Tube EQ Owner`s Manual
Contents
1. To maximize your signal to noise ratio it is impor tant to start with a unity gain setting meaning that the level into the Tube EQ is the same as the level out of the Tube EQ With the output level at its O position adjust the input gain until the level is the same when the Tube EQ is bypassed and active Clip Indicator The Clip indicator will illuminate just before any gain stage of the Tube EQ reaches audible distortion Typically this will indicate clipping at the input stage which is corrected by turning down the input gain control However it will also indicate any distor tion caused by excessive EQ ing In other words if turning down the input gain control doesn t make the clip indicator turn off check the frequency bands for excessive boost Output Level Control The Output Level control sets the output level of the Tube EQ The output level is a gain stage intended to compensate for a boost or cut in level from the applied EQ When the control is fully counterclockwise there is no output Turning the control clockwise increases the level of the output to a maximum of 10dB of gain To achieve unity gain meaning the level into the Tube EQ is the same as the level out of the Tube EQ the output level should be adjusted after setting the EQ bands so that the bypass level is the same as the active level If you are boosting EQ bands adding gain you ll have to turn down the output 9 level control If you are cut2. ing during the mix During mixing you should be concentrating on the blending of tracks and the dynamics of the song If you find yourself EQ ing everything take a break and come back to it later Start mixing with a group of instruments the whole drum kit or guitars and bass instead of listening to individual tracks Mixing is the time for tweaking not applying a sonic re design Once again if it sounds good print it Trust your ears never mind where the knobs are pointing Unpacking Your Tube EQ was packed with care at the factory The shipping 6 carton was designed to protect it during initial shipment Please retain this carton for use in transporting the Tube EQ or in the unlikely event that you need to return your Tube EQ for servicing AC Power Hookup The Tube EQ has an internal power supply designed to operate at 100 to 125VAC 50 to 60Hz Units manufactured for use out side of the United States of America have been modified to com ply with the required electrical specifications Under no circum stances should the power cable be altered If the cable becomes cut or damaged discontinue its use and have it replaced before using the Tube EQ Audio Connections Audio connections to and from the Tube EQ are balanced XLR Pin 2 Hot Pin 3 Cold Pin 1 Ground and unbalanced 1 4 Tip Hot Sleeve Ground We recommend using only high quality cables equipped with the appropriate connectors Ins
3. Control The Low Frequency control adjusts a shelving filter with a selec table corner frequency of either 40Hz or 120Hz The low shelv ing filter designed into the Tube EQ affects all frequencies below 10 the corner frequency when applying boost or cut In other words cutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequency control has as range of 12dB Two ranges are selected with the Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc ing sub low frequencies such as those in bass guitars and kick drums Cutting 40Hz can also help to clean up mixes that sound muddy or loose in the low end 120Hz is generally the low end for vocals guitars and toms Boosting 120Hz can add weight or beef to a week vocal and cutting it can thin out a signal that takes up too much room in the low end Low Shift Switch The Low Shift switch selects the corner frequency of the Low Frequency control In the out position the corner is 40Hz In the in position the corner is 120Hz Lo Mid Frequency Control The Lo Mid control is a dual concentric pot meaning there are two controls one outer and one inner The outer control is used to select a frequency while the inner control is used to apply 12dB of gain The Lo Mid control can cover two fre quency ranges depending on the position of the Shift x 10 switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz Lo Mid Shift x 10 Switch The Lo Mid Sh
4. feature allows either or both con trols to be used in this range This is extremely useful if you want to cut at 200Hz and boost at 350Hz High Frequency Control The High Frequency control adjusts a shelving filter with a selec table corner frequency of either 6KHz or 18KHz The high shelv ing filter designed into the Tube EQ affects all frequencies above the corner frequency when applying boost or cut In other words cutting at 6KHz also cuts 7KHz 8KHz etc The High Frequency control has as range of 12dB The two ranges are selected with the High Shift switch 6KHz is great for adding top end to guitars snare drums and vocals Cutting 6KHz can also help to take the edge off brittle or harsh sounding instruments 18KHz may be used to add sizzle to cymbals and is generally referred 12 to as the air band While there aren t very many instruments that contain 18KHz information directly many instruments and mixes contain upper harmonics which can add extra definition and space when boosted Cutting at 18KHz can decrease hiss and noise High Shift Switch The High Shift switch selects the corner frequency of the High Frequency control In the out position the corner is 18KHz In the in position the corner is 6KHz Note You ll notice the High Frequency and Hi Mid Frequency controls overlap meaning they cover the same frequencies This is intentional and is one of the powerful features of th
5. inverse is NOT true If you are using the XLR input you should not have any thing plugged into the 1 4 jack Output Both balanced and unbalanced output connections may be used simultaneously However when using the Tube EQ to convert an unbalanced signal to a balanced signal and vise versa you will experience a level difference between the input and output sig nals This isn t a big deal as you can compensate with the Input and Output Level controls but the front panel 0 indicators will not be accurate unless using common connectors both XLRs or both 1 4 Note If you experience a hum when using both output connec tors simultaneously one to the console and one to an instrument amp a ground loop may be the problem To remedy this prob lem disconnect the ground wire pin 1 from the XLR cable plugged into the Tube EQ s output or use ground lifted audio cable This interrupts the ground path and therefore breaks the loop Tube Replacement The tube in your Tube EQ should last for many years The tubes used in your unit are hand sorted for performance 10 the event that you need to replace them A suggests that you do so with tubes available from A R T These are matched to the Tube EQ and will yield consistent sonic results You ll find these tubes to be very reasonably priced You can replace the tubes with other brands however A RT has no responsibility for the result 14 ing sound quality They may s
6. 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 com pressors 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 engi neers 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 Why should use a parametric EQ instead of a graphic EQ 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 r
7. 7a Power Requirements 100 125 VAC 9W Export units configured for country of desti nation A RT retains a policy of constant product improvement reserves the right to make changes in design or make additions to or improvements upon this product without any obligation to install the same on products previously manu factured In other words specifications are subject to change without notice Designed and manufactured in the United States of America Applied Research and Technology Inc 716 436 2720 Phone 215 Tremont Street 716 436 3942 FAX Rochester NY 14608 USA WE RE ON LINE For Product information questions applications tips answers and general dis cussion with A R T employees look for A R T on the Internet Check out our Web Page at http www artroch com Look for the A R T discussion area in Craig Anderton s Stage Studio and Sound http www 3daudioinc com under the Manufacturer Supported Forums Email us at artroch aol com 16 Look for the A R T supported area in the MIDI Forum B area on CompuServe Go MIDI CompuServe address 76702 3700 Email us at artroch cis com puserve com WARRANTY AND SERVICE INFORMATION Limited Warranty Warranty service for this unit will be provided by Applied Research and Technology Inc in accordance with the following warranty statement Applied Research and Technology Inc A R warrants to the original purchaser that this product is free from
8. TUBE EQ PROFESSIONAL TUBE PARAMETRIC EQUALIZER USER S GUIDE A APPLIED RESEARCH AND TECHNOLOGY Table of Contents Introduction Features Registration Overview EQ Tips Unpacking AC Power Hookup Audio Connections Installation Safety Precautions Powering Up Front Panel Controls and Indicators Bypass Switch Gain Control Clip Indicator Output Level Control Instruments and the Audio Spectrum Low Frequency Control Low Shift Switch Lo Mid Frequency Control Low Mid Shift x10 Switch Hi Mid Frequency Control Hi Mid Shift x10 Switch High Frequency Control High Shift Switch Rear Panel Connections Power Switch Input Output Tube Replacement Applications Specifications On line Information Warranty Information Service Information SO 0 CO COON NNNN FWWHN YN eg 0 128 5004 101 Introduction Thank you for purchasing Applied Research and Technology s Tube EQ The Tube EQ may be used anywhere you need equal ization 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 Features 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
9. With the exception of some classical and environmental record ings 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 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 them selves 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 EQ Tips Why use an external EQ 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 mix ing capabilities However they are
10. 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 the mid bands Slowly sweep through the frequency range When the really nasty sound jumps out at you you ll know it when it happens turn the boost back to 0 12 o clock Now put the track back into the mix and cut the frequency You ll have to adjust the level of the instrument depending on how much you cut but you should find that with the problem area pulled out the instrument works better in the mix When recording EQ d instruments you want to make sure you have good representation of frequencies on tape Always moni tor off tape when recording This ensures that what you re hearing is what is on tape When recording things like kick drums make sure you have enough low end thud and high end click if applicable before you record Recording guideline You can always boost or cut frequencies after they ve been recorded but you can t add frequencies that weren t recorded Always be prepared for the drummer who says he loves the John Bonham kick drum sound lots of low end power and ambience you got when recording but during the mix decides he wants to sound like Metallica more click than punch If you get the sounds right when you record the tracks you shouldn t be spending a lot of time re EQ
11. ce outside the United States please contact your authorized A R T distributor 1 Be sure the unit is the cause of the problem Check to make sure the unit has power supplied all cables are connected cor rectly and the cables themselves are in working condition 2 If you find the unit to be at fault write down a description of the problem including how and when the problem occurs 3 Call the factory for a Return Authorization RA number 4 Pack the unit in its original carton or reasonable substitute The packing box is not recommended for a shipping carton Put the packaged unit in another box for shipping Print the RA num ber clearly under the address 5 Include with your unit a return shipping address we cannot ship to a PO Box a copy of your purchase receipt a daytime phone number and the description of the problem 6 Ship the unit to Applied Research and Technology Inc 215 Tremont Street Rochester NY 14608 Atten Repair Department RA 7 Contact our Customer Service department at 716 436 2720 for your Return Authorization number or questions regarding your repair Customer Service hours are Monday through Friday 9 00AM to 5 00PM Eastern time 1998 Applied Research and Technology Inc 18
12. defects in work manship and materials for a period of one year from the date of purchase A RT will without charge repair or replace at its option defective product or component parts upon prepaid delivery to the factory service department or an authorized ser vice center accompanied by proof of purchase date in the form of a valid sales receipt EXCLUSIONS This warranty does not apply in the event of mis use or abuse of the product or as a result of unauthorized alter ations or repairs This warranty is void if the serial number is altered defaced or removed ART reserves the right to make changes in design and make additions or improvements upon this product without any obliga tion to install the same on products previously manufactured ART should not be liable for any consequential damages including without limitation damages resulting from the loss of use Some states do not allow limitation of incidental or conse quential damages so the above limitation or exclusion may not apply to you This warranty gives you specific rights and you may also have other rights which vary from state to state For products purchased outside the United States service will be provided by an authorized distributor of Applied Research and Technology Inc products 17 SERVICE The following information is provided in the unlikely event that your unit requires service Use this procedure to return units in the United States only For servi
13. e Tube EQ This feature allows you the ultimate in flexibility For example on cymbals try boosting 18KHz with the High control while cutting 20KHz with the Hi Mid control for a very bright yet noise free result POWER 10610 y EN QD 4 3 j d VN D 25 gt Shock Hazard Unbalanced Unbalanced Do Open Applied Research amp Technology Inc OUTPUT INPUT Avis Risque De Chi vis Risque De Choc Rarer ite 0 Balanced Balanced lectrique Ne Pas Ouvrir Power The Power switch applies and removes power from the unit The Tube EQ should be turned on only when all monitor levels are turned down or off to protect against any thumping caused by high gain settings Likewise the Tube EQ should be turned off after turning all monitor levels down Input and Output Connections The Tube EQ s XLR connectors follow the AES standard Pin 1 Ground Pin 2 Hot Pin 3 Cold The unbal anced 1 4 phone jacks are typical Tip Hot Sleeve Grd 13 Input One input jack per channel should be used at a time Because of its design the Tube EQ can be hard wired without having to disconnect the XLR inputs when using the 1 4 jacks In this case if no load is placed on the XLR input no instrument or line level source connected the 1 4 jack will function as if there was nothing connected to the XLR input However the
14. 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 construct ed with the best components assuring a lifetime of quiet reli able performance The Tube EQ offers The award winning A R SOUND Tube based four band equalization Selectable Low shelving filter 40Hz or 120Hz Selectable High shelving filter 6KHz 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 gt 90dB dynamic range Internal power supply One year warranty Designed and manufactured in the USA Registration 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 Overview Great recordings and great mixes are made from great sounds
15. esults because they can be tuned to specific frequencies Parametric EQs allow you to boost or cut narrow frequency bands to make individual instruments sit bet ter with other instruments when combined in a mix This is usual ly 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 What is the best way to use EQ 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 little EQ Many times a bad sounding instrument can be fixed
16. ift x 10 switch determines the range over which the Lo Mid frequency control will cover In its out position the range is set at 20Hz to 200Hz In its in position the range is set at 200Hz to 2KHz Note You ll notice the Low Frequency and Lo Mid Frequency controls overlap meaning they cover the same frequencies This is intentional and is one of the powerful features of the Tube EQ This feature allows you the ultimate in flexibility 11 Hi Mid Frequency Control The Hi Mid control is a dual concentric pot meaning there are two controls one outer and one inner The outer control is used to select a frequency while the inner control is used to apply 12dB of gain The Hi Mid control can cover two fre quency ranges depending on the position of the Shift x 10 switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz Hi Mid Shift x 10 Switch The Hi Mid Shift x 10 switch determines the range over which the Hi Mid Frequency control will cover In its out position the range is set at 200Hz to 2KHz In its in position the range is set at 2KHz to 20KHz SAN i 50 80 500 800 7 40 100 K 6 30 300 15K 10 20Hz 200Hz 200Hz 2KHz LO MID HI MID Note You ll notice the Lo Mid and Hi Mid Frequency controls overlap meaning they cover the same frequencies in the 200Hz to 2KHz range This is intentional and is another of the powerful features of the Tube EQ This
17. num chassis is used for heat dissipation It is recommended that the Tube EQ be installed in an area where there is adequate ventilation If the Tube EQ fails to power up when the power switch is turned on check to see that its power cord is plugged into an active outlet If the unit still fails to operate properly turn it off and unplug it Then consult your dealer or A R T s Customer Service department FRONT PANEL CONTROLS amp INDICATORS ONAL PARAMETRI TOBE EQUALIZER Shiftx 10 Shiftx 10 HIGH Shift OUTPUT BYPASS 50 80 2232 20 2 T aA 44 N D 6 100 8 15 00 5 11208 200Hz 1208 1248 1088 LO MID HI MID TUBE EQ Bypass Switch A Bypass switch is included on the Tube EQ to enable you to remove it from your signal chain When set to its in bypass 8 position signal is allowed to pass from the input to the output with no equalization The green power LED will glow red when Bypass is engaged In its out position the EQ is active Use the Bypass switch when setting the Tube EQ s input and output levels to achieve unity no boost or cut gain Unity gain is achieved when the active level is the same as the bypassed level Gain Control The Gain control sets the amount of input gain to the Tube EQ Turn the control clockwise to increase gain and counterclockwise to decrease it
18. ound better they may sound worse The choice is yours Please realize that unauthorized alterations to the Tube EQ will void the warranty APPLICATIONS The Tube EQ is intended for use with line level sources The proper placement of the Tube EQ in a signal chain is after a mic line preamplifier after a direct output or bus output from a console after the output of a tape deck or in the insert point of a mixer The Tube EQ has gain and it is possible to plug an instrument directly into it However the Tube EQ does not have enough gain to plug a microphone into it Tube Recording Channel Instrument or Mic through Tube Pac and Tube EQ E a E 96 Used in the Insert Point of a Mixer or Loop of Other Equipment Cuannet nserrsend Input of Tube EQ 4 CHANNEL INSERT RETURN P From Output of Tube EQ TUBE EQ 15 ART Tube EQ Specifications Dimensions 5 25 D x 8 5 W x 1 65 H Weight 5 0 Ibs Frequency Bands Low Shelf AQHz 120Hz Selectable Low Mid Sweepable 20Hz to 200Hz 200Hz to 2KHz High Mid Sweepable 200Hz to 2KHz 2KHz to 20KHz High Shelf 6KHz 18KHz Selectable Gain Frequency Band 12dB Dynamic Range gt 90dB no weighting Input Impedance 20k ohms XLR 1M Ohm 1 4 Output Impedance 600 ohms XLR 300 Ohms 1 4 Maximum Input Level 20dBu XLR Maximum Output Level 27dBu XLR 22dBu 1 4 Total Harmonic Distortion THD lt 0 1 Tube Hand Selected 12AX
19. tallation The Tube EQ may be employed in a number of setups including Between a microphone line preamplifier and a mixer digital multi track recorder DAT machine hard disk recorder or analog recorder In a mixer s channel insert points Between a microphone line preamplifier and signal proces sors Between electronic musical instruments synthesizers guitars bass samplers acoustic instruments with pickups and other gear SAFETY PRECAUTIONS Warning To avoid the risk of shock or fire do not expose this unit to moisture Do not remove metal panels from chassis parts Removing the chassis from its cabinet parts exposes dangerous 7 voltages There are no user serviceable parts inside Refer all servicing to qualified personnel Note If your power cord becomes damaged and must be replaced always replace it with the proper type 3 prong POWERING UP When the rear panel power switch is turned on the power indi cator LED will illuminate It is important to remember to turn the Tube EQ on before any monitoring levels or power amps are turned on The Tube EQ has the ability to add gain to its input signal This can cause the Tube EQ to produce a thump on power up and power down Note Like all tube based equipment the Tube EQ needs to warm up before being used Allow one to two minutes for the tubes to reach proper operating temperature before using It is normal for the Tube EQ to be warm The alumi
20. ting EQ bands decreasing gain you ll have to turn up the output level control Note Using the Tube EQ for adding gain will not damage the unit The only thing that will suffer will be the signal to noise ratio meaning that if you use the Tube EQ as a distortion box it will probably be noisy However use caution and observe the input levels of the equipment that the Tube EQ is plugged into to be sure you are not overdriving it Instruments and the Audio Spectrum The following chart gives you an idea of where certain instru ments lie in the audio spectrum If an instrument isn t listed use the one which most closely resembles it The descriptions in quo tations are references for you to experiment with For example if you have a kick drum with no click from the beater try boost ing around 2 2 5KHz Since every instrument microphone and room is different these are only approximations but should give you a good place to start mud Electric Gutiar ring power buzzin bees Impact Mud Power Bass Presence Clack Meat Snare Drum crack Thud oomph Kick Drum click boxy Drum Overheads with roll off sizzle boxy Vocals siblance air open ness Piano Organ 20Hz 100Hz 250Hz 500Hz 800Hz 1kHz 2 5kHz 5kHz 10kHz 18 2 20kHz Low Frequency
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