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Summary of Contents for Sound Performance Lab EQ MAGIX
- Page 1 O O w w n n e e r r ´ ´ s s M M a a n n u u a a l l SOUND PERFORMANCE LABORATORY...
- Page 2 SOUND PERFORMANCE LABORATORY EQ MAGIX Owner´s Manual by Hermann Gier Manual version 2.1/94 The information in this document has been carefully checked and is assumed to be correct. However Sound Performance Laboratory (SPL electronics GmbH) reserves the right to modify the product described in this manual at any time.
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Page 3: Table Of Contents
Foreword Introduction The concept of sound processing in the EQ MAGIX Installation Inputs & outputs Power supply Rear panel Connection examples Control elements Input Mic /Line Line -30dB Peak Phase reverse 48V phantom power supply Insert Parametric Active Frequency Boost/Cut (+/-) - Page 4 R-Dat, hard disk or samplers. The EQ MAGIX is, so to speak, an »all-in-one« tool for applications of this nature.
- Page 5 The combination of a flexible parametric EQ and V the EQ MAGIX is not only predestined to process the sounds of acoustic instruments but also to post-process samples or poor quality Sync audio tracks, ranging from the elimination of aliasing artefacts or other digital...
- Page 6 T T h h e e V V ® ® I I T T A A L L I I Z Z E E R R i i n n t t h h e e E E Q Q M M A A G G I I X X : : The new generation of psycho- acoustic equalizers for the first time in a 19“...
- Page 7 The equalizer used in the EQ MAGIX is based on the state-variable filter type (SVF). Its function is phase-stable and neutral right down to 14 Hz in the infra-sonic range.
- Page 8 The filters merely amplify the harmonic tones contained in the original. The EQ MAGIX is constructed like a mixing desk channel. Direct recor- dings can be made on to a recording medium (multi-track machine or hard disk) which means that one less mixer channel is required.
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Page 9: Installation
The housing of the EQ MAGIX has the standard 19" EIA format and occupies 1 height unit (1 U = 44 mm) in your rack. When installing the unit in a 19" rack, the rear side of the unit needs some support, especially in a Touring Case. -
Page 10: Power Supply
Special attention has been paid to the power supply of the EQ MAGIX. The power pack is the heart of any unit, and the more accurately it works, the more this improves results. -
Page 11: Rear Panel
Select the right mains voltage here: 230V or 115V. The EQ MAGIX output signal can be fed into one or two insert returns of a mixing desk. Rear panel Connection examples Output 3 &... -
Page 12: Mic /Line
20mV/Pa, which equals an increase in the output level of 20 dB. The EQ MAGIX can also be used as a gain-on amplifier for Line signals. The input sensitivity of the preamplifier stage is reduced by 30 dB by pres- sing the L -30 dB switch. -
Page 13: Phase Reverse
1. If, for example, the microphone signal of a singer or speaker is pream- plified in the EQ MAGIX and the monitor signal is folded back to the head- phones, the singer or speaker cannot hear himself very well. Pressing the... -
Page 14: Insert
The signal can be fed to other sound processing units such ARAMETRIC as compressors, limiters, de-essers or reverb units. The I jacks at the rear of the EQ MAGIX are designed as unba- NSERT lanced jacks for S and R... -
Page 15: Frequency
If applicable, mute the monitor loudspeakers before switching a filter on or off. The M the EQ MAGIX can be utilized for this purpose (see page 27, point 25). The F control determines the centre frequency of the frequency REQUENCY band which is to be processed. -
Page 16: Boost/Cut (+/-)
ENTLE corresponds to a steep rise or fall. This position is known as S The EQ MAGIX is designed to be able to process individual signals and therefore supports the constant-Q principle so as to allow quick and accu- rate work, which also permits influencing the sound quite drastically. -
Page 17: Bandwidth Q
(-15 dB) on the B sufficient. The N filter of the EQ MAGIX is variable in bandwidth (Q) and there- OTCH fore, if it is used with broader bandwidths (low Q), it can also be used to filter out wide areas in the audio spectrum (e.g. lowering mids). - Page 18 Fig. 4: The N curves on the 0dB line OTCH are shown for Q0.6. On the outside, the curve is shown for . The inside shows ENTLE the curve with S TEEP The N curves on the -20dB OTCH line are shown for Q3.6. On the outside, the curve is shown for .
- Page 19 Two possibilities are available with the EQ MAGIX to delete a interfe- rence frequency: 1. The C mode with max. attenuation of 15 dB 2. The N mode with max. attenuation of 30 to 50 dB. OTCH In order to localize and delete an interference frequency proceed as follows: 1.a)
- Page 20 I directly into the P ARAMETRIC The picture above shows the initial settings on the EQ MAGIX. First, turn the B control to the centre position (»0«); the H control on zero as well (extreme left) and turn the M ROCESS control to 3.5 kHz.
- Page 21 tiometer scaling: the lower the frequency, the brighter and clearer sounds the programme material. This is because the M starting frequency above which all frequencies are processed. If this star- ting frequency is lowered, the frequency spectrum included in processing increases.
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Page 22: Active
These may become apparent as audible click sounds. If applicable, mute the monitor loudspeakers before switching a filter on or off. The M stage of the EQ MAGIX can be utilized for this purpose (see page UTPUT 27, point 25). -
Page 23: Bass
The B control is responsible for the »colour« of the bass sound your signal is to have. If you move the B percussive bass sound, known as T IGHT hand side of the scaling points, there are squares which increase in size, in line with increased intensity. -
Page 24: Mid-Hi Tune
Deep Mid-Hi Tune The D circuit increases the processed bass range. The bass range encloses frequencies between ca. 20 Hz and 110 Hz with a bass centre frequency at 50 Hz. The D to 140 Hz with the same bass centre frequency and increases the amplifi- cation level by ca. -
Page 25: Process
The third control of the V section determines the ratio between ITALIZER and M to the original signal. The H affected by the P control. ROCESS The P control determines the damping intensity of dominant mid ROCESS frequencies. This allows rapid adaptation to the loudness curves (Fletcher- Munson curves, curves of equal loudness). -
Page 26: Harmonics
Harmonics Combine The V works with steep filters and controlled changes of the phase ITALIZER relationships of the harmonics to process the harmonics structure. We consciously did without the generator principle of »Exciters«. The 's harmonic filter does not add any distortions to the original ITALIZER signal, unlike with the generator principle. -
Page 27: Ppm Meter
EQ MAGIX outputs off. Similar to the functions of a mixing desk channel, muting can be performed when recording a signal directly from EQ MAGIX on to a R-Dat or the like after the recording has taken place, without the level settings having to be changed. -
Page 28: Specifications
EQ MAGIX Specifications F F r r e e q q u u e e n n c c y y r r a a n n g g e e E E q q u u a a l l i i z z e e r r F F r r e e q q u u e e n n c c y y r r a a n n g g e e... -
Page 29: Warranty
SPL electronics GmbH (hereafter called SPL) products are warranted only in the country where purchased, through the authorized SPL distributor in that country, against defects in material or workmanship. The specific period of this limited warranty shall be that which is described to the original retail purchaser by the authorized SPL dealer or distributor at the time of purchase. - Page 30 SOUND PERFORMANCE LABORATORY SPL electronics GmbH, Tel. +49-(0) 21 63 / 98 34-0, Fax +49-(0) 21 63 / 98 34-20 Factory address: Sohlweg 55; D-41372 Niederkrüchten Postal address: P.O. Box 12 27; D-41368 Niederkrüchten © 1994 All rights reserved, printed in Germany...
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