Ashly Parametric Equalizers SC-63 Manuel utilisateur

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SC-63

/SC-66A

PARAMETRIC

EQUALIZERS

OPERATING

INSTRUCTIONS

ASHLY

AUDIO

INC.

TABLE

OF

CONTENTS

a

Page

1.

INTRODUCTION

/

UNPACKING

2

2.

FRONT

PANEL

LAYOUT

3

3.

BACK

PANEL

LAYOUT

4

4.

INPUT,

OUTPUT,

AND

POWER

CONNECTIONS

4

5.

EXPLANATION

OF

PARAMETRIC

EQ

AND

OUR

CONTROLS

5

6

.

FEEDBACK

STEP

BY

STEP

SETUP

INSTRUCTIONS

7

7.

NARROW

BAND

STEP

BY

STEP

SETUP

INSTRUCTIONS

8

8

.

MEDIUM

TO

WIDE

BAND

STEP

BY

STEP

SETUP

INSTRUCTIONS

9

9

.

APPLICATION

AND

OPERATION

FOR

SOUND

REINFORCEMENT

9

10.

OPERATION

FOR

USE

AS

AN

INSTRUMENT

TONE

CONTROL

11

11.

APPLICATION

AND

OPERATION

FOR

RECORDING

11

12.

APPLICATION

AND

OPERATION

FOR

BROADCASTING

12

13.

APPLICATION

AND

OPERATION

FOR

DISCOTHEQUES

12

14.

APPLICATION

AND

OPERATION

FOR

MOTION

PICTURE

SOUND

&

TV

13

15.

BLOCK

DIAGRAMS

14

16.

CIRCUIT

DESCRIPTION

14

17.

DEFINITION

OF

TERMS

15

18.

TROUBLE

SHOOTING

TIPS

18

19.

SPECIFICATIONS

19

20.

GRAPH

OF

KEYBOARD

/

MUSIC

STAFF

FREQUENCY

NUMBERS

20

1

We

thank

you

for

your

expression

of

confidence

in

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

need

for

tone

controls

was

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

piece-

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

Ashly

Audio

SC-63

and

SC-

66

A

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

SC-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.

2

IN/OUT

A

T

a

IN/OUT

A

f

a

IN

/OUT

JL

1

f

(fo)

fi

IN

/OUT

3

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.

The

(+)

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

a

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.

If

this

equalizer

is

used

in

a

monaural

system,

channels

1

and

2

of

the

SC-66A

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.

d*w)

/—

<

OUTPUTS

)

—

■

^

Rashly

I

SOCH

NT

USA

MODEL

SC-63

CAUTION;

TO

PREVENT

ELECTRIC

SHOCK.

DO

MOT

OPEN

NO

USER

SERVCABLE

PARTS

INSlOf

REFER

SERVICING

TO

QUALIFIED

TECHNICIAN

CONNECT

TO

GROUNDED

OUTLET

TO

PREVENT

FIRE

OR

ELECTRIC

SHOCK.

DO

NOT

EXPOSE

ms

APPLIANCE

TO

RAM

OR

MOISTURE

1/2

AMP

t20VAC,12W,

4

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,

On

the

SC-66A,

these

controls

are

mounted

vertically

below

individual

in/out

switches,

see

figure

A.

On

the

SC-63,

these

controls

are

mounted

horizontally

with

center

frequency

and

bandwidth

controls

grouped

together

and

amplitude

controls

for

three

bands

grouped

together,

see

figure

A-1.

——-j-

Figure

A-1

5

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

HO).

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.

n

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

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:

and

the

frequencies

500

Hz,

or

approximately

the

note

"B",

is

boosted

12

dB

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

rather

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

"in"

position

and

affects

only

the

band

below

it)

gain

control

to

compensate

for

insertion

gain

or

loss

due

to

the

equalization

process

(

+

15

dB),

"peak"

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.

FEEDBACK

SUPRESSION

STEP

BY

STEP

SETUP

INSTRUCTIONS

1.

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.

4.

If

you

have

a

limiter,

adjust

its

threshold

to

hold

feedback

at

a

low

level.

5.

Estimate

the

relative

volume

relationships

between

your

vocal

microphones

with

individual

channel

sliders

on

your

mixer,

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.

7.

Select

the

most

appropriate

control

band

(LOW,

MID,

HI).

7

8

.

Set

your

center

frequency

control

to

about

an

octave

below

the

frequency

number

you

select.

9.

Set

the

bandwidth

control

to

full

sharp

(full

clockwise).

10.

Set

the

amplitude

control

of

the

chosen

band

to

+6

dB.

11.

Depress

the

master

equalization

in/out

switch,

and

the

appropriate

band

in/out

switch

(SC-66A

only),

to

the

in

position.

12.

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.

13.

Repeat

step

12

until

you

are

sure

you

have

the

control

centered

on

exactly

the

desired

frequency.

14.

Move

the

amplitude

control

from

+6

dB

to

-6

dB.

15.

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.

16.

Repeat

steps

6

thru

15

to

notch

out

new

feedback

frequencies

for

maximum

gain

before

feedback.

NARROW

BAND

STEP

BY

STEP

SETUP

INSTRUCTIONS

1.

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

to

flat.

3.

Switch

out

all

other

equalization

devices.

4.

Estimate

the

problem

frequency

area

(use

the

chart

on

page

20

for

help).

5.

Select

the

most

appropriate

control

band

(LOW,

MID,

HI).

6

.

Set

your

center

frequency

control

to

about

an

octave

below

the

frequency

number

selected.

7.

Set

the

bandwidth

control

to

.1

or

sharper

depending

on

what

you

are

trying

to

correct.

8

.

Set

the

amplitude

control

of

the

chosen

band

to

+6

dB.

9.

Depress

the

master

equalization

in/out

switch,

and

the

appropriate

band

in/out

switch

(SC-66A

only)

to

the

in

position.

10.

Very

slowly

rotate

the

center

frequency

control

towards

the

estimated

problem

area

until

it

is

emphasized.

11.

Repeat

step

10

until

you

are

sure

you

have

the

control

centered

on

exactly

the

desired

frequency.

12.

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)

8