User Manual
Contents
1. or cold Unbalanced Outputs An unbalanced line output is provided for each channel on a 0 25 mono jack socket Tip Signal Phase or hot Screen Ground Ventilation The unit generates a small amount of heat internally This heat should be allowed to dissipate by convection through the grills in the side panels and top cover which must not be obstructed Do not locate the unit where it will be subject to external heating for example in the hot air flow from a power amplifier or on a radiator The equaliser may be free standing or mounted in a standard 19 rack Rear Panel The rear panel connectors are identified in fig 3 Make sure that all settings mains and audio connections have been made as described above before attempting to operate the equipment OPERATION Front Panel The front panel controls are identified in fig 2 Input Gain The input gain of the equaliser may be varied over a range of 20dB which combined with the different sensitivity inputs provides adequate and precise control of signal level Generally enough gain should be applied to make the peak LED glow on the louder sections of music without causing the LED to illuminate brightly for an extended time This will provide the optimum signal to noise ratio whilst allowing plenty of headroom for boost in the equaliser The front panel auxiliary input sockets may be switched between high level signal2. but leaving the EQ in circuit 4 Band Mono Mode This mode allows all four bands to be placed in the same audio path for very comprehensive equalisation tasks In dual channel or stereo mode the frequency ranges of band 2 would normally be the same as band 4 and band 3 would normally follow band 1 However in 4 band mode the range select switches allow the bands to be split into traditional LF LM HM and HF areas When using the 4 band mode the input signal should be connected to channel A and the output taken from channel B The outputs from channel A will continue to operate but with only bands 1 and 2 of the equaliser effective The inputs and input gain control on channel B are disabled in mono mode SPECIFICATIONS Balanced Line Input Electronically balanced unbalanced compatible with input impedance greater than 5Kohm Gain range 20dB to 20dB Nominal input level 4dBu Maximum input level 26dBu 3 pin female XLR connector Unbalanced Input Input impedance greater than 5Kohm Gain range 20dB to 20dB Nominal input level 10dBu Maximum input level 12dBu 2 pole 0 25 jack socket Auxiliary Input Band 1 Band 2 Band 3 Switchable for high or low gain plus 40dB gain variation Maximum input level 18dBu 2 pole 0 25 jack socket Cut and Boost 15dB Frequency Range 30Hz to 1K2Hz Q variable 0 5 to 5 Cut and Boost 15dB Frequency Range 1KHz to 18KHz 100Hz to 1K
3. 1AT rated at 250V If it ever necessary to replace the fuse only the same type and rating must be used The power consumption of the equipment is 30VA Warning attempted operation on the wrong voltage setting or with an incorrect fuse will invalidate the warranty Audio Operating Level The equaliser is equipped with inputs and outputs suitable for connection to a wide variety of other audio equipment Generally the balanced XLR connections will be required for interfacing to other professional equipment where the operating level line up level or nominal level will be 4dBu or about 1 2V rms The unbalanced jack connectors are generally intended for interfacing to semi professional equipment and have an operating level of 10dBu or about 225mV rms The equaliser may be used to change between operating levels for example by connecting the unbalanced output of a semi pro mixing console to the equaliser s unbalanced input and taking the balanced output of the equaliser to the balanced input of a tape machine at 4dBu All inputs and outputs of the equaliser may be used simultaneously if required Balanced interconnection is always preferable to obtain the best headroom and noise rejection but can only be used if the other equipment in the chain e g the mixing console also has provision for balanced connections Audio Inputs Each channel has a female 3 pin XLR connector suitable for balanced or unbalanced line sources at a nom
4. 8Hz with divide by 10 switch Q variable 0 5 to 5 Cut and Boost 15dB Frequency Range 30Hz to 1K2Hz 300Hz to 12KHz with multiply by 10 switch Q variable 0 5 to 5 Band 4 Cut and Boost 15dB Frequency Range 1KHz to 18KHz Q variable 0 5 to 5 Balanced Outputs Electronically balanced unbalanced compatible Nominal level 4dBu Output impedance 47 ohms Maximum level 26dBu 3 pin male XLR connector Unbalanced Outputs Output impedance 47 ohms Nominal level 10dBu Maximum level 18dBu into 10Kohms 2 pole 0 25 jack socket Frequency Response 10Hz to 40KHz 0 1dB Noise 74dBu 22Hz 22KHz Dynamic Range 100dB Power Requirements Rear panel selectable for 220 240V 50Hz or 110 120V 60Hz operation Rear panel fuse 20mm 1AT 250V Power consumption 30VA typical Detachable 3 pin IEC connector mating connector and cable supplied Front panel On Off switch with green LED Dimensions 19 rack mounting 1U high 483mm wide x 44mm high x 250mm deep Weight 4Kg The above specifications are subject to change without notice SERVICE Should the equaliser require service it must be taken or posted to an authorised dealer Please retain the original packing for possible future use and ensure the unit is suitably protected during transit The manufacturer cannot accept responsibility for damage caused during transportation The equaliser is supported by a limited warr
5. T L Audio INDIGO SERIES User Manual EQ 2012 PARAMETRIC VALVE EQUALISER Tony Larking Professional Sales Limited Letchworth England Tel 01462 490600 International 44 1462 490600 Fax 01462 490700 International 44 1462 490700 INTRODUCTION The T L Audio Indigo Series combines classic valve techniques with low noise solid state circuitry to produce audio processing units offering very high quality signal paths with comprehensive control facilities and the unique valve sound The EQ 2012 is a four band fully parametric valve equaliser The four bands may be configured as two bands on each of the equaliser s two channels or cascaded to form a single channel four band equaliser Bands 1 and 2 are normally configured in channel A and bands 3 and 4 in channel B but frequency range multiplier switches on bands 2 and 3 provide a flexible four band mode with detailed coverage of the entire audio bandwidth The block diagram of the equaliser is shown in fig 1 It has three input sources a balanced line level input via an XLR connector an unbalanced line level input via a jack socket and an instrument input also on an unbalanced jack socket but located on the front panel where it provides a convenient means of patching a guitar or keyboard directly into the equaliser All three inputs may be used simultaneously The gain of the input stages is controlled by a centre detented control calibrated for OdB nominal gain from the lin
6. anty for a period of one year from the date of purchase During this period any faults due to defective materials or workmanship will be repaired free of charge The warranty excludes damage caused by deliberate or accidental misuse operation on the incorrect mains voltage or without the correct type and value of fuse fitted It is the user s responsibility to ensure fitness for purpose in any particular application The warranty is limited to the original purchase price of the equipment and excludes any consequential damage or loss Please retain proof of purchase and record the following details Serial Numbet ceeeeeee Date purchased ceeeeeereees DG aller aia idun teieni h
7. e input sources at the centre and providing 20dB of variation The instrument input has a sensitivity switch associated with it to match the gain to a low level pickup e g a passive guitar or microphone or a higher output source such as a keyboard or active guitar followed by the 40dB variation of the input gain control Following the channel A input stages are two parametric equaliser stages Band 1 utilises both sections of a twin triode valve vacuum tube and offers fully variable cut boost centre frequency and Q bandwidth control Band 2 is similar but also includes a divide by 10 frequency range switch A variable intensity peak LED monitors the output of the valve stages providing an indication of the amount of drive and headroom available The signal chain is completed by an EQ in switch plus balanced and unbalanced output driver stages Channel B is also configured with two bands of fully parametric equalisation band 3 including a frequency range multiplier switch In 4 band mono mode the input stages of channel B are replaced with the output of channel A s equalisation cascading all four bands onto the same audio path In this mode the signal input is via channel A and the output is via channel B The output from channel A remains operative but with just the first two bands of equalisation effective Please read this manual fully before installing or operating the Equaliser PRECAUTIONS The T L Audio EQ 2012 Paramet
8. inal level of 4dBu The mating connector should be appropriately wired as follows for balanced or unbalanced operation Balanced inputs Pin 1 Ground screen Pin 2 Signal Phase also known as or hot Pin 3 Signal Non Phase or cold Unbalanced inputs Pin 1 Ground screen Pin 2 Signal Phase or hot Pin 3 Signal Ground When using unbalanced signals the signal ground may be obtained by linking pins 1 and 3 in the mating XLR connector If this connection is not made a loss in level may result Unbalanced Line Inputs An unbalanced line level input at a nominal level of 10dBu is also provided for each channel on a 0 25 mono jack socket The mating plugs should be wired as follows Tip Signal Phase or hot Screen Ground Auxiliary Inputs A 2 pin mono jack plug is required which should be wired as follows Tip Signal Phase or hot Screen Ground The auxiliary input is suitable for direct connection of instruments including guitars and keyboards Good quality screened cable should be used particularly for microphone or low level sources to prevent hum or noise pickup Balanced Outputs The output is via a balanced 3 pin male XLR connector The mating connector should be wired as follows Pin 1 Ground screen Pin 2 Signal Phase or hot Pin 3 Signal Non Phase
9. ric Valve Equaliser requires very little installation but like all electrical equipment care must be taken to ensure reliable safe operation The following points should always be observed All mains wiring should be installed and checked by a qualified electrician Ensure the correct operating voltage is selected on the rear panel before connecting to the mains supply Never operate the unit with any cover removed Do not expose to rain or moisture as this may present an electric shock hazard Replace the fuse with the correct type and rating only Warning This equipment must be earthed INSTALLATION AC Mains Supply The unit is fitted with an internationally approved 3 pin IEC connector A mating socket with power cord is provided with the unit wired as follows Brown Live Blue Neutral Green Yellow Earth Ground All mains wiring should be performed by a qualified electrician with all power switched off and the earth connection must be used Before connecting the unit to the supply check that the voltage selector switch on the rear panel is correctly set The unit may be set for 115V accepting voltages in the range 110V to 120V 60Hz AC or to 230V for voltages in the range 220V to 240V 50Hz AC Adjustment to the operating voltage should be made by sliding the selector switch left or right with a small screwdriver until the desired voltage is displayed The mains fuse required is 20mm anti surge
10. s LO GAIN suitable for active guitars and keyboards and low level signals HI GAIN suitable for microphones pick ups or passive guitars and are also controlled by the input gain control Peak LED The peak LED indicates the drive level within the valve stages that form the equaliser The EQ 2012 is capable of a high operating with the valve character becoming progressively more noticeable as the level is increased to illuminate the peak LED fully The LED will start to glow at a level of 6dBu referred to the balanced output and be fully illuminated at 16dBu where there is still 10dB of output headroom remaining Equalisation Before switching the EQ into circuit it is advisable to set the cut boost controls to their centre or flat position The EQ is brought into circuit with the overall EQ IN push switch signalled by a green LED All four bands of equalisation are equipped with fully variable cut and boost controls offering 15dB of range swept frequency and variable Q making them much more versatile than equalisers equipped with non variable frequency or Q settings The Q of the filter is a measure of the shape of the frequency response curve and is closely related to the bandwidth or range of frequencies controlled by the filter High Q settings about 5 at the maximum setting on the 2012 result in sharp narrow bandwidths generally used for audio correction or effects Intermediate setting
11. s say 1 to 3 are generally used to enhance or reduce a broader range of frequencies typically to make an instrument or vocal stand out or recede into the mix Finally low Q values down to about 0 5 on the 2012 provide more gentle contouring or sweetening of the response Band 1 This band is always operative on channel A and covers the low to mid frequency range of 30Hz to 1K2Hz The amount of cut and boost available is up to 15dB and the Q is variable from 0 5 a broad response to 5 a narrow peak Band 2 Also operative on channel A this band normally covers the mid to upper frequency range of 1KHz to 18KHz However the divide by 10 range switch moves this band to 100Hz to 1K8Hz Band 3 This band is normally operative on channel B covering the low to mid frequency range of 30Hz to 1K2Hz However the multiply by 10 range switch moves this band to 300Hz to 12KHz Band 4 This band is also normally operative on channel B covering the mid to upper frequency range of 1KHz to 18KHz Bypass The Equaliser In switch allows the processing to be bypassed for comparison of the equalised and original unprocessed signal The valve stages of the 2012 are all associated with the equaliser section see the block diagram resulting in a clean non valve sound when the EQ is bypassed It is also possible to add valve warmth without EQ by setting the cut and boost controls flat i e at their centre detent positions
Download Pdf Manuals
Related Search