that each frequency is tuned with a specific Q or width to make it most effective in areas where it will normally be used 300 500 and 800 have a sharper Q to make removing muddy mid range areas more effective 1200 and 3300 have meduim Q while 4100 6200 and 8300 are wide for smooth brightening of tracks There is 15db of boost and cut available on the PRESENCE control and it is an all inductor based circuit for smooth pleasing tones ua a a T giar r lt A a ax t ws aks T2065 6 ne e s a8 vy gt 3k9 a 10 10 OUT TREBLE TREBLE again is an active control designed in the British
4. ed where is unity gain on this thing for more info Tune these to taste and instrument Interactive Kick PASSIVE BYPASS OUT ACTIVE PASSIVE BYPASS ACTIVE PASSIVE BYPASS ACTIVE PASSIVE BYPASS os INDEPENDENT YG OUT ACTIVE PASSIVE BYPASS INDEPENDE e a OUT ACTIVE PASSIVE BYPASS os NDEFENDER T l OUT ACTIVE PASSIVE THICK BYPASS PASSIVE BYPASS INTERACTIVE o 4 ws PASSIVE BYPASS ACTIVE 1200 2200 4100 117 N 800 6200 500 es eo 300 2 OUT 1200 e208 4100 117 800 6200 500 ws 3300 1200 tig 4100 a s 800 200 500 ws 4 300 e OUT 1200 g I 11 O o 1200 2200 4100 117 800 6200 500 os eo 300 2 OUT 1200 3200 4100 117 300 6200 s CETS DN 16k x A ta 0 RO 4a PRESENCE 0 2 2 ola PRESENCE 0 2 ORT Q 6 PRESENCE Qo TREBLE E N 2 R etlay e 1 7 ag ws O m ge TREBLE pipet ans ae T a 6ka l 16k 4k7m 3k 2 OUT 0 2 2 ebay PRESENCE 8k2 10k izk TREBLE tia 0 a 2 ana bg Tok ju s PRESENCE aia OE 43 TREBLE s31 0 2 2 eray g 16k 6k amp OJ I 4k7m 3k e OUT PRESENCE 10k TREBLE i 8k2 gpg 12k i ae lo 2 ena bata o 16k 4a 4a a PRESENCE Liens 500 8300 6 ws eo 300 2
5. he audio banana plug to other sections of you studio to obtain lowest noise floor The audio banana is located closest to the edge of the power supply case Use something simple like a guitar cord and touch the tip to other portions of your studio to find best results CHANDILETD LIMITED Controls and Features GAIN GERMANIUM DRIVE A gain switch in 3db steps this is your standard input level type control The actual amount of overall gain however is affected by feedback control With gain at O and feedback at zero overall gain is 30db Moving the feedback to 10 overall gain becomes 8db with all the tonal changes described under the feedback control Available gain of the unit is 30db with Gain and Feebdack at 0 to 25db with the Germanium Drive and Feedback at full Using different combinations of feedback and input gain is essential if you want to take advantage of all the available tones from the Germanium pre amp FEEDBACK FEEDBACK The Feedback control is essential to the sound and function of this EQ s amplifier Audio amplifiers incorporate some amount of negative feedback which is where the output signal of the amplifier is fed back to its input This affects the sound and function of the amplifier in many ways THD frequency response gain and amplifier stabilization change considerably with varying feedback Please refer to the section about unity gain for the tone variations available by using Gain and Feedback combina
6. low EQ to respond as a standard console EQ as mentioned above In this instance you would normally use the low cut to shave off the very low muddy frequencies and possibly boost above it Remember that in this mode the cut will take precedence Uses for INDEPENDENT mode might be these on a kick drum adding 50 or 70hz and cutting at 35 to remove the very low frequencies that could eat up your mix Another would be using just the low cut to the same 35 or 50hz from a vocal or acoustic guitar track The nice thing about INTERACTIVE INDEPENDENT is that you can accomplish similar results with different settings that create fun and aed variations in tone See example settings oe 442 40 KA lt lt 6 oUt CUT THICK CUT The cut section has specific tunes sections for use in either INTERACTIVE or INDEPENDENT mode The first four settings 20 30 40 and 60hz are tuned for use with the INDEPENDENT mode for removing very low frequncies problems The curve is a very sharp 18db per octave and works well when boosting above the selected cut frequency i e boost 35 or 50 and cut 20hz As mentioned these are very effective at removing rumble from vocals and acoustic guitars because sharp slope does not dig into higher frequencies that would make the track thin The second set of four points 150 200 240 320 are tuned for use with the INTERACTIVE mode The slope is a broad shelf type curve that helps make the beautiful interactions of boost and cut possibl
7. tions PASSIVE BYPASS ACTIVE BYPASS You may bypass the passive Thick or low frequency section and the active Presence and Treble sections of the Tone Control separately for maximum flexibility To bypass both at the same time simply place the passive and active pushbuttons in the out position HANDLER LIMIED Controls and Features continued INTERACTIVE L INDEPENDENT INTERACTIVE INDEPENDENT As one of the important controls for flexibility this switch affects how the Thick boost and cut interact to create variations of the EQ curves In INTERACTIVE mode the boost and cut work in a similar manner to Pultec and Lang EQs whereby boosting and cutting at the same time makes the curves interact to create cool variations For example by boosting at 70hz and cutting at 240hz you get a drop near 350hz and a peak at 70hz Boosting at 70hz and cutting at 320hz will give you a drop at 450hz and a peak at 70hz Please note that different frequency choices will create different boost cut curves For example when cutting at 320hz you will get a lower cut point by lowering the boost point To illustrate the effect of INTERACTIVE further if you were to do similar settings on a standard console EQ you would simply get the cut at 240hz or 320hz because the cut would take precedence over the boost INTERACTIVE allows you to use both together to create normally unattainable equalizer responses INDEPENDENT mode allows you to switch the
8. tradition There is 18db of boost and cut available on eight frequncies 8k9 4k7 6k8 8k2 10k 12k 16k 20k It is also switchable between bell and shelf for flexibilty The bell is purposely set at an even wider Q than PRESENCE section for smooth gentle highs The TREBLE portion is an all inductor based circuit CHANDLER LIMMLED Controls and Features continued WHERE IS UNITY ON THIS THING There are several ways to get unity gain from the Tone Control each with its own variations of frequency response THD etc Here are examples with basic descriptions of the tone of each 1 Gain 2 Feedback 10 Slight low end rise and gentle high end roll off THD and noise are lowest of any unity gain setting 2 Gain 5 Feedback 5 Slight low rise with generally flat extended high end THD is medium while noise is low but a few db higher than setting 1 This would generally be considered the flattest setting 3 Gain 9 Feedback 2 Flat low end with a gentle high end rise THD is medium and noise is generally the same as setting 2 4 Gain 10 Feedback 1 5 Very slight low end roll off with a smooth high end rise THD is highest of any unity gain setting and noise is roughly the same as 2 and 3 Other unity gain settings Gain 3 Feedback 7 Gain 4 Feedback 6 Gain 6 Feedback 3 5 Gain 7 Feedback 3 Gain 8 Feedback 2 5 EXAMPLE settings Gain and Feedback settings are omitted on these settings Please refer to the section titl
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