Table of Contents
Advertisement
Quick Links
Advertisement
Table of Contents
Subscribe to Our Youtube Channel
Related Manuals for Sound Performance Lab Passeq 2595
Summary of Contents for Sound Performance Lab Passeq 2595
- Page 1 Manual Passeq Model 2595 Passive Equalizer with 120 V Makeup Amplifiers...
- Page 2 EN60065:1993, EN61000-3-3:1995, EN60065:2002, EN55013:2001, EN55020:2002, EN61000-3-2:2000, 73/23 EWG; 93/68 EWG. We herewith declare, that the construction of the Passeq, Model 2595, is in compliance with the standards and regulations mentioned above. Notes on environmental protection At the end of its operating life, this product must not be disposed of with regular household waste but must be returned to a collection point for the recycling of electrical and electronic equipment.
-
Page 3: Table Of Contents
Important Safety Information ..............4 Hook Up . -
Page 4: Important Safety Information
Important Safety Information Please note and retain this information. Carefully read and follow all of the safety and oper- ating instructions before you use the machine. Be doubly careful to note and follow the warn- ings and special safety notices. Connections: Only use the connections as described. -
Page 5: Rack Mounting
Hook Up Be very careful to check that the rear chassis power selection switch is set to the correct local line voltage position before using the unit (230 V position: 220-240 V, 115 V position: 110-120 V)! When in doubt about a source, contact your dealer or a professional electrician. Before connecting any equipment make sure that any machine to be connected is turned off (rear panel power switch). -
Page 6: Introduction
Introduction SPL Passeq—the most powerful passive Equalizer ever made Unique Features • The most powerful passive EQ ever made—72 (!) passive filters per channel in one EQ. • 120 V makeup amplifiers based upon SPL SUPRA-OPs with 150 dB dynamic rage and 200 V/ms slew rate. -
Page 7: Advantages Of Passive Filtering, 72 Passive Filters With 120 V Makeup Amplifiers, Filter Types, Single Core Coils, Peak And Shelving Filters
Advantages of Passive Filtering • Typically coil inductance in virtually all active filters is achieved through simulation. True passive coil filters, on the contrary, can only deliver the genuine, characteristic sound asso- ciated with inductive components. • Inherent distortion elements of active filters are ruled out by passive filter design. •... -
Page 8: 120 V Makeup Amplifiers, Spl Supra Op-Amps
Introduction 120 Volt Makeup Amplifiers With passive filtering comes an unavoidable drop in signal level that requires makeup ampli- fication, and with the Passeq, here SPL’s extraordinary Supra-OPs, with their unique analog 120-volt technology, come into play. With a 116 dB signal-to-noise ratio and +34 dB of head- room, the SUPRA-OPs offer a stunning 150 dB dynamic range, placing them in an unsurpassed leadership position in either analog or digital signal processing. -
Page 9: Other Features
Introduction Lundahl Transformers The Swedish firm of Lundahl is recognized world wide for the superior sonic qualities of its hand made transformers. SPL has used Lundahl transformers for many years, typically for optional in- and output stages of various products. In the case of the Passeq, there is no question of whether solid state or transformer-based input and output stages are the better choice: Because of their excellent and similar sonic qualities, Lundahl transformers are a clear choice to complement to the Passeq’s EQ circuitry. -
Page 10: Rear Panel
Rear Panel Passeq... -
Page 11: Connections
Connections Power and Signal Connections Be very careful to check that the rear chassis power selection switch is set to the correct local line voltage position (either 230 or 115 volts) before using the unit! Before connecting any equipment make sure that any machine to be connected is turned off (on the Passeq rear panel the power switch must be pushed down). -
Page 12: Frequency Table/Per Band
Operation One Coil per Filter, one Core per Coil Each Passeq filter is individually constructed for its intended frequency, that is, each coil, condenser and variable resistor (var. resistor=boost or cut control) ensemble is sonically tuned to its intended frequency range. Thus each filter has its own musically sensible audio color appropriate to its own frequency. -
Page 13: Table: Allocation Of Frequencies
Table: Allocation of Frequencies Cut LF-LMF Cut MF-MHF Cut MHF-HF 19k5 Passeq Boost LF B. LMF-MHF Boost HF Operation... -
Page 14: Operational Elements
Operational Elements LF-LMF Cut and LF Boost The low cut frequency range extends from 30 Hz to 1.9 kHz and will be ref erred to in this text as LF-LMF (Low to Low-Mid frequencies ). In con trast, the low boost (LF Boost) band en com- passes a range of 10 Hz to 550 Hz. -
Page 15: Mhf-Hf Cut, Output Control
Operational Elements MHF-HF Cut and HF Boost Passeq’s high frequency bands have a different layout for the cut and boost ranges: The MHF-HF cut band exhibits a (wide-band) shelving characteristic, while the HF boost band exhibits a variable Q, peak filter characteristic. As seen above, one can also note and intensification in choice of frequencies in the high range. -
Page 16: Recommendations On Using Equalizers
Recommendations on using Equalizers In the arenas of recording and mixing one can generally distinguish between two main goals in applying EQ: The first is sound correction, or sound design through processing of indi- vidual channels while the second may be improving their separation or presence in the mix. In the overall recording process there may be deficiencies due to technical problems, for example, noise or bleeding of neighboring instrument sounds that detract from the natural quality of the desired instrument. -
Page 17: Reducing Bleed From Other Instruments Or Noise Outside An Instrument's
Recommendations on using Equalizers First control levels, then apply EQ Badly adjusted levels often induce us to misuse EQ in misguided efforts to correct them. As soon as one has the feeling that he or she needs more that 6 dB in EQ (boost), one should investigate thoroughly whether or not initial levels have been set properly. -
Page 18: Complementary Filtering
Recommendations on using Equalizers Cutting fundamental levels Cutting fundamental frequencies provides for a perceived increase in harmonics and is therefore an effective alternative to boosting harmonic levels. This is a common practice in Rock/Pop productions that can be effective in all musical recording genre. An example: Bass, Reduction at 40 Hz: may limit boominess and increase presence. -
Page 19: An Overview Of Frequencies And Examples For Possible Processing
An overview of frequencies and examples for possible processing (Here we provide approximate values which may expand to adjacent areas) 50 Hz – cut: Reduces boominess in all lower instruments (basses, kick drums, toms) whose function also implicitly increases the relative level of harmonics and improves the presence of bass lines. -
Page 20: Classical Instruments And Their Frequencies
Recommendations on using Equalizers Classical instruments and their frequencies A symphony orchestra presents a kind of ideal paradigm of a balanced, wide-spectrum instrumental sound canvas. It is therefore only sensible to consider its sound as an orienta- tion point also for other musical genres—it will definitely not harm a Rock or Pop production to employ such an orien tation to achieve a comparable balance and proper distribution of mix elements in the latter. -
Page 21: The Basics Of Frequency Filtering
The Basics of Frequency Filtering Frequency and Energy In general, a frequency prescribes a number of events in a time interval. The per-second cycle of a wave form is given in Hertz (Hz). Lower tones produce longer waves and higher, waves of shorter length, and the higher the frequency, the higher the tone. -
Page 22: Frequency Filters, Filter Types, Shelf Filters, Peak Filters
The Basics of Frequency Filtering Frequency Filters As a rule almost everyone of us has first made an aquaintance with frequency filtering through our listening to home stereos. Such elementary kinds of filters are simple ampli- tude-based filters: When one turns a bass control clockwise, one hears a general or overall increase in bass frequency energy. -
Page 23: Bandwidth, Equalizer, Passive Eqs, Schematic And Block Diagrams On Passive Filters
Equalizer In our context here, an EQ is in effect a network of frequency filters which changes its output characteristics depending on frequencies. The common recording studio concept for sound shaping or correction is the amplitude-based EQ. But owing to the large number of filter combinations, there are practically too many existing formulations of this design concept to count. -
Page 24: Active Eqs, Parametric Eqs, Graphic Eqs
The Basics of Frequency Filtering Active EQs The filters of an active network require external power which allows for an integration of amplifying elements that allow for both boost and cut functions. Active EQs dominate the market, and perhaps a good part of this is due to their user friendly capacity to combine both boost and cut features into single controls. -
Page 25: Power Supply
The power supply was carefully engineered to provide clean and consistent currenttttan important prerequisite for excellent audio. Built around a toroidal transformer, the power supply generates a minimal electromagnetic field with no hum or mechanical noise. The output side is filtered by an RC circuit to extract noise and hums inherent in commercial AC power. -
Page 26: Guarantee & Product Registration
Guarantee & Product Registration All SPL products come with a two-year manufacturer’s guarantee against defects in material or assembly from the date of purchase. Tubes have a guarantee of three months. End users are supported in the two-year guarantee through their distributor. In such cases, please contact your dealer for full guarantee conditions and service. - Page 28 < Manual Passeq Passeq...
Need help?
Do you have a question about the Passeq 2595 and is the answer not in the manual?
Questions and answers