Ashly SC-66A User's Manual
Contents
1. 5 Set the amplitude control to accentuate your problem as determined in 3 either 6 dB or 6 dB 6 Turn the center frequency control until your problem seems to be at its worst re adjustment of the bandwidth control may be necessary 7 Reset the amplitude control to correct your problem APPLICATION AND OPERATION FOR SOUND REINFORCEMENT ITEM Monitor System Feedback Control Probably one of the most widely used functions of parametric equalizers is in the control of feedback 5 63 and SC 66A s controls make it easy to locate and notch out feedback frequencies It is necessary however to first be able to understand the relationship between a given pitch and its corresponding frequency number For this reason the graph on page 20 showing a standard piano keyboard and music score with the indicated frequencies should be refered to and memorized especially if the only test equipment you have are your ears The illustration below diagrams a typical monitor system hook up After the addition of 5 63 or 5 66 to your monitor system it is possible to get 4 dB to 10 dB of additional gain before feedback Use the narrow band step by step setup instructions on page 8 as a guide to get you started The actual procedure you use may differ greatly after months of experimenting and use MONITOR SEND A TYPICAL MONITOR SYSTEM SIGNAL PATH ITEM Front System Speaker or Room Resonance Problems and Feedback Control O2. If this equalizer is used in a monaural system channels 1 and 2 of the 5 66 may be cascaded to utilize all eight bands of equalization Connect the input Signal to channel 1 input connect channel 1 output to channel 2 input and take the output signal from channel 2 output If the audio ground plug isolation is needed for rack mounting use a stereo phone plug jumper to connect channels 1 and 2 CAUTION TO PREVENT ELECTRIC SHOCK OC NOT OPEN NO USER SERVICABLE PARTS INSIDE REFER SERVICING TO QUALIFIED TECHNICIAN CONNECT TO GROUNDED OUTLET PREVENT FIRE OR ELECTAIC SHOCK DO NOT EXPOSE THIS APPLIANCE TO RAIN MOISTURE 2 AMP 12 W CAUTION TO PREVENT ELECTRIC SHOCK AME DO USER SERVICABLE 30560 PARTS INSIDE REFER SERVICING TO QUALIFIED TECHNICIAN CONNECT TO GROUNDED OUTLET TO PREVENT FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS APPLIANCE TO RAIN MOISTURE EXPLANATION OF PARAMETRIC EQ AND OUR CONTROLS A Parametric Equalizer consists of several filter sections connected together each capable of continuous and independent adjustment of 1 AMPLITUDE 2 CENTER FREQUENCY and 3 BANDWIDTH the 5 66 these controls are mounted vertically below individual in out Switches see figure A IN OUT middle 2 FIGURE On the 5 63 these controls are mounted horizontally with center frequenc
3. 60Hz 5W 49 L x 4 3 4 H x 6 8 Ibs 509 terrn with 6000 or more 20dBm 5 dBm at max boost full sharp 5 20H2 20kHz lt 05 THD 40 20Hz 20kHz 874 eq 95dBV eq out 420 VAC 50 60Hz 5W 49 x 5 4 4 x 6 42 Ibs ZH Suequinu Aouanbeuy 27 30 32 36 ul 43 9 55 61 65 T3 82 87 98 110 123 131 147 165 174 196 220 247 262 294 330 349 392 440 494 524 588 660 698 784 880 988 1048 1176 1320 1396 1568 1760 1976 2096 2352 2640 2792 3136 3520 3952 192 2 s BASS LOW E 68 MIDDLE C LALA 5 559 pag ge 3
4. 66 APPLICATION AND OPERATION FOR MOTION PICTURE SOUND AND TV The variability of every equalization parameter offered by the 5 63 and 5 66A make its selection for use in this field an ex 2llent choice State of the art technology internal modular design and external rugged construction make the 5 63 and SC 66A reliable and easily serviceable ITEM Removal Of Unwanted Sounds Determine if unwanted sounds cover a very narrow range or a medium to wide range and use the appropriate set up suggestions on pages 8 and 9 ITEM Voice Enhancement See Application And Operation For Broadcasting on page 12 Refer to other operating suggestions on pages 9 13 13 VARIABLE GAIN BALANCED INPUT 5 gt SUMMING AMPS BALANCED INPUT SC 66A A CIRCUIT DESCRIPTION The heart and primary expense of the SC 66A and SC 63 is a unique bandpass filter circuit Basically a state variable type this filter is trimmed and optimized to provide excellent transient response and a wide range bandwidth adjustment Each filter in the 5 66 and 5 63 can be tuned over a 50 1 frequency range about 5 1 2 octaves and a 70 1 bandwidth range with no more than a 2 dB amplitude error at center frequency At its sharpest setting the filter has 0 of about 35 and generates a response curve with 3 dB points only 1 20 octave apart making feedback control possi
5. and use the master fader on your mixer to bring the system into feedback Make sure all other channel faders are turned down Do not let the feedback go uncontrolled or you might damage your high frequency drivers 6 Match the first prominant feedback note with an instrument or your ears and check the note against the frequency number on page 20 and reduce system gain back to about 6 dB before feedback Ta Select the most appropriate control band LOW MID HI 12 13 14 gt Set your center frequency control to about an octave below the frequency number you select Set the bandwidth control to full sharp full clockwise Set the amplitude control of the chosen band to 6 dB Depress the master equalization in out switch and the appropriate band in out switch SC 66A only to the in position Very slowly rotate the center frequency control towards the selected feedback frequency until feedback occurs If feedback does not occur increase system gain and repeat step 11 Repeat step 12 until you are sure you have the control centered on exactly the desired frequency Move the amplitude control from 6 dB to 6 dB Increase the gain on your mixer until the next feedback sounds If the same feedback frequency occurs again reset the amplitude control to 9 or more as needed Repeat steps 6 thru 15 to notch out new feedback frequencies for maximum gain before feedback NARROW BAND STEP BY STEP SE
6. 5 63 5 66 PARAMETRIC EQUALIZERS OPERATING INSTRUCTIONS ASHLY AUDIO 14 15 16 17 18 19 20 TABLE OF CONTENTS INTRODUCTION UNPACKING FRONT PANEL LAYOUT BACK PANEL LAYOUT INPUT OUTPUT AND POWER CONNECTIONS EXPLANATION OF PARAMETRIC EQ AND OUR CONTROLS FEEDBACK STEP BY STEP SETUP INSTRUCTIONS NARROW BAND STEP BY STEP SETUP INSTRUCTIONS MEDIUM TO WIDE BAND STEP BY STEP SETUP INSTRUCTIONS APPLICATION AND OPERATION FOR SOUND REINFORCEMENT OPERATION FOR USE AS AN INSTRUMENT TONE CONTROL APPLICATION AND OPERATION FOR RECORDING APPLICATION AND OPERATION FOR BROADCASTING APPLICATION AND OPERATION FOR DISCOTHEQUES APPLICATION AND OPERATION FOR MOTION PICTURE SOUND amp TV BLOCK DIAGRAMS CIRCUIT DESCRIPTION DEFINITION OF TERMS TROUBLE SHOOTING TIPS SPECIFICATIONS GRAPH OF KEYBOARD MUSIC STAFF FREQUENCY NUMBERS Page Oo Oo CO NN WO Fe w O w NN mm We thank you your expression of confidence Ashly products The unit you have purchased is protected by a two year warranty To establish the warranty be sure to fill out and mail the warranty card attached to your product Fill out the information below for your records Model Number Serial Number Dealer Date of Purchase Phone Salesman Other information INTRODUCTION As soon as reproduced audio appeared on the scene the nee
7. AN INSTRUMENT TONE CONTROL Graphic type equalizers while initially easier to operate can not be as accurate as the SC 63 and SC 66A parametric equalizers A parametric equalizer gives unrestricted control of all the notes your instrument can produce The chart on page 20 shows the relationship between the notes you play and the corresponding frequency number There should be very little guess work in deciding how you want to equalize your instrument once this chart is used Most muSicians are already familiar with the terminology A 440 Hz By learning the numbers of other notes you take the guess work out of Knowing where to set the controls on your parametric A common problem with many instruments is uneven response from low to high notes On string instruments you usually have or more strings that not as loud when picked or bowed as the other strings On wind instruments mouthpieces reeds and even weather changes can alter response Most keyboard players really have response problems A general rule to follow is listen carefully to your instrument and determine what the response problems are Try first to correct them with conventional means Use equalization as a last resort unless you are trying to achieve special effects The less equalization you use the easier it will be to get the right sound every time Use the narrow and medium to wide band setup suggestions on pages 8 amp 9 to get started Patch y
8. TUP INSTRUCTIONS Set all gain controls on your parametric to 0 and make sure your master equalization in out switch s are in the out position Set all equalization controls to flat Switch out all other equalization devices Estimate the problem frequency area use the chart on page 20 for help Select the most appropriate control band LOW MID HI Set your center frequency control to about an octave below the frequency number selected Set the bandwidth control to 1 or sharper depending on what you are trying to correct Set the amplitude control of the chosen band to dB Depress the master equalization in out switch and the appropriate band in out switch SC 65A only to the in position Very slowly rotate the center frequency control towards the estimated problem area until it is emphasized Repeat step 10 until you are sure you have the control centered on exactly the desired frequency Re adjust the amplitude control down from 6 to the side until the desired response is achieved Re adjustment of the bandwidth control may also be necessary MEDIUM TO WIDE BAND STEP STEP SETUP INSTRUCTIONS 1 First determine the frequency area of your problem 2 Decide how wide a spread of frequencies are involved see chart on p 20 3 Determine whether your problem is an excess or a deficiency of a frequency range 4 Set the bandwidth control in accordance with 2 usually from 5 to 3 octaves
9. VYIDO ce oor 0 69 25 99 35 13 SBAWLIO 50 2 OJAS LNNYH2 INPUT OUTPUT AND POWER CONNECTIONS This equalizer should be connected to a 3 wire grounded outlet supplying 120 Volts 50 60 Hz Power consumption is 12 watts The INPUT is a 10K ohm active balanced type on a standard stereo phone plug or in phase connection is on the tip and the or out of phase connection is on the ring When feeding the equalizer from unbalanced sources connect the signal hot to the tip and the signal ground to the ring To use the input as a common unbalanced type simply use a mono phone plug in the usual way See Definition Of Terms Wiring page 17 The OUTPUT connections are standard 1 4 phone jacks and mate with a standard phone plug such as switchcraft 280 For rack mounted unbalanced audio systems the output ground may be separated from the case ground by using a stereo phone plug for the output connection The output ground is then wired to the ring of the stereo phone plug for the output connection The output ground is then wired to the ring of the stereo plugs rather than the sleeve In this manner ground loops in the rack may be eliminated This output can be fed to a balanced input by wiring the input to the tip the input to the ring and the shield to ground
10. ather extend our frequency response plot to affect from nearly one note to forty notes 05 to 3 3 octaves See Figure D Other controls on the SC 66A see front panel layout on page 3 include power switch master equalization in out switches NOTE Switch winks to green when depressed to in position The switch winks to black in the out position sets the gain to unity and defeats all equalization in the channel individual equalization in out switches NOTE Switch winks to amber when depressed to position and affects only the band below it gain control to compensate for insertion gain or loss due to the equalization process 15 dB indicator light one for each channel monitors all potential overload points in the channel and illuminates when the level at one of these points reaches 6 dB below clipping on ee OOc m mu m emam mmm m FIGURE D FEEDBACK SUPRESSION STEP BY STEP SETUP INSTRUCTIONS Set all gain controls on your parametric to 0 and make sure your master equalization in out switch s are in the out position 2 Set all equalization controls on your mixer to flat 3 Make sure no microphone is pointing directly into a speaker If you a limiter adjust its threshold hold feedback at low level 5 Estimate the relative volume relationships between your vocal microphones with individual channel sliders on your mixer
11. be COMPARED Often thoroughly misunderstood are the concepts that decibels represent the level of a signal compared to some reference level 15 dB cut means a certain level less than a previous level the absolute level of the signal need not be known and that decibels are a logarithmic unit Some handy numbers to remember when dealing with decibels 3 dB Double Power 6 dB Double Amplitude Quadruple Power 10 dB 10X Power 20 dB 10X Amplitude 100X Power A unit of measurement in decibels where 0 dBm a power level of 1 milliwatt into a 600 ohm load Originally defined by the telephone company to measure line levels Decibel Volts an update of the dBm definition where 0 dBV the same voltage level as 0 dBm but with no regard to power or impedance 0 dBV 0 778 Volts This unit is much more appropriate for modern audio equipment with high impedance inputs and low impedance outputs DISTORTION Generally refers to ANY modification of an audio signal which produces new frequencies which were not in the original Examples are harmonic distortion where a circuit adds overtones to a fundamental Signal and intermodulation or IM distortion where two frequencies beat together to produce sum and difference frequencies FEEDBACK Generally refers to any process where an output is in some form routed back to an input to establish a loop Negative feedback tends to be be self stabilizing while positive feedback causes instab
12. ble with no audible side effects The filters are manufactured individual plug in units to make servicing easy Each filter is placed in the feedback loop of a Summing amplifier to produce the desired frequency response Since a separate summing amplifier is used for each band no interaction between bands occurs 14 DEFINITION OF TERMS AS USED IN THIS MANUAL ACTIVE Electronic circuits which use devices such as transistors and integrated circuits and which are capable of voltage and power gain as well as loss Circuits using only resistors capacitors transformers ete referred to as passive AMPLITUDE The voltage level of a signal May be measured in volts or decibels Generally corresponds to the volume or intensity of an audio Signal BALANCED A 3 wire circuit arrangement in which two conductors are designated as Signal lines and the third is a shield and chassis ground The Signal lines are of opposite polarity at any given moment and are of equal potential with respect to ground Balanced input amplifiers are used on all Ashly SC series products to improve hum and noise rejection Jumpering signal minus to ground provides an unbalanced input CENTER FREQUENCY dB dBm dBV The frequency or pitch at which a filter is most effective In parametric equalizer it refers to the frequency where a particular boost cut control has maximum effect unit by which audio levels can
13. d for tone controls apparent a common problem has always been loss of frequency extremes Early equalizers were simple bass and treble controls which were used to extend frequency response a bit This type of tone control is powerless when dealing with specialized acoustical problems Movie people of the thirties designed equalizers to deal with mid range frequencies and used them for specific problems of intelligibility These dialogue equalizers along with other special effects devices such as sound effects filters are examples of equalizers designed to solve specific problems Graphic Equalizers were the first universal tone controls providing a wise approximation of total frequency response All of these equalizers have a common limitation some of the characteristics of equalization are fixed For example the center frequency and sharpness for each band of a graphic are pre determined This leads to an immediate frustration because these characteristics are never exactly appropriate What do you do when you need a fader right between two sliders on a graphic In the late sixtys the first parametric equalizers were developed by George Massenburg at ITI Parametrics provide independent and continuous adjustment of all three possible characteristics amplitude center frequency and bandwidth As a result virtually any desired frequency response may be obtained with no restrictions imposed by the equalizer itself The A
14. e balanced inputs and outputs Noise can be caused by insufficient drive signal Make sure you are sending a nominal 0 dBV line level signal to the equalizer NOTE UN SHIELDED CABLES IMPROPERLY WIRED CONNECTIONS AND CABLE WITH BROKEN STRANDS SHORTS ETC ARE THE MOST COMMON PROBLEMS WHEN IN DOUBT GET IN TOUCH WITH YOUR ASHLY DEALER OR CALL THE FACTORY DIRECT 800 828 6308 In New York State dial 716 544 5191 SPECIFICATIONS 56 63 5 Master Master Gain Master Defeat Switch Per Band Amplitude Frequency low mid high Bandwidth INPUT IMPEDANCE SC 66A CONTROLS Master Masier Gain Master Defeat Switch Per Band Amplitude Defeat Switch Frequency low low mid hi mid high Bandwidth INPUT IMPEDANCE 45 45 16Hz 800Hz 460Hz 8kHz 480 2 24 2 3 1 3 1 20 40k Q active balanced bridging 4588 45 46 2 800 2 48Hz 2 4kHz 460Hz 8kHz 480Hz 24kHz 3 4 3 oct 4 20 10k Q active balanced bridging OUTPUT IMPEDANCE MAX IN OUT LEVEL FREQUENCY RESPONSE DISTORTION HUM AND NOISE POWER SIZE SHIPPING WEIGHT OUTPUT IMPEDANCE MAX IN OUT LEVEL FREQUENCY RESPONSE DISTORTION HUM AND NOISE POWER SIZE SHIPPING WEIGHT 19 50 Q term with 600 Q or more 20dBm 5 dBm max boost full sharp 5d0B 20Hz 20kHz lt 5 THD 10 20Hz 20kHz 87dBV eq in 95dBV eq out 420 VAC 50
15. hat you are uSing has a noticeable 3 dBrise in the frequency area from around 1 100 Hz to 3 500 Hz If you attempted to correct your problem with a 1 3 octave graphic equalizer you would need to move five separate controls Visually what looks like a nice smooth curve on the front controls of a graphic turns out to be a very bumpy curve as illustrated below This occurs because each control has fixed bandwidth Combinations of filters can not generate the smooth curve of one variable filter Using one band of parametric with the frequency control set in the middle of the problem area approx 2 200 Hz the bandwidth control at 2 octaves and the amplitude control set at 3 dB you get frequency response plot that will more accurately correct the problem 10 Broad bandwidth problems much easier to solve with Ashly parametric equalizer On a graphic you can be trying to manipulate as many as 10 to 15 controls to find the right response In fact in many instances a graphic equalizer can t correct the problem anyway simply by the nature of its design Use the medium to wide band step by step setup instructions on page 9 to assist you in correcting your problem Remember to give careful consideration determining your problem rather than trying to find a problem that may not exist OPERATION FOR USE AS
16. ility FILTER A circuit designed to pass some frequencies but not others There are three general categories of filters High pass band pass and low pass The high pass filter passes frequencies above a certain lim t the low pass passes frequencies below a limit and the band pass passes one group of frequencies without passing those above or below Our equalizer uses band pass filters crossovers use high and low pass filters FREQUENCY The repetition rate of a waveform Frequency is measured in Hertz One cycle per second cps is one Hertz Hz The higher a note on a musical scale the higher its frequency FREQUENCY RESPONSE Refers to relative gain and loss at various frequencies across the audio band May be illustrated by a graph called a frequency response plot usually graphing decibels vs Hertz or octaves HERTZ Hz The unit of frequency measurement Formerly called Cycles per Second this explains it perfectly HEADROOM Refers to the increase in level above normal operating level that can be obtained without clipping Usually expressed in dB IMPEDANCE Essentially the AC equivalent of resistance It describes the drive capability of an output or the amount of drive required for an input at any given signal level KHz Kilohertz 1 000 Hertz LEVEL The magnitude of a signal expressed in decibels or volts LINE LEVEL Meaning somewhere around OdBV as opposed to MIC level of around 04 OCTAVE A
17. logarithmic unit to compare frequencies 1 Octave means double frequency 1 Octave means half frequency OHM The unit of electrical resistance or impedance PHASE Describes how well two signals are in step In phase means that positive and negative peaks two signals occur together while out of phase means they do not occur together Variations in signal timing as well polarity can make two signals in or out of phase or anywhere in between Phase is usually measured in degrees where 0 degrees is in phase 180 degrees is out of phase and 90 degrees is in between sometimes called quadrature PREAMPLIFIER The first stage of amplification designed to boost very low level Signals to line level Q A measurement describing the sharpness or broadness of a filter 16 SHELVING Deseribes an equalization action where all frequencies above or below a particular frequency are boost or cut TRANSIENT A sudden burst of energy in an audio signal such as a breath blast ina microphone the sound of a snare drum or a deep scratch in a record Transients frequently reach peak levels of 10 to 30 dB above standard operating level and may cause distortion or even damage to equipment UNITY GAIN Output level Input level WIRING PHONE PLUG AND XLR A stereo phone plug is wired to the tip to the ring and shield to the sleeve For a mono phone plug combine and shield and connect both to the sleeve An XLR 3 Pin connect
18. nce you become familiar with the controls on your parametric you will find it much easier to get the desired results from your system Use the narrow band step by step setup instructions on page 8 as a guide to get you started NOTE The maximum volume of your monitors and front system before feedback should be determined if the steps on page 8 are followed If you are still not satisfied here are some suggestions that might help Place all main system speakers and monitors such that they do not see any microphones that are to be fed to them Keep all guitar and keyboard stage amps away from vocal microphones Keep your stage volume as low as possible so your sound person has something to work with out front Work vocal microphones as close as possible When you can t hear yourself have everyone else turn down rather than you turning up You have already determined the maximum volume of your PA system and if your fellow band members feel they can t turn down any more collect donations to pay for upgrading your present system ie Separate mixes for monitor speakers more directional microphones better speakers etc ITEM Shaping The Overall Sound Of Your System To Improve Response Many PA systems use several bands of graphic equalization for frequency response adjustment For many situations one band of parametric equalization could achieve better results Say for example that the response of a high powered horn and driver t
19. or is wired to pin 3 to pin 2 and shield to pin 1 sleeve Mono Phone Plug for unbalanced inputs and outputs Stereo Phone Plug for balanced puts and outputs XLR Type Connector Male Shown 17 TROUBLE SHOOTING TIPS NO OUTPUT Check AC power is the pilot light on Check in out connections are they reversed Are you sure you have an input signal EQ CONTROLS DO NOT DO ANYTHING Is the master eq in out switch Maybe the bandwidth setting is too Sharp to produce an audible change Do not expect the center frequency and bandwidth controls to have an effect if the amplitude control is set at 0 or if the in out switches are switched out PEAK LIGHT FLASHES OR STAYS ON ALL THE TIME If the peak light flashes the signal level to the equalizer is too high Turn down the gain If it is on all the time disconnect the input and output cables If it is still on the unit must be returned for service DISTORTED SOUND This will only be caused by too much signal which will show on the light If the light is not flashing there is an overload somewhere else in the chain Adjust the relative gain of each component in your chain to keep everything at a comfortable level EXCESSIVE HUM OR NOISE Hum will usually be caused by a ground loop between components Try using the suggested balanced input and output hook ups if the other pieces of equipment used in conjunction with your equalizer hav
20. our equalizer into your system after the pre amplification stage Most instrument pick ups and direct outputs have too low a level to properly drive the input of the SC 63 or SC 66A An effects loop will work well or if you are feeding a mixer use a direct in out patch point on the channel APPLICATION AND OPERATION FOR RECORDING 5 63 and SC 66A can be used to augment or replace existing equalizers and compensate for system inadequacies Experimentation with the 5 63 and SC 66A will yield better results if the set up suggestions trouble shooting information and reference graph information in this manual is read ITEM Critical Monitor Speaker Response Adjustment Most control room monitor speakers have fairly smooth frequency response However room acoustics can radically alter the freqency response you hear By using SC 63 or SC 66A patched in before the monitor speakers amplifier or electronic crossover if applies you can compensate for room resonances or dead spots For exact results some type of realtime analyzer or scope with a frequency sweep should be used 14 ITEM Individual Input Channel Equalization Most mixing consoles offer some type of equalization for each channel Unless it is a full parametric type it can not offer the complete flexability of the SC 63 or SC 66A If your mixer does have a parametric type equalization section the 5 63 SC 66A will add more flexability with a minimum of ex
21. pense Many mixers have individual channel direct in out patch points that will interface with the SC 63 and SC 66A If yours does not a simple modification can usually be done by a qualified technician Use the SC 63 or 5 66 to give instruments playing the same range individuality ie boost the fundamental frequencies of one instrument and the harmonics of the other By becoming familiar with the chart on page 20 guess work will be minimized Use the setup suggestions on pages 7 9 a general guide ITEM Obtaining Better Results From Reverb And Effects Units By patching an SC 63 SC 66A right before a reverb or effects unit you minimize high and low frequency loss Boost those ranges before they go into a reverb or effects unit to compensate for losses Isolating frequency ranges that go into an effects unit can also make an effect more pronounced APPLICATION AND OPERATION FOR BROADCASTING ITEM Announcer Voice Enhancement Only full parametric type equalization as offered by the 5 63 and SC 66A can modify voice frequencies accurately Patch in an SC 63 or SC 66A after the voice microphone has been pre amplified Determine the frequency range of the announcers voice 100 Hz to 500 Hz fundamental 800 Hz to 2 500 Hz presence area Cut frequencies above and below and boost fundamentals for warmth or boost the presence area for definition Experiment with bandwidth settings to match the exact range of
22. shly Audio 5 63 and SC 66A parametric equalizers are the result of years of research and development They are the most flexible and powerful tool yet developed for modifying audio frequency response As such they can solve audio problems previously considered insurmountable and can provide tone control action to exactly suit particular needs Of course they also require a greater understanding of the equalization process than simpler tone controls We ask that you please read this instruction manual thoroughly before operation so that you may realize all the features and benefits that the 56 63 and SC 66A parametric equalizers have to offer UNPACKING As a part of our system of quality control every Ashly product is carefully inspected before leaving the factory to ensure flawless appearance After unpacking please inspect for any physical damage Save the shipping carton and all packing materials as they were carefully designed to reduce to a minimum the possibility of transportation damage should the unit again require packing and shipping In the event that damage has occurred immediately notify your dealer so that a written claim to cover the damages can be initiated THE RIGHT TO ANY CLAIM AGAINST A PUBLIC CARRIER CAN BE FORFEITED IF THE CARRIER IS NOT NOTIFIED PROMPTLY AND IF THE SHIPPING CARTON AND PACKING MATERIALS ARE NOT AVAILABLE FOR INSPECTION BY THE CARRIER SAVE ALL PACKING MATERIALS UNTIL THE CLAIM HAS BEEN SETTLED SaA
23. the announcers voice Sibilance problems 8 000 to 12 000 Hz range can be notched out without affecting the overall sound Use the step by step instructions on page 8 as a guide ITEM Record Wear Equalization Correction After several plays a record loses its high frequency response The 5 63 and SC 66A can be tuned to bring back some of that lost high frequency without altering frequencies that are still ok Use the setup suggestions on page 9 as a guide APPLICATION AND OPERATION FOR DISCOTHEQUES Graphic type equalizers while initially easier to operate can not offer the unrestricted tone control of the 5 63 and SC 66A Old time radio effects bass guitar emphasis frequency selected voice over effects and modified Speaker response curve settings represent only a few of the many 12 possibilities Experimentation with the 5 63 SC 66A should only be done after you are completely familiar with all the controls Note The SC 63 and SC 66A offer complete equalization control and this same complete control in the wrong hands can destroy a speaker system ITEM Placement Of An 5 63 Or 5 66 A Discotheque System The SC 63 or 5 66 must always be patched into a system before the speaker amplification stage and after the pre amplification stage of a mixer an effects loop or somewhere between your mixer and amplifier will work well Use only shielded cable for connections to and from the 5 63 and 5
24. y and bandwidth controls grouped together and amplitude controls for three bands grouped together see figure A 1 EQUALIZER Figure 1 The 1 AMPLITUDE control boost cut increases or decreases the volume of notes selected by the center frequency and bandwidth controls Maximum effect is in the middle of those notes see volume curve in figures A and A 1 The 2 CENTER FREQUENCY control selects the frequency to be most affected A clockwise turn moves the frequency up the keyboard counter clockwise moves it down The 3 BANDWIDTH control sometimes refered to as Q selects the number of notes to be affected approximately 1 to Figure B shows the frequency response plot above a piano keyboard of a typical octave graphic equalizer with the 500 Hz slider boosted 12 dB FIGURE B Practically any frequency response setting of a graphic equalizer can be duplicated with the SC 63 and SC 66A parametrics To get the same response plot as Figure B simply set the 1 AMPLITUDE control at 12 dB the 2 CENTER FREQUENCY control at 500 Hz and the 3 BANDWIDTH control at 1 octave see figure C FIGURE C The net result is 500 Hz or approximately the note is boosted 12 dB and the frequencies 1 2 octave above and below 500 Hz 1 octave bandwidth are boosted 6 dB half the maximum boost The advantage however is not that we can duplicate what a graphic does but r
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