EQ and DE-ESSER SECTION
O. EQ BYPASS: Switching this up engages the EQ section. This is a passive PULTEC MEQ style EQ with only one
capacitor, one inductor (coil or choke) a conductive plastic pot and a gold contact switch in the audio path for each
band of EQ. There are no tubes in the EQ and certainly no ICs or transistors. The tube circuit is only used for at,
xed make-up gain and is always in circuit. The EQ is before the de-esser / limiter and before the tubes.
P. EQ INPUT: Three inputs are available to feed the EQ / De-esser / Line amp. The LINE IN is a split from the same
LINE IN that can feed the mic preamp section. The PRE O/P is the output of the mic preamp / compressor section
and is not through the output transformer. When using a line input into the compressor, these two positions allow
you to compare compression to no compression without the drop of gain you get just using the compressor BYPASS
switch. The INSERT setting allows yet another line input to feed this section. It allows you to insert (or bypass) an
external device such as a noise gate between the preamp output and the EQ section. It also allows you to use the
VOXBOX for two different tracks. These 3 inputs are switched with high quality sealed relays near the back panel
& transformers for the shortest signal path.
Q. LOW PEAK FREQUENCY: This simply selects the center frequency to be boosted with the LOW PEAK control.
The “Q” or bandwidth is xed and consistent with the original PULTEC MEQ. There are now 11 positions between
20 Hz and 1 kHz. The settings below 200 are new and were not on PULTEC MEQs. See page 14 for a few tips if
you want.
R. LOW PEAK: Adjusts between 0 or at and typically up to 14 dB of maximum boost.
S. MID DIP FREQUENCY. 11 frequency bands between 200 Hz and 7 kHz (7,000 Hz). 1k5 is “British” for 1,500
Hz or 1.5 kilohertz or kilocycles.
T. MID DIP: Adjusts between 0 (at) and up to (minus) 12 dB of maximum cut. Many top engineers suggest that
by using cut EQ (mostly from 200 to 1k5) rather than boost reduces phase shift problems and improves the general
clarity and punch. Cutting a bit at 5 or 7 kHz can reduce the resonance of some vocal mics. (It helps to boost 16 or
20 kHz on the High Peak to compensate for lost brightness.)
U. HIGH PEAK FREQUENCY: Again 11 positions but from 1,500 Hz (1k5) to 20 kHz. The settings above 5 kHz
are new. Some frequencies may cause sibilance problems.
V. HIGH PEAK: Adjusts between 0 (at) and up to 10 dB of maximum boost.
W. DE-ESS BYPASS: Switching up engages the de-esser or limiter. This function is also passive and can be switched
in silently during music!
X. DE-ESS SELECT: This rotary switch selects frequency band the de-esser will dip or notch. The 3 kHz position is
may be used for occasional de-essing or may help control sounds that tend to “hurt”. Our hearing is most sensitive
in that band. The LIMIT position removes the frequency selection and works as a “at” electro-optical limiter much
like an LA-2A.
Y. THRESHOLD: This sets how loud an “ess” (or transient in Limit) has to be before it can be reduced. Turn clock-
wise for more de-essing. Normally we try to make the sibilance natural rather than removing the ”esses” entirely. A
good way to set the threshold when limiting is to look at the tape machine peak meters and set it to prevent overloads.
Z. POWER. The meter will light immediately. There is a relay that mutes the outputs for about 20 seconds after
power is turned on and immediately after power is turned off to prevent “thumps”. The LED marked READY lights
when audio can pass. This circuit will ignore quick “blackouts” for live sound work. This feature can be totally by-
passed (or the delay shortened). The VOXBOX should be turned off between sessions to extend tube life.
8
To Next Page
Loading...