TUBE EQPROFESSIONAL TUBE PARAMETRIC EQUALIZER

USERrsquoS GUIDE

TTaabbllee ooff CCoonntteennttssIntroduction 2Features 2Registration 3Overview 3EQ Tips 4Unpacking 7AC Power Hookup 7Audio Connections 7Installation 7Safety Precautions 7Powering Up 8Front Panel Controls and Indicators 8

Bypass Switch 8Gain Control 9Clip Indicator 9Output Level Control 9Instruments and the Audio Spectrum 10Low Frequency Control 10Low Shift Switch 11Lo-Mid Frequency Control 11Low-Mid Shift x10 Switch 11Hi-Mid Frequency Control 12Hi-Mid Shift x10 Switch 12High Frequency Control 12High Shift Switch 13

Rear Panel Connections 13Power Switch 13Input 14Output 14

Tube Replacement 14Applications 15Specifications 16On-line Information 16Warranty Information 17Service Information 18

1

128-5004-101

IInnttrroodduuccttiioonn

Thank you for purchasing Applied Research and TechnologyrsquosTube EQ The Tube EQ may be used anywhere you need equal-ization or frequency adjustments Offering a superb level ofsound quality the Tube EQ will enhance the sonic textures ofyour audio system for years to come

FFeeaattuurreessThe Tube EQ is a unique product While every EQ gives you theability to alter the frequency characteristics of a signal very fewsound really good when doing so Developed in partnership withstudio and live sound engineers the Tube EQ possesses flexibilityand ldquosoundrdquo that is not available from any other product on themarket - at any price The Tube EQ was designed and construct-ed with the best components assuring a lifetime of quiet reli-able performance The Tube EQ offers

- The award-winning A R T ldquoSOUNDrdquo - Tube-based four-band equalization- Selectable Low shelving filter - 40Hz or 120Hz- Selectable High shelving filter - 6KHz or 18KHz - Sweepable Lo and Hi mid-frequency bands- Mid-frequency bands overlap from 200Hz to 2KHz- Mid-frequency bands sweepable from 20Hz to 20KHz- Hand-selected 12AX7a tube- XLR balanced inputs and outputs- 14rdquo TS unbalanced inputs and outputs- Custom extruded aluminum chassis - Independent input and output level controls

2

- Detented rotary controls- gt90dB dynamic range- Internal power supply- One year warranty- Designed and manufactured in the USA

RReeggiissttrraattiioonnIf you havenrsquot done so already please take the time to fill out theUser Registration Card for your purchase Having you in ourdatabase allows us to keep you informed of updates applicationnotes and new product introductions It only takes a momentand it will ensure that you are constantly up to date with yourpurchase

Fill in the following for your future reference

Date of purchase ___________________Purchased From ____________________Serial Number 128-________

OOvveerrvviieeww

Great recordings and great mixes are made from great soundsWith the exception of some classical and environmental record-ings equalization plays a large role in creating tweaking andcapturing great sounds in contemporary music A good equalizerwill make good sounds sound better and (more importantly) badsounds sound better

Since we donrsquot live in a perfect world where all instruments andsounds are ldquorecord-readyrdquo A R T created the Tube EQ to makeour recordings a little easier and (hopefully) a little better

The Tube EQ was designed to help ldquofixrdquo the instruments that giveus the most headaches when wersquore recording kick snare basstoms guitar amps voice etc The two sweepable parametricbands and selectable shelving bands have been optimized for

3

musical instruments The two sweepable bands overlap them-selves and the high and low shelving bands providing you withthe ultimate in flexibility The Tube EQ gives you all the controlyou need to effectively alter and dial in great sounds from eventhe poorest of sources

EEQQ TTiippssWWhhyy uussee aann eexxtteerrnnaall EEQQThe shortest signal path is the best way to get a signal to tapeIn most cases the shortest path is mic to preamp to compressorto EQ to tape deck The signal doesnrsquot even go through themixer This isnrsquot a new concept but it has become more relevantwith the availability of affordable mixing consoles As their nameimplies most affordable mixers excel in signal routing and mix-ing capabilities However they are not necessarily your bestoption for recording tracks While their onboard EQ is nearlyalways adequate for tweaking a good recorded track duringmixing the simple truth is that the Tube EQ is a better soundingand more flexible equalizer Mixer manufacturers need to maketrade-offs to keep prices down while keeping performance upImagine the price of your mixer if each channelsrsquo EQ cost over$200 (and wersquore not talking about those of you who have one ofthose $250000+ consoles)

The use of external processing (equalizers preamps and com-pressors) has sonic and practical benefits when you consider thatmost recording is done one or two channels at a time For thoseof us on a budget it just doesnrsquot make sense to spend a ton ofmoney on a ldquocadillacrdquo console when a budget mixer and a fewpieces of external gear is more cost effective Even those engi-neers who regularly work on ldquobigrdquo consoles use external EQsand preamps

The goal of any recording is to get the sounds right before youcommit them to tape The Tube EQ exists to help you get it rightso you donrsquot have to ldquofix it in the mixrdquo

4

WWhhyy sshhoouulldd II uussee aa ppaarraammeettrriicc EEQQ iinnsstteeaadd ooff aa ggrraapphhiicc EEQQEvery EQ has its place As a general rule of thumb parametricEQs are used for individual instruments (or tracks) and graphicEQs are used for mixed material and for playback systemsParametric EQs give you more control over a signal -- they canprovide subtle or drastic results because they can be tuned tospecific frequencies Parametric EQs allow you to boost or cutnarrow frequency bands to make individual instruments ldquositrdquo bet-ter with other instruments when combined in a mix This is usual-ly accomplished with one or two bands Graphic EQs are usedmore for the shaping of material They are nearly always used inPA systems because they can adjust the speaker system to fit theneeds of a room while still sounding natural Their application isldquobroaderrdquo than that of a parametric

WWhhaatt iiss tthhee bbeesstt wwaayy ttoo uussee EEQQThere are two schools of thought on EQ 1) Use as much as youneed to make things sound good 2) Donrsquot use any EQ Mostpeople follow the suggestion of ldquoif it sounds good it is goodrdquoYou need to use your ears and judge for yourself as their are nosteadfast rules for EQrsquoing Here are a few pointers to guide you

Always tweak the instrument you are EQrsquoing while listening to itin the mix EQrsquoing an instrument when it is soloed doesnrsquot giveyou a good representation of how it will sound when mixed withother instruments Yoursquod be surprised at how bad a killer guitartrack can sound when it is isolated from the rest of the mixRemember what makes it killer is how it sounds in relation tothe other instruments Keep the big picture in mind

Most people think of EQ as boosting only (ldquowersquoll just add a littleEQrdquo) Many times a ldquobadrdquo sounding instrument can be fixedby simply isolating the bad frequency and pulling it out Afteryou determine approximately where the ldquoproblem areardquo is in theinstrument (highs lows mids) isolate the track and boost one of

5

the mid bands Slowly sweep through the frequency rangeWhen the really nasty sound jumps out at you (yoursquoll know itwhen it happens) turn the boost back to ldquo0rdquo (12 orsquoclock) Nowput the track back into the mix and cut the frequency Yoursquoll haveto adjust the level of the instrument depending on how much youcut but you should find that with the ldquoproblem areardquo pulled outthe instrument works better in the mix

When recording EQrsquod instruments you want to make sure youhave good representation of frequencies on tape Always moni-tor ldquooffrdquo tape when recording This ensures that what yoursquorehearing is what is on tape When recording things like kickdrums make sure you have enough low end ldquothudrdquo and highend ldquoclickrdquo (if applicable) before you record

Recording guideline You can always boost or cut frequenciesafter theyrsquove been recorded but you canrsquot add frequencies thatwerenrsquotrsquo recorded Always be prepared for the drummer whosays he loves the John Bonham kick drum sound (lots of low endpower and ambience) you got when recording but during themix decides he wants to sound like Metallica (more click thanpunch)

If you get the sounds right when you record the tracks youshouldnrsquot be spending a lot of time re-EQrsquoing during the mixDuring mixing you should be concentrating on the blending oftracks and the dynamics of the song If you find yourself EQrsquoingeverything take a break and come back to it later Start mixingwith a group of instruments (the whole drum kit or guitars andbass) instead of listening to individual tracks Mixing is the timefor tweaking - not applying a sonic re-design

Once again ldquoif it sounds good print itrdquo Trust your ears - never-mind where the knobs are pointingUUnnppaacckkiinnggYour Tube EQ was packed with care at the factory The shipping

6

carton was designed to protect it during initial shipment Pleaseretain this carton for use in transporting the Tube EQ or in theunlikely event that you need to return your Tube EQ for servicing

AACC PPoowweerr HHooookkuuppThe Tube EQ has an internal power supply designed to operateat 100 to 125VAC 50 to 60Hz Units manufactured for use out-side of the United States of America have been modified to com-ply with the required electrical specifications Under no circum-stances should the power cable be altered If the cable becomescut or damaged discontinue its use and have it replaced beforeusing the Tube EQ

AAuuddiioo CCoonnnneeccttiioonnssAudio connections to and from the Tube EQ are balanced XLR(Pin 2 Hot (+) Pin 3 Cold (-) Pin 1 Ground) and unbalanced14rdquo (Tip Hot (+) Sleeve Ground) We recommend using onlyhigh-quality cables equipped with the appropriate connectors

IInnssttaallllaattiioonnThe Tube EQ may be employed in a number of setups including- Between a microphone line preamplifier and a mixer digitalmulti-track recorder DAT machine hard disk recorder or analogrecorder- In a mixerrsquos channel insert points- Between a microphone line preamplifier and signal proces-sors- Between electronic musical instruments (synthesizers guitars bass samplers acoustic instruments with pickups) and other gear

SSAAFFEETTYY PPRREECCAAUUTTIIOONNSSWarning To avoid the risk of shock or fire do not expose thisunit to moisture Do not remove metal panels from chassis partsRemoving the chassis from its cabinet parts exposes dangerous

7

voltages There are no user-serviceable parts inside Refer allservicing to qualified personnel Note If your power cordbecomes damaged and must be replaced always replace it withthe proper type (3 prong)PPOOWWEERRIINNGG UUPPWhen the rear panel power switch is turned on the power indi-cator LED will illuminate It is important to remember to turn theTube EQ on before any monitoring levels or power amps areturned on The Tube EQ has the ability to add gain to its inputsignal This can cause the Tube EQ to produce a ldquothumprdquo onpower up and power down

NNoottee Like all tube-based equipment the Tube EQ needs towarm up before being used Allow one to two minutes for thetubes to reach proper operating temperature before using

It is normal for the Tube EQ to be warm The aluminum chassisis used for heat dissipation It is recommended that the Tube EQbe installed in an area where there is adequate ventilation

If the Tube EQ fails to power up when the power switch is turnedon check to see that its power cord is plugged into an activeoutlet If the unit still fails to operate properly turn it off andunplug it Then consult your dealer or A R Trsquos Customer Servicedepartment

FFRROONNTT PPAANNEELL CCOONNTTRROOLLSS ampamp IINNDDIICCAATTOORRSS

BByyppaassss SSwwiittcchhA Bypass switch is included on the Tube EQ to enable you toremove it from your signal chain When set to its ldquoinrdquo (bypass)

8

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

TTaabbllee ooff CCoonntteennttssIntroduction 2Features 2Registration 3Overview 3EQ Tips 4Unpacking 7AC Power Hookup 7Audio Connections 7Installation 7Safety Precautions 7Powering Up 8Front Panel Controls and Indicators 8

Bypass Switch 8Gain Control 9Clip Indicator 9Output Level Control 9Instruments and the Audio Spectrum 10Low Frequency Control 10Low Shift Switch 11Lo-Mid Frequency Control 11Low-Mid Shift x10 Switch 11Hi-Mid Frequency Control 12Hi-Mid Shift x10 Switch 12High Frequency Control 12High Shift Switch 13

Rear Panel Connections 13Power Switch 13Input 14Output 14

Tube Replacement 14Applications 15Specifications 16On-line Information 16Warranty Information 17Service Information 18

1

128-5004-101

IInnttrroodduuccttiioonn

Thank you for purchasing Applied Research and TechnologyrsquosTube EQ The Tube EQ may be used anywhere you need equal-ization or frequency adjustments Offering a superb level ofsound quality the Tube EQ will enhance the sonic textures ofyour audio system for years to come

FFeeaattuurreessThe Tube EQ is a unique product While every EQ gives you theability to alter the frequency characteristics of a signal very fewsound really good when doing so Developed in partnership withstudio and live sound engineers the Tube EQ possesses flexibilityand ldquosoundrdquo that is not available from any other product on themarket - at any price The Tube EQ was designed and construct-ed with the best components assuring a lifetime of quiet reli-able performance The Tube EQ offers

- The award-winning A R T ldquoSOUNDrdquo - Tube-based four-band equalization- Selectable Low shelving filter - 40Hz or 120Hz- Selectable High shelving filter - 6KHz or 18KHz - Sweepable Lo and Hi mid-frequency bands- Mid-frequency bands overlap from 200Hz to 2KHz- Mid-frequency bands sweepable from 20Hz to 20KHz- Hand-selected 12AX7a tube- XLR balanced inputs and outputs- 14rdquo TS unbalanced inputs and outputs- Custom extruded aluminum chassis - Independent input and output level controls

2

- Detented rotary controls- gt90dB dynamic range- Internal power supply- One year warranty- Designed and manufactured in the USA

RReeggiissttrraattiioonnIf you havenrsquot done so already please take the time to fill out theUser Registration Card for your purchase Having you in ourdatabase allows us to keep you informed of updates applicationnotes and new product introductions It only takes a momentand it will ensure that you are constantly up to date with yourpurchase

Fill in the following for your future reference

Date of purchase ___________________Purchased From ____________________Serial Number 128-________

OOvveerrvviieeww

Great recordings and great mixes are made from great soundsWith the exception of some classical and environmental record-ings equalization plays a large role in creating tweaking andcapturing great sounds in contemporary music A good equalizerwill make good sounds sound better and (more importantly) badsounds sound better

Since we donrsquot live in a perfect world where all instruments andsounds are ldquorecord-readyrdquo A R T created the Tube EQ to makeour recordings a little easier and (hopefully) a little better

The Tube EQ was designed to help ldquofixrdquo the instruments that giveus the most headaches when wersquore recording kick snare basstoms guitar amps voice etc The two sweepable parametricbands and selectable shelving bands have been optimized for

3

musical instruments The two sweepable bands overlap them-selves and the high and low shelving bands providing you withthe ultimate in flexibility The Tube EQ gives you all the controlyou need to effectively alter and dial in great sounds from eventhe poorest of sources

EEQQ TTiippssWWhhyy uussee aann eexxtteerrnnaall EEQQThe shortest signal path is the best way to get a signal to tapeIn most cases the shortest path is mic to preamp to compressorto EQ to tape deck The signal doesnrsquot even go through themixer This isnrsquot a new concept but it has become more relevantwith the availability of affordable mixing consoles As their nameimplies most affordable mixers excel in signal routing and mix-ing capabilities However they are not necessarily your bestoption for recording tracks While their onboard EQ is nearlyalways adequate for tweaking a good recorded track duringmixing the simple truth is that the Tube EQ is a better soundingand more flexible equalizer Mixer manufacturers need to maketrade-offs to keep prices down while keeping performance upImagine the price of your mixer if each channelsrsquo EQ cost over$200 (and wersquore not talking about those of you who have one ofthose $250000+ consoles)

The use of external processing (equalizers preamps and com-pressors) has sonic and practical benefits when you consider thatmost recording is done one or two channels at a time For thoseof us on a budget it just doesnrsquot make sense to spend a ton ofmoney on a ldquocadillacrdquo console when a budget mixer and a fewpieces of external gear is more cost effective Even those engi-neers who regularly work on ldquobigrdquo consoles use external EQsand preamps

The goal of any recording is to get the sounds right before youcommit them to tape The Tube EQ exists to help you get it rightso you donrsquot have to ldquofix it in the mixrdquo

4

WWhhyy sshhoouulldd II uussee aa ppaarraammeettrriicc EEQQ iinnsstteeaadd ooff aa ggrraapphhiicc EEQQEvery EQ has its place As a general rule of thumb parametricEQs are used for individual instruments (or tracks) and graphicEQs are used for mixed material and for playback systemsParametric EQs give you more control over a signal -- they canprovide subtle or drastic results because they can be tuned tospecific frequencies Parametric EQs allow you to boost or cutnarrow frequency bands to make individual instruments ldquositrdquo bet-ter with other instruments when combined in a mix This is usual-ly accomplished with one or two bands Graphic EQs are usedmore for the shaping of material They are nearly always used inPA systems because they can adjust the speaker system to fit theneeds of a room while still sounding natural Their application isldquobroaderrdquo than that of a parametric

WWhhaatt iiss tthhee bbeesstt wwaayy ttoo uussee EEQQThere are two schools of thought on EQ 1) Use as much as youneed to make things sound good 2) Donrsquot use any EQ Mostpeople follow the suggestion of ldquoif it sounds good it is goodrdquoYou need to use your ears and judge for yourself as their are nosteadfast rules for EQrsquoing Here are a few pointers to guide you

Always tweak the instrument you are EQrsquoing while listening to itin the mix EQrsquoing an instrument when it is soloed doesnrsquot giveyou a good representation of how it will sound when mixed withother instruments Yoursquod be surprised at how bad a killer guitartrack can sound when it is isolated from the rest of the mixRemember what makes it killer is how it sounds in relation tothe other instruments Keep the big picture in mind

Most people think of EQ as boosting only (ldquowersquoll just add a littleEQrdquo) Many times a ldquobadrdquo sounding instrument can be fixedby simply isolating the bad frequency and pulling it out Afteryou determine approximately where the ldquoproblem areardquo is in theinstrument (highs lows mids) isolate the track and boost one of

5

the mid bands Slowly sweep through the frequency rangeWhen the really nasty sound jumps out at you (yoursquoll know itwhen it happens) turn the boost back to ldquo0rdquo (12 orsquoclock) Nowput the track back into the mix and cut the frequency Yoursquoll haveto adjust the level of the instrument depending on how much youcut but you should find that with the ldquoproblem areardquo pulled outthe instrument works better in the mix

When recording EQrsquod instruments you want to make sure youhave good representation of frequencies on tape Always moni-tor ldquooffrdquo tape when recording This ensures that what yoursquorehearing is what is on tape When recording things like kickdrums make sure you have enough low end ldquothudrdquo and highend ldquoclickrdquo (if applicable) before you record

Recording guideline You can always boost or cut frequenciesafter theyrsquove been recorded but you canrsquot add frequencies thatwerenrsquotrsquo recorded Always be prepared for the drummer whosays he loves the John Bonham kick drum sound (lots of low endpower and ambience) you got when recording but during themix decides he wants to sound like Metallica (more click thanpunch)

If you get the sounds right when you record the tracks youshouldnrsquot be spending a lot of time re-EQrsquoing during the mixDuring mixing you should be concentrating on the blending oftracks and the dynamics of the song If you find yourself EQrsquoingeverything take a break and come back to it later Start mixingwith a group of instruments (the whole drum kit or guitars andbass) instead of listening to individual tracks Mixing is the timefor tweaking - not applying a sonic re-design

Once again ldquoif it sounds good print itrdquo Trust your ears - never-mind where the knobs are pointingUUnnppaacckkiinnggYour Tube EQ was packed with care at the factory The shipping

6

carton was designed to protect it during initial shipment Pleaseretain this carton for use in transporting the Tube EQ or in theunlikely event that you need to return your Tube EQ for servicing

AACC PPoowweerr HHooookkuuppThe Tube EQ has an internal power supply designed to operateat 100 to 125VAC 50 to 60Hz Units manufactured for use out-side of the United States of America have been modified to com-ply with the required electrical specifications Under no circum-stances should the power cable be altered If the cable becomescut or damaged discontinue its use and have it replaced beforeusing the Tube EQ

AAuuddiioo CCoonnnneeccttiioonnssAudio connections to and from the Tube EQ are balanced XLR(Pin 2 Hot (+) Pin 3 Cold (-) Pin 1 Ground) and unbalanced14rdquo (Tip Hot (+) Sleeve Ground) We recommend using onlyhigh-quality cables equipped with the appropriate connectors

IInnssttaallllaattiioonnThe Tube EQ may be employed in a number of setups including- Between a microphone line preamplifier and a mixer digitalmulti-track recorder DAT machine hard disk recorder or analogrecorder- In a mixerrsquos channel insert points- Between a microphone line preamplifier and signal proces-sors- Between electronic musical instruments (synthesizers guitars bass samplers acoustic instruments with pickups) and other gear

SSAAFFEETTYY PPRREECCAAUUTTIIOONNSSWarning To avoid the risk of shock or fire do not expose thisunit to moisture Do not remove metal panels from chassis partsRemoving the chassis from its cabinet parts exposes dangerous

7

voltages There are no user-serviceable parts inside Refer allservicing to qualified personnel Note If your power cordbecomes damaged and must be replaced always replace it withthe proper type (3 prong)PPOOWWEERRIINNGG UUPPWhen the rear panel power switch is turned on the power indi-cator LED will illuminate It is important to remember to turn theTube EQ on before any monitoring levels or power amps areturned on The Tube EQ has the ability to add gain to its inputsignal This can cause the Tube EQ to produce a ldquothumprdquo onpower up and power down

NNoottee Like all tube-based equipment the Tube EQ needs towarm up before being used Allow one to two minutes for thetubes to reach proper operating temperature before using

It is normal for the Tube EQ to be warm The aluminum chassisis used for heat dissipation It is recommended that the Tube EQbe installed in an area where there is adequate ventilation

If the Tube EQ fails to power up when the power switch is turnedon check to see that its power cord is plugged into an activeoutlet If the unit still fails to operate properly turn it off andunplug it Then consult your dealer or A R Trsquos Customer Servicedepartment

FFRROONNTT PPAANNEELL CCOONNTTRROOLLSS ampamp IINNDDIICCAATTOORRSS

BByyppaassss SSwwiittcchhA Bypass switch is included on the Tube EQ to enable you toremove it from your signal chain When set to its ldquoinrdquo (bypass)

8

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

128-5004-101

IInnttrroodduuccttiioonn

Thank you for purchasing Applied Research and TechnologyrsquosTube EQ The Tube EQ may be used anywhere you need equal-ization or frequency adjustments Offering a superb level ofsound quality the Tube EQ will enhance the sonic textures ofyour audio system for years to come

FFeeaattuurreessThe Tube EQ is a unique product While every EQ gives you theability to alter the frequency characteristics of a signal very fewsound really good when doing so Developed in partnership withstudio and live sound engineers the Tube EQ possesses flexibilityand ldquosoundrdquo that is not available from any other product on themarket - at any price The Tube EQ was designed and construct-ed with the best components assuring a lifetime of quiet reli-able performance The Tube EQ offers

- The award-winning A R T ldquoSOUNDrdquo - Tube-based four-band equalization- Selectable Low shelving filter - 40Hz or 120Hz- Selectable High shelving filter - 6KHz or 18KHz - Sweepable Lo and Hi mid-frequency bands- Mid-frequency bands overlap from 200Hz to 2KHz- Mid-frequency bands sweepable from 20Hz to 20KHz- Hand-selected 12AX7a tube- XLR balanced inputs and outputs- 14rdquo TS unbalanced inputs and outputs- Custom extruded aluminum chassis - Independent input and output level controls

2

- Detented rotary controls- gt90dB dynamic range- Internal power supply- One year warranty- Designed and manufactured in the USA

RReeggiissttrraattiioonnIf you havenrsquot done so already please take the time to fill out theUser Registration Card for your purchase Having you in ourdatabase allows us to keep you informed of updates applicationnotes and new product introductions It only takes a momentand it will ensure that you are constantly up to date with yourpurchase

Fill in the following for your future reference

Date of purchase ___________________Purchased From ____________________Serial Number 128-________

OOvveerrvviieeww

Great recordings and great mixes are made from great soundsWith the exception of some classical and environmental record-ings equalization plays a large role in creating tweaking andcapturing great sounds in contemporary music A good equalizerwill make good sounds sound better and (more importantly) badsounds sound better

Since we donrsquot live in a perfect world where all instruments andsounds are ldquorecord-readyrdquo A R T created the Tube EQ to makeour recordings a little easier and (hopefully) a little better

The Tube EQ was designed to help ldquofixrdquo the instruments that giveus the most headaches when wersquore recording kick snare basstoms guitar amps voice etc The two sweepable parametricbands and selectable shelving bands have been optimized for

3

musical instruments The two sweepable bands overlap them-selves and the high and low shelving bands providing you withthe ultimate in flexibility The Tube EQ gives you all the controlyou need to effectively alter and dial in great sounds from eventhe poorest of sources

EEQQ TTiippssWWhhyy uussee aann eexxtteerrnnaall EEQQThe shortest signal path is the best way to get a signal to tapeIn most cases the shortest path is mic to preamp to compressorto EQ to tape deck The signal doesnrsquot even go through themixer This isnrsquot a new concept but it has become more relevantwith the availability of affordable mixing consoles As their nameimplies most affordable mixers excel in signal routing and mix-ing capabilities However they are not necessarily your bestoption for recording tracks While their onboard EQ is nearlyalways adequate for tweaking a good recorded track duringmixing the simple truth is that the Tube EQ is a better soundingand more flexible equalizer Mixer manufacturers need to maketrade-offs to keep prices down while keeping performance upImagine the price of your mixer if each channelsrsquo EQ cost over$200 (and wersquore not talking about those of you who have one ofthose $250000+ consoles)

The use of external processing (equalizers preamps and com-pressors) has sonic and practical benefits when you consider thatmost recording is done one or two channels at a time For thoseof us on a budget it just doesnrsquot make sense to spend a ton ofmoney on a ldquocadillacrdquo console when a budget mixer and a fewpieces of external gear is more cost effective Even those engi-neers who regularly work on ldquobigrdquo consoles use external EQsand preamps

The goal of any recording is to get the sounds right before youcommit them to tape The Tube EQ exists to help you get it rightso you donrsquot have to ldquofix it in the mixrdquo

4

WWhhyy sshhoouulldd II uussee aa ppaarraammeettrriicc EEQQ iinnsstteeaadd ooff aa ggrraapphhiicc EEQQEvery EQ has its place As a general rule of thumb parametricEQs are used for individual instruments (or tracks) and graphicEQs are used for mixed material and for playback systemsParametric EQs give you more control over a signal -- they canprovide subtle or drastic results because they can be tuned tospecific frequencies Parametric EQs allow you to boost or cutnarrow frequency bands to make individual instruments ldquositrdquo bet-ter with other instruments when combined in a mix This is usual-ly accomplished with one or two bands Graphic EQs are usedmore for the shaping of material They are nearly always used inPA systems because they can adjust the speaker system to fit theneeds of a room while still sounding natural Their application isldquobroaderrdquo than that of a parametric

WWhhaatt iiss tthhee bbeesstt wwaayy ttoo uussee EEQQThere are two schools of thought on EQ 1) Use as much as youneed to make things sound good 2) Donrsquot use any EQ Mostpeople follow the suggestion of ldquoif it sounds good it is goodrdquoYou need to use your ears and judge for yourself as their are nosteadfast rules for EQrsquoing Here are a few pointers to guide you

Always tweak the instrument you are EQrsquoing while listening to itin the mix EQrsquoing an instrument when it is soloed doesnrsquot giveyou a good representation of how it will sound when mixed withother instruments Yoursquod be surprised at how bad a killer guitartrack can sound when it is isolated from the rest of the mixRemember what makes it killer is how it sounds in relation tothe other instruments Keep the big picture in mind

Most people think of EQ as boosting only (ldquowersquoll just add a littleEQrdquo) Many times a ldquobadrdquo sounding instrument can be fixedby simply isolating the bad frequency and pulling it out Afteryou determine approximately where the ldquoproblem areardquo is in theinstrument (highs lows mids) isolate the track and boost one of

5

the mid bands Slowly sweep through the frequency rangeWhen the really nasty sound jumps out at you (yoursquoll know itwhen it happens) turn the boost back to ldquo0rdquo (12 orsquoclock) Nowput the track back into the mix and cut the frequency Yoursquoll haveto adjust the level of the instrument depending on how much youcut but you should find that with the ldquoproblem areardquo pulled outthe instrument works better in the mix

When recording EQrsquod instruments you want to make sure youhave good representation of frequencies on tape Always moni-tor ldquooffrdquo tape when recording This ensures that what yoursquorehearing is what is on tape When recording things like kickdrums make sure you have enough low end ldquothudrdquo and highend ldquoclickrdquo (if applicable) before you record

Recording guideline You can always boost or cut frequenciesafter theyrsquove been recorded but you canrsquot add frequencies thatwerenrsquotrsquo recorded Always be prepared for the drummer whosays he loves the John Bonham kick drum sound (lots of low endpower and ambience) you got when recording but during themix decides he wants to sound like Metallica (more click thanpunch)

If you get the sounds right when you record the tracks youshouldnrsquot be spending a lot of time re-EQrsquoing during the mixDuring mixing you should be concentrating on the blending oftracks and the dynamics of the song If you find yourself EQrsquoingeverything take a break and come back to it later Start mixingwith a group of instruments (the whole drum kit or guitars andbass) instead of listening to individual tracks Mixing is the timefor tweaking - not applying a sonic re-design

Once again ldquoif it sounds good print itrdquo Trust your ears - never-mind where the knobs are pointingUUnnppaacckkiinnggYour Tube EQ was packed with care at the factory The shipping

6

carton was designed to protect it during initial shipment Pleaseretain this carton for use in transporting the Tube EQ or in theunlikely event that you need to return your Tube EQ for servicing

AACC PPoowweerr HHooookkuuppThe Tube EQ has an internal power supply designed to operateat 100 to 125VAC 50 to 60Hz Units manufactured for use out-side of the United States of America have been modified to com-ply with the required electrical specifications Under no circum-stances should the power cable be altered If the cable becomescut or damaged discontinue its use and have it replaced beforeusing the Tube EQ

AAuuddiioo CCoonnnneeccttiioonnssAudio connections to and from the Tube EQ are balanced XLR(Pin 2 Hot (+) Pin 3 Cold (-) Pin 1 Ground) and unbalanced14rdquo (Tip Hot (+) Sleeve Ground) We recommend using onlyhigh-quality cables equipped with the appropriate connectors

IInnssttaallllaattiioonnThe Tube EQ may be employed in a number of setups including- Between a microphone line preamplifier and a mixer digitalmulti-track recorder DAT machine hard disk recorder or analogrecorder- In a mixerrsquos channel insert points- Between a microphone line preamplifier and signal proces-sors- Between electronic musical instruments (synthesizers guitars bass samplers acoustic instruments with pickups) and other gear

SSAAFFEETTYY PPRREECCAAUUTTIIOONNSSWarning To avoid the risk of shock or fire do not expose thisunit to moisture Do not remove metal panels from chassis partsRemoving the chassis from its cabinet parts exposes dangerous

7

voltages There are no user-serviceable parts inside Refer allservicing to qualified personnel Note If your power cordbecomes damaged and must be replaced always replace it withthe proper type (3 prong)PPOOWWEERRIINNGG UUPPWhen the rear panel power switch is turned on the power indi-cator LED will illuminate It is important to remember to turn theTube EQ on before any monitoring levels or power amps areturned on The Tube EQ has the ability to add gain to its inputsignal This can cause the Tube EQ to produce a ldquothumprdquo onpower up and power down

NNoottee Like all tube-based equipment the Tube EQ needs towarm up before being used Allow one to two minutes for thetubes to reach proper operating temperature before using

It is normal for the Tube EQ to be warm The aluminum chassisis used for heat dissipation It is recommended that the Tube EQbe installed in an area where there is adequate ventilation

If the Tube EQ fails to power up when the power switch is turnedon check to see that its power cord is plugged into an activeoutlet If the unit still fails to operate properly turn it off andunplug it Then consult your dealer or A R Trsquos Customer Servicedepartment

FFRROONNTT PPAANNEELL CCOONNTTRROOLLSS ampamp IINNDDIICCAATTOORRSS

BByyppaassss SSwwiittcchhA Bypass switch is included on the Tube EQ to enable you toremove it from your signal chain When set to its ldquoinrdquo (bypass)

8

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

- Detented rotary controls- gt90dB dynamic range- Internal power supply- One year warranty- Designed and manufactured in the USA

RReeggiissttrraattiioonnIf you havenrsquot done so already please take the time to fill out theUser Registration Card for your purchase Having you in ourdatabase allows us to keep you informed of updates applicationnotes and new product introductions It only takes a momentand it will ensure that you are constantly up to date with yourpurchase

Fill in the following for your future reference

Date of purchase ___________________Purchased From ____________________Serial Number 128-________

OOvveerrvviieeww

Great recordings and great mixes are made from great soundsWith the exception of some classical and environmental record-ings equalization plays a large role in creating tweaking andcapturing great sounds in contemporary music A good equalizerwill make good sounds sound better and (more importantly) badsounds sound better

Since we donrsquot live in a perfect world where all instruments andsounds are ldquorecord-readyrdquo A R T created the Tube EQ to makeour recordings a little easier and (hopefully) a little better

The Tube EQ was designed to help ldquofixrdquo the instruments that giveus the most headaches when wersquore recording kick snare basstoms guitar amps voice etc The two sweepable parametricbands and selectable shelving bands have been optimized for

3

musical instruments The two sweepable bands overlap them-selves and the high and low shelving bands providing you withthe ultimate in flexibility The Tube EQ gives you all the controlyou need to effectively alter and dial in great sounds from eventhe poorest of sources

EEQQ TTiippssWWhhyy uussee aann eexxtteerrnnaall EEQQThe shortest signal path is the best way to get a signal to tapeIn most cases the shortest path is mic to preamp to compressorto EQ to tape deck The signal doesnrsquot even go through themixer This isnrsquot a new concept but it has become more relevantwith the availability of affordable mixing consoles As their nameimplies most affordable mixers excel in signal routing and mix-ing capabilities However they are not necessarily your bestoption for recording tracks While their onboard EQ is nearlyalways adequate for tweaking a good recorded track duringmixing the simple truth is that the Tube EQ is a better soundingand more flexible equalizer Mixer manufacturers need to maketrade-offs to keep prices down while keeping performance upImagine the price of your mixer if each channelsrsquo EQ cost over$200 (and wersquore not talking about those of you who have one ofthose $250000+ consoles)

The use of external processing (equalizers preamps and com-pressors) has sonic and practical benefits when you consider thatmost recording is done one or two channels at a time For thoseof us on a budget it just doesnrsquot make sense to spend a ton ofmoney on a ldquocadillacrdquo console when a budget mixer and a fewpieces of external gear is more cost effective Even those engi-neers who regularly work on ldquobigrdquo consoles use external EQsand preamps

The goal of any recording is to get the sounds right before youcommit them to tape The Tube EQ exists to help you get it rightso you donrsquot have to ldquofix it in the mixrdquo

4

WWhhyy sshhoouulldd II uussee aa ppaarraammeettrriicc EEQQ iinnsstteeaadd ooff aa ggrraapphhiicc EEQQEvery EQ has its place As a general rule of thumb parametricEQs are used for individual instruments (or tracks) and graphicEQs are used for mixed material and for playback systemsParametric EQs give you more control over a signal -- they canprovide subtle or drastic results because they can be tuned tospecific frequencies Parametric EQs allow you to boost or cutnarrow frequency bands to make individual instruments ldquositrdquo bet-ter with other instruments when combined in a mix This is usual-ly accomplished with one or two bands Graphic EQs are usedmore for the shaping of material They are nearly always used inPA systems because they can adjust the speaker system to fit theneeds of a room while still sounding natural Their application isldquobroaderrdquo than that of a parametric

WWhhaatt iiss tthhee bbeesstt wwaayy ttoo uussee EEQQThere are two schools of thought on EQ 1) Use as much as youneed to make things sound good 2) Donrsquot use any EQ Mostpeople follow the suggestion of ldquoif it sounds good it is goodrdquoYou need to use your ears and judge for yourself as their are nosteadfast rules for EQrsquoing Here are a few pointers to guide you

Always tweak the instrument you are EQrsquoing while listening to itin the mix EQrsquoing an instrument when it is soloed doesnrsquot giveyou a good representation of how it will sound when mixed withother instruments Yoursquod be surprised at how bad a killer guitartrack can sound when it is isolated from the rest of the mixRemember what makes it killer is how it sounds in relation tothe other instruments Keep the big picture in mind

Most people think of EQ as boosting only (ldquowersquoll just add a littleEQrdquo) Many times a ldquobadrdquo sounding instrument can be fixedby simply isolating the bad frequency and pulling it out Afteryou determine approximately where the ldquoproblem areardquo is in theinstrument (highs lows mids) isolate the track and boost one of

5

the mid bands Slowly sweep through the frequency rangeWhen the really nasty sound jumps out at you (yoursquoll know itwhen it happens) turn the boost back to ldquo0rdquo (12 orsquoclock) Nowput the track back into the mix and cut the frequency Yoursquoll haveto adjust the level of the instrument depending on how much youcut but you should find that with the ldquoproblem areardquo pulled outthe instrument works better in the mix

When recording EQrsquod instruments you want to make sure youhave good representation of frequencies on tape Always moni-tor ldquooffrdquo tape when recording This ensures that what yoursquorehearing is what is on tape When recording things like kickdrums make sure you have enough low end ldquothudrdquo and highend ldquoclickrdquo (if applicable) before you record

Recording guideline You can always boost or cut frequenciesafter theyrsquove been recorded but you canrsquot add frequencies thatwerenrsquotrsquo recorded Always be prepared for the drummer whosays he loves the John Bonham kick drum sound (lots of low endpower and ambience) you got when recording but during themix decides he wants to sound like Metallica (more click thanpunch)

If you get the sounds right when you record the tracks youshouldnrsquot be spending a lot of time re-EQrsquoing during the mixDuring mixing you should be concentrating on the blending oftracks and the dynamics of the song If you find yourself EQrsquoingeverything take a break and come back to it later Start mixingwith a group of instruments (the whole drum kit or guitars andbass) instead of listening to individual tracks Mixing is the timefor tweaking - not applying a sonic re-design

Once again ldquoif it sounds good print itrdquo Trust your ears - never-mind where the knobs are pointingUUnnppaacckkiinnggYour Tube EQ was packed with care at the factory The shipping

6

carton was designed to protect it during initial shipment Pleaseretain this carton for use in transporting the Tube EQ or in theunlikely event that you need to return your Tube EQ for servicing

AACC PPoowweerr HHooookkuuppThe Tube EQ has an internal power supply designed to operateat 100 to 125VAC 50 to 60Hz Units manufactured for use out-side of the United States of America have been modified to com-ply with the required electrical specifications Under no circum-stances should the power cable be altered If the cable becomescut or damaged discontinue its use and have it replaced beforeusing the Tube EQ

AAuuddiioo CCoonnnneeccttiioonnssAudio connections to and from the Tube EQ are balanced XLR(Pin 2 Hot (+) Pin 3 Cold (-) Pin 1 Ground) and unbalanced14rdquo (Tip Hot (+) Sleeve Ground) We recommend using onlyhigh-quality cables equipped with the appropriate connectors

IInnssttaallllaattiioonnThe Tube EQ may be employed in a number of setups including- Between a microphone line preamplifier and a mixer digitalmulti-track recorder DAT machine hard disk recorder or analogrecorder- In a mixerrsquos channel insert points- Between a microphone line preamplifier and signal proces-sors- Between electronic musical instruments (synthesizers guitars bass samplers acoustic instruments with pickups) and other gear

SSAAFFEETTYY PPRREECCAAUUTTIIOONNSSWarning To avoid the risk of shock or fire do not expose thisunit to moisture Do not remove metal panels from chassis partsRemoving the chassis from its cabinet parts exposes dangerous

7

voltages There are no user-serviceable parts inside Refer allservicing to qualified personnel Note If your power cordbecomes damaged and must be replaced always replace it withthe proper type (3 prong)PPOOWWEERRIINNGG UUPPWhen the rear panel power switch is turned on the power indi-cator LED will illuminate It is important to remember to turn theTube EQ on before any monitoring levels or power amps areturned on The Tube EQ has the ability to add gain to its inputsignal This can cause the Tube EQ to produce a ldquothumprdquo onpower up and power down

NNoottee Like all tube-based equipment the Tube EQ needs towarm up before being used Allow one to two minutes for thetubes to reach proper operating temperature before using

It is normal for the Tube EQ to be warm The aluminum chassisis used for heat dissipation It is recommended that the Tube EQbe installed in an area where there is adequate ventilation

If the Tube EQ fails to power up when the power switch is turnedon check to see that its power cord is plugged into an activeoutlet If the unit still fails to operate properly turn it off andunplug it Then consult your dealer or A R Trsquos Customer Servicedepartment

FFRROONNTT PPAANNEELL CCOONNTTRROOLLSS ampamp IINNDDIICCAATTOORRSS

BByyppaassss SSwwiittcchhA Bypass switch is included on the Tube EQ to enable you toremove it from your signal chain When set to its ldquoinrdquo (bypass)

8

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

musical instruments The two sweepable bands overlap them-selves and the high and low shelving bands providing you withthe ultimate in flexibility The Tube EQ gives you all the controlyou need to effectively alter and dial in great sounds from eventhe poorest of sources

EEQQ TTiippssWWhhyy uussee aann eexxtteerrnnaall EEQQThe shortest signal path is the best way to get a signal to tapeIn most cases the shortest path is mic to preamp to compressorto EQ to tape deck The signal doesnrsquot even go through themixer This isnrsquot a new concept but it has become more relevantwith the availability of affordable mixing consoles As their nameimplies most affordable mixers excel in signal routing and mix-ing capabilities However they are not necessarily your bestoption for recording tracks While their onboard EQ is nearlyalways adequate for tweaking a good recorded track duringmixing the simple truth is that the Tube EQ is a better soundingand more flexible equalizer Mixer manufacturers need to maketrade-offs to keep prices down while keeping performance upImagine the price of your mixer if each channelsrsquo EQ cost over$200 (and wersquore not talking about those of you who have one ofthose $250000+ consoles)

The use of external processing (equalizers preamps and com-pressors) has sonic and practical benefits when you consider thatmost recording is done one or two channels at a time For thoseof us on a budget it just doesnrsquot make sense to spend a ton ofmoney on a ldquocadillacrdquo console when a budget mixer and a fewpieces of external gear is more cost effective Even those engi-neers who regularly work on ldquobigrdquo consoles use external EQsand preamps

The goal of any recording is to get the sounds right before youcommit them to tape The Tube EQ exists to help you get it rightso you donrsquot have to ldquofix it in the mixrdquo

4

WWhhyy sshhoouulldd II uussee aa ppaarraammeettrriicc EEQQ iinnsstteeaadd ooff aa ggrraapphhiicc EEQQEvery EQ has its place As a general rule of thumb parametricEQs are used for individual instruments (or tracks) and graphicEQs are used for mixed material and for playback systemsParametric EQs give you more control over a signal -- they canprovide subtle or drastic results because they can be tuned tospecific frequencies Parametric EQs allow you to boost or cutnarrow frequency bands to make individual instruments ldquositrdquo bet-ter with other instruments when combined in a mix This is usual-ly accomplished with one or two bands Graphic EQs are usedmore for the shaping of material They are nearly always used inPA systems because they can adjust the speaker system to fit theneeds of a room while still sounding natural Their application isldquobroaderrdquo than that of a parametric

WWhhaatt iiss tthhee bbeesstt wwaayy ttoo uussee EEQQThere are two schools of thought on EQ 1) Use as much as youneed to make things sound good 2) Donrsquot use any EQ Mostpeople follow the suggestion of ldquoif it sounds good it is goodrdquoYou need to use your ears and judge for yourself as their are nosteadfast rules for EQrsquoing Here are a few pointers to guide you

Always tweak the instrument you are EQrsquoing while listening to itin the mix EQrsquoing an instrument when it is soloed doesnrsquot giveyou a good representation of how it will sound when mixed withother instruments Yoursquod be surprised at how bad a killer guitartrack can sound when it is isolated from the rest of the mixRemember what makes it killer is how it sounds in relation tothe other instruments Keep the big picture in mind

Most people think of EQ as boosting only (ldquowersquoll just add a littleEQrdquo) Many times a ldquobadrdquo sounding instrument can be fixedby simply isolating the bad frequency and pulling it out Afteryou determine approximately where the ldquoproblem areardquo is in theinstrument (highs lows mids) isolate the track and boost one of

5

the mid bands Slowly sweep through the frequency rangeWhen the really nasty sound jumps out at you (yoursquoll know itwhen it happens) turn the boost back to ldquo0rdquo (12 orsquoclock) Nowput the track back into the mix and cut the frequency Yoursquoll haveto adjust the level of the instrument depending on how much youcut but you should find that with the ldquoproblem areardquo pulled outthe instrument works better in the mix

When recording EQrsquod instruments you want to make sure youhave good representation of frequencies on tape Always moni-tor ldquooffrdquo tape when recording This ensures that what yoursquorehearing is what is on tape When recording things like kickdrums make sure you have enough low end ldquothudrdquo and highend ldquoclickrdquo (if applicable) before you record

Recording guideline You can always boost or cut frequenciesafter theyrsquove been recorded but you canrsquot add frequencies thatwerenrsquotrsquo recorded Always be prepared for the drummer whosays he loves the John Bonham kick drum sound (lots of low endpower and ambience) you got when recording but during themix decides he wants to sound like Metallica (more click thanpunch)

If you get the sounds right when you record the tracks youshouldnrsquot be spending a lot of time re-EQrsquoing during the mixDuring mixing you should be concentrating on the blending oftracks and the dynamics of the song If you find yourself EQrsquoingeverything take a break and come back to it later Start mixingwith a group of instruments (the whole drum kit or guitars andbass) instead of listening to individual tracks Mixing is the timefor tweaking - not applying a sonic re-design

Once again ldquoif it sounds good print itrdquo Trust your ears - never-mind where the knobs are pointingUUnnppaacckkiinnggYour Tube EQ was packed with care at the factory The shipping

6

carton was designed to protect it during initial shipment Pleaseretain this carton for use in transporting the Tube EQ or in theunlikely event that you need to return your Tube EQ for servicing

AACC PPoowweerr HHooookkuuppThe Tube EQ has an internal power supply designed to operateat 100 to 125VAC 50 to 60Hz Units manufactured for use out-side of the United States of America have been modified to com-ply with the required electrical specifications Under no circum-stances should the power cable be altered If the cable becomescut or damaged discontinue its use and have it replaced beforeusing the Tube EQ

AAuuddiioo CCoonnnneeccttiioonnssAudio connections to and from the Tube EQ are balanced XLR(Pin 2 Hot (+) Pin 3 Cold (-) Pin 1 Ground) and unbalanced14rdquo (Tip Hot (+) Sleeve Ground) We recommend using onlyhigh-quality cables equipped with the appropriate connectors

IInnssttaallllaattiioonnThe Tube EQ may be employed in a number of setups including- Between a microphone line preamplifier and a mixer digitalmulti-track recorder DAT machine hard disk recorder or analogrecorder- In a mixerrsquos channel insert points- Between a microphone line preamplifier and signal proces-sors- Between electronic musical instruments (synthesizers guitars bass samplers acoustic instruments with pickups) and other gear

SSAAFFEETTYY PPRREECCAAUUTTIIOONNSSWarning To avoid the risk of shock or fire do not expose thisunit to moisture Do not remove metal panels from chassis partsRemoving the chassis from its cabinet parts exposes dangerous

7

voltages There are no user-serviceable parts inside Refer allservicing to qualified personnel Note If your power cordbecomes damaged and must be replaced always replace it withthe proper type (3 prong)PPOOWWEERRIINNGG UUPPWhen the rear panel power switch is turned on the power indi-cator LED will illuminate It is important to remember to turn theTube EQ on before any monitoring levels or power amps areturned on The Tube EQ has the ability to add gain to its inputsignal This can cause the Tube EQ to produce a ldquothumprdquo onpower up and power down

NNoottee Like all tube-based equipment the Tube EQ needs towarm up before being used Allow one to two minutes for thetubes to reach proper operating temperature before using

It is normal for the Tube EQ to be warm The aluminum chassisis used for heat dissipation It is recommended that the Tube EQbe installed in an area where there is adequate ventilation

If the Tube EQ fails to power up when the power switch is turnedon check to see that its power cord is plugged into an activeoutlet If the unit still fails to operate properly turn it off andunplug it Then consult your dealer or A R Trsquos Customer Servicedepartment

FFRROONNTT PPAANNEELL CCOONNTTRROOLLSS ampamp IINNDDIICCAATTOORRSS

BByyppaassss SSwwiittcchhA Bypass switch is included on the Tube EQ to enable you toremove it from your signal chain When set to its ldquoinrdquo (bypass)

8

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

WWhhyy sshhoouulldd II uussee aa ppaarraammeettrriicc EEQQ iinnsstteeaadd ooff aa ggrraapphhiicc EEQQEvery EQ has its place As a general rule of thumb parametricEQs are used for individual instruments (or tracks) and graphicEQs are used for mixed material and for playback systemsParametric EQs give you more control over a signal -- they canprovide subtle or drastic results because they can be tuned tospecific frequencies Parametric EQs allow you to boost or cutnarrow frequency bands to make individual instruments ldquositrdquo bet-ter with other instruments when combined in a mix This is usual-ly accomplished with one or two bands Graphic EQs are usedmore for the shaping of material They are nearly always used inPA systems because they can adjust the speaker system to fit theneeds of a room while still sounding natural Their application isldquobroaderrdquo than that of a parametric

WWhhaatt iiss tthhee bbeesstt wwaayy ttoo uussee EEQQThere are two schools of thought on EQ 1) Use as much as youneed to make things sound good 2) Donrsquot use any EQ Mostpeople follow the suggestion of ldquoif it sounds good it is goodrdquoYou need to use your ears and judge for yourself as their are nosteadfast rules for EQrsquoing Here are a few pointers to guide you

Always tweak the instrument you are EQrsquoing while listening to itin the mix EQrsquoing an instrument when it is soloed doesnrsquot giveyou a good representation of how it will sound when mixed withother instruments Yoursquod be surprised at how bad a killer guitartrack can sound when it is isolated from the rest of the mixRemember what makes it killer is how it sounds in relation tothe other instruments Keep the big picture in mind

Most people think of EQ as boosting only (ldquowersquoll just add a littleEQrdquo) Many times a ldquobadrdquo sounding instrument can be fixedby simply isolating the bad frequency and pulling it out Afteryou determine approximately where the ldquoproblem areardquo is in theinstrument (highs lows mids) isolate the track and boost one of

5

the mid bands Slowly sweep through the frequency rangeWhen the really nasty sound jumps out at you (yoursquoll know itwhen it happens) turn the boost back to ldquo0rdquo (12 orsquoclock) Nowput the track back into the mix and cut the frequency Yoursquoll haveto adjust the level of the instrument depending on how much youcut but you should find that with the ldquoproblem areardquo pulled outthe instrument works better in the mix

When recording EQrsquod instruments you want to make sure youhave good representation of frequencies on tape Always moni-tor ldquooffrdquo tape when recording This ensures that what yoursquorehearing is what is on tape When recording things like kickdrums make sure you have enough low end ldquothudrdquo and highend ldquoclickrdquo (if applicable) before you record

Recording guideline You can always boost or cut frequenciesafter theyrsquove been recorded but you canrsquot add frequencies thatwerenrsquotrsquo recorded Always be prepared for the drummer whosays he loves the John Bonham kick drum sound (lots of low endpower and ambience) you got when recording but during themix decides he wants to sound like Metallica (more click thanpunch)

If you get the sounds right when you record the tracks youshouldnrsquot be spending a lot of time re-EQrsquoing during the mixDuring mixing you should be concentrating on the blending oftracks and the dynamics of the song If you find yourself EQrsquoingeverything take a break and come back to it later Start mixingwith a group of instruments (the whole drum kit or guitars andbass) instead of listening to individual tracks Mixing is the timefor tweaking - not applying a sonic re-design

Once again ldquoif it sounds good print itrdquo Trust your ears - never-mind where the knobs are pointingUUnnppaacckkiinnggYour Tube EQ was packed with care at the factory The shipping

6

carton was designed to protect it during initial shipment Pleaseretain this carton for use in transporting the Tube EQ or in theunlikely event that you need to return your Tube EQ for servicing

AACC PPoowweerr HHooookkuuppThe Tube EQ has an internal power supply designed to operateat 100 to 125VAC 50 to 60Hz Units manufactured for use out-side of the United States of America have been modified to com-ply with the required electrical specifications Under no circum-stances should the power cable be altered If the cable becomescut or damaged discontinue its use and have it replaced beforeusing the Tube EQ

AAuuddiioo CCoonnnneeccttiioonnssAudio connections to and from the Tube EQ are balanced XLR(Pin 2 Hot (+) Pin 3 Cold (-) Pin 1 Ground) and unbalanced14rdquo (Tip Hot (+) Sleeve Ground) We recommend using onlyhigh-quality cables equipped with the appropriate connectors

IInnssttaallllaattiioonnThe Tube EQ may be employed in a number of setups including- Between a microphone line preamplifier and a mixer digitalmulti-track recorder DAT machine hard disk recorder or analogrecorder- In a mixerrsquos channel insert points- Between a microphone line preamplifier and signal proces-sors- Between electronic musical instruments (synthesizers guitars bass samplers acoustic instruments with pickups) and other gear

SSAAFFEETTYY PPRREECCAAUUTTIIOONNSSWarning To avoid the risk of shock or fire do not expose thisunit to moisture Do not remove metal panels from chassis partsRemoving the chassis from its cabinet parts exposes dangerous

7

voltages There are no user-serviceable parts inside Refer allservicing to qualified personnel Note If your power cordbecomes damaged and must be replaced always replace it withthe proper type (3 prong)PPOOWWEERRIINNGG UUPPWhen the rear panel power switch is turned on the power indi-cator LED will illuminate It is important to remember to turn theTube EQ on before any monitoring levels or power amps areturned on The Tube EQ has the ability to add gain to its inputsignal This can cause the Tube EQ to produce a ldquothumprdquo onpower up and power down

NNoottee Like all tube-based equipment the Tube EQ needs towarm up before being used Allow one to two minutes for thetubes to reach proper operating temperature before using

It is normal for the Tube EQ to be warm The aluminum chassisis used for heat dissipation It is recommended that the Tube EQbe installed in an area where there is adequate ventilation

If the Tube EQ fails to power up when the power switch is turnedon check to see that its power cord is plugged into an activeoutlet If the unit still fails to operate properly turn it off andunplug it Then consult your dealer or A R Trsquos Customer Servicedepartment

FFRROONNTT PPAANNEELL CCOONNTTRROOLLSS ampamp IINNDDIICCAATTOORRSS

BByyppaassss SSwwiittcchhA Bypass switch is included on the Tube EQ to enable you toremove it from your signal chain When set to its ldquoinrdquo (bypass)

8

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

the mid bands Slowly sweep through the frequency rangeWhen the really nasty sound jumps out at you (yoursquoll know itwhen it happens) turn the boost back to ldquo0rdquo (12 orsquoclock) Nowput the track back into the mix and cut the frequency Yoursquoll haveto adjust the level of the instrument depending on how much youcut but you should find that with the ldquoproblem areardquo pulled outthe instrument works better in the mix

When recording EQrsquod instruments you want to make sure youhave good representation of frequencies on tape Always moni-tor ldquooffrdquo tape when recording This ensures that what yoursquorehearing is what is on tape When recording things like kickdrums make sure you have enough low end ldquothudrdquo and highend ldquoclickrdquo (if applicable) before you record

Recording guideline You can always boost or cut frequenciesafter theyrsquove been recorded but you canrsquot add frequencies thatwerenrsquotrsquo recorded Always be prepared for the drummer whosays he loves the John Bonham kick drum sound (lots of low endpower and ambience) you got when recording but during themix decides he wants to sound like Metallica (more click thanpunch)

If you get the sounds right when you record the tracks youshouldnrsquot be spending a lot of time re-EQrsquoing during the mixDuring mixing you should be concentrating on the blending oftracks and the dynamics of the song If you find yourself EQrsquoingeverything take a break and come back to it later Start mixingwith a group of instruments (the whole drum kit or guitars andbass) instead of listening to individual tracks Mixing is the timefor tweaking - not applying a sonic re-design

Once again ldquoif it sounds good print itrdquo Trust your ears - never-mind where the knobs are pointingUUnnppaacckkiinnggYour Tube EQ was packed with care at the factory The shipping

6

carton was designed to protect it during initial shipment Pleaseretain this carton for use in transporting the Tube EQ or in theunlikely event that you need to return your Tube EQ for servicing

AACC PPoowweerr HHooookkuuppThe Tube EQ has an internal power supply designed to operateat 100 to 125VAC 50 to 60Hz Units manufactured for use out-side of the United States of America have been modified to com-ply with the required electrical specifications Under no circum-stances should the power cable be altered If the cable becomescut or damaged discontinue its use and have it replaced beforeusing the Tube EQ

AAuuddiioo CCoonnnneeccttiioonnssAudio connections to and from the Tube EQ are balanced XLR(Pin 2 Hot (+) Pin 3 Cold (-) Pin 1 Ground) and unbalanced14rdquo (Tip Hot (+) Sleeve Ground) We recommend using onlyhigh-quality cables equipped with the appropriate connectors

IInnssttaallllaattiioonnThe Tube EQ may be employed in a number of setups including- Between a microphone line preamplifier and a mixer digitalmulti-track recorder DAT machine hard disk recorder or analogrecorder- In a mixerrsquos channel insert points- Between a microphone line preamplifier and signal proces-sors- Between electronic musical instruments (synthesizers guitars bass samplers acoustic instruments with pickups) and other gear

SSAAFFEETTYY PPRREECCAAUUTTIIOONNSSWarning To avoid the risk of shock or fire do not expose thisunit to moisture Do not remove metal panels from chassis partsRemoving the chassis from its cabinet parts exposes dangerous

7

voltages There are no user-serviceable parts inside Refer allservicing to qualified personnel Note If your power cordbecomes damaged and must be replaced always replace it withthe proper type (3 prong)PPOOWWEERRIINNGG UUPPWhen the rear panel power switch is turned on the power indi-cator LED will illuminate It is important to remember to turn theTube EQ on before any monitoring levels or power amps areturned on The Tube EQ has the ability to add gain to its inputsignal This can cause the Tube EQ to produce a ldquothumprdquo onpower up and power down

NNoottee Like all tube-based equipment the Tube EQ needs towarm up before being used Allow one to two minutes for thetubes to reach proper operating temperature before using

It is normal for the Tube EQ to be warm The aluminum chassisis used for heat dissipation It is recommended that the Tube EQbe installed in an area where there is adequate ventilation

If the Tube EQ fails to power up when the power switch is turnedon check to see that its power cord is plugged into an activeoutlet If the unit still fails to operate properly turn it off andunplug it Then consult your dealer or A R Trsquos Customer Servicedepartment

FFRROONNTT PPAANNEELL CCOONNTTRROOLLSS ampamp IINNDDIICCAATTOORRSS

BByyppaassss SSwwiittcchhA Bypass switch is included on the Tube EQ to enable you toremove it from your signal chain When set to its ldquoinrdquo (bypass)

8

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

carton was designed to protect it during initial shipment Pleaseretain this carton for use in transporting the Tube EQ or in theunlikely event that you need to return your Tube EQ for servicing

AACC PPoowweerr HHooookkuuppThe Tube EQ has an internal power supply designed to operateat 100 to 125VAC 50 to 60Hz Units manufactured for use out-side of the United States of America have been modified to com-ply with the required electrical specifications Under no circum-stances should the power cable be altered If the cable becomescut or damaged discontinue its use and have it replaced beforeusing the Tube EQ

AAuuddiioo CCoonnnneeccttiioonnssAudio connections to and from the Tube EQ are balanced XLR(Pin 2 Hot (+) Pin 3 Cold (-) Pin 1 Ground) and unbalanced14rdquo (Tip Hot (+) Sleeve Ground) We recommend using onlyhigh-quality cables equipped with the appropriate connectors

IInnssttaallllaattiioonnThe Tube EQ may be employed in a number of setups including- Between a microphone line preamplifier and a mixer digitalmulti-track recorder DAT machine hard disk recorder or analogrecorder- In a mixerrsquos channel insert points- Between a microphone line preamplifier and signal proces-sors- Between electronic musical instruments (synthesizers guitars bass samplers acoustic instruments with pickups) and other gear

SSAAFFEETTYY PPRREECCAAUUTTIIOONNSSWarning To avoid the risk of shock or fire do not expose thisunit to moisture Do not remove metal panels from chassis partsRemoving the chassis from its cabinet parts exposes dangerous

7

voltages There are no user-serviceable parts inside Refer allservicing to qualified personnel Note If your power cordbecomes damaged and must be replaced always replace it withthe proper type (3 prong)PPOOWWEERRIINNGG UUPPWhen the rear panel power switch is turned on the power indi-cator LED will illuminate It is important to remember to turn theTube EQ on before any monitoring levels or power amps areturned on The Tube EQ has the ability to add gain to its inputsignal This can cause the Tube EQ to produce a ldquothumprdquo onpower up and power down

NNoottee Like all tube-based equipment the Tube EQ needs towarm up before being used Allow one to two minutes for thetubes to reach proper operating temperature before using

It is normal for the Tube EQ to be warm The aluminum chassisis used for heat dissipation It is recommended that the Tube EQbe installed in an area where there is adequate ventilation

If the Tube EQ fails to power up when the power switch is turnedon check to see that its power cord is plugged into an activeoutlet If the unit still fails to operate properly turn it off andunplug it Then consult your dealer or A R Trsquos Customer Servicedepartment

FFRROONNTT PPAANNEELL CCOONNTTRROOLLSS ampamp IINNDDIICCAATTOORRSS

BByyppaassss SSwwiittcchhA Bypass switch is included on the Tube EQ to enable you toremove it from your signal chain When set to its ldquoinrdquo (bypass)

8

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

voltages There are no user-serviceable parts inside Refer allservicing to qualified personnel Note If your power cordbecomes damaged and must be replaced always replace it withthe proper type (3 prong)PPOOWWEERRIINNGG UUPPWhen the rear panel power switch is turned on the power indi-cator LED will illuminate It is important to remember to turn theTube EQ on before any monitoring levels or power amps areturned on The Tube EQ has the ability to add gain to its inputsignal This can cause the Tube EQ to produce a ldquothumprdquo onpower up and power down

NNoottee Like all tube-based equipment the Tube EQ needs towarm up before being used Allow one to two minutes for thetubes to reach proper operating temperature before using

It is normal for the Tube EQ to be warm The aluminum chassisis used for heat dissipation It is recommended that the Tube EQbe installed in an area where there is adequate ventilation

If the Tube EQ fails to power up when the power switch is turnedon check to see that its power cord is plugged into an activeoutlet If the unit still fails to operate properly turn it off andunplug it Then consult your dealer or A R Trsquos Customer Servicedepartment

FFRROONNTT PPAANNEELL CCOONNTTRROOLLSS ampamp IINNDDIICCAATTOORRSS

BByyppaassss SSwwiittcchhA Bypass switch is included on the Tube EQ to enable you toremove it from your signal chain When set to its ldquoinrdquo (bypass)

8

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

position signal is allowed to pass from the input to the outputwith no equalization The green power LED will glow red whenBypass is engaged In its ldquooutrdquo position the EQ is active Use theBypass switch when setting the Tube EQrsquos input and output levelsto achieve unity (no boost or cut) gain Unity gain is achievedwhen the active level is the same as the bypassed level

GGaaiinn CCoonnttrroollThe Gain control sets the amount of input gain to the Tube EQTurn the control clockwise to increase gain and counterclockwiseto decrease it To maximize your signal to noise ratio it is impor-tant to start with a unity gain setting (meaning that the level intothe Tube EQ is the same as the level out of the Tube EQ) Withthe output level at its ldquo0rdquo position adjust the input gain until thelevel is the same when the Tube EQ is bypassed and active

CClliipp IInnddiiccaattoorrThe Clip indicator will illuminate just before any gain stage ofthe Tube EQ reaches audible distortion Typically this will indicateclipping at the input stage (which is corrected by turning downthe input gain control) However it will also indicate any distor-tion caused by excessive EQrsquoing In other words if turning downthe input gain control doesnrsquot make the clip indicator turn offcheck the frequency bands for excessive boost

OOuuttppuutt LLeevveell CCoonnttrroollThe Output Level control sets the output level of the Tube EQThe output level is a gain stage intended to compensate for aboost or cut in level from the applied EQ When the control isfully counterclockwise there is no output Turning the controlclockwise increases the level of the output to a maximum of+10dB of gain To achieve unity gain (meaning the level into theTube EQ is the same as the level out of the Tube EQ) the outputlevel should be adjusted after setting the EQ bands so that thebypass level is the same as the active level If you are boostingEQ bands (adding gain) yoursquoll have to turn down the output

9

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

level control If you are cutting EQ bands (decreasing gain)yoursquoll have to turn up the output level control

NNoottee Using the Tube EQ for adding gain will not damage theunit The only thing that will suffer will be the signal to noiseratio (meaning that if you use the Tube EQ as a distortion box itwill probably be noisy) However use caution and observe theinput levels of the equipment that the Tube EQ is plugged into tobe sure you are not overdriving it

IInnssttrruummeennttss aanndd tthhee AAuuddiioo SSppeeccttrruummThe following chart gives you an idea of where certain instru-ments lie in the audio spectrum If an instrument isnrsquot listed usethe one which most closely resembles it The descriptions in quo-tations are references for you to experiment with For example ifyou have a kick drum with no ldquoclickrdquo from the beater try boost-ing around 2 - 25KHz Since every instrument microphone androom is different these are only approximations but should giveyou a good place to start

LLooww FFrreeqquueennccyy CCoonnttrroollThe Low Frequency control adjusts a shelving filter with a selec-table corner frequency of either 40Hz or 120Hz The low shelv-ing filter designed into the Tube EQ affects all frequencies below

10

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

the corner frequency when applying boost or cut In other wordscutting at 40Hz also cuts 30Hz 20Hz etc The Low Frequencycontrol has as range of +- 12dB Two ranges are selected withthe Low Shift Switch 40Hz or 120Hz 40Hz is great for enhanc-ing sub-low frequencies such as those in bass guitars and kickdrums Cutting 40Hz can also help to ldquoclean uprdquo mixes thatsound muddy or ldquolooserdquo in the low end 120Hz is generally thelow-end for vocals guitars and toms Boosting 120Hz can addldquoweightrdquo or ldquobeefrdquo to a week vocal and cutting it can ldquothin outrdquoa signal that takes up too much room in the low end

LLooww SShhiifftt SSwwiittcchhThe Low Shift switch selects the corner frequency of the LowFrequency control In the ldquooutrdquo position the corner is 40Hz Inthe ldquoinrdquo position the corner is 120Hz

LLoo--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Lo-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Lo-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 20Hz to 200Hz and 200Hz to 2KHz

LLoo--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Lo-Mid Shift x 10 switch determines the range over whichthe Lo-Mid frequency control will cover In its ldquooutrdquo position therange is set at 20Hz to 200Hz In its ldquoinrdquo position the range isset at 200Hz to 2KHz

NNoottee Yoursquoll notice the Low Frequency and Lo-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility

11

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

HHii--MMiidd FFrreeqquueennccyy CCoonnttrroollThe Hi-Mid control is a dual concentric pot (meaning there aretwo controls - one outer and one inner) The outer control isused to select a frequency while the inner control is used toapply +-12dB of gain The Hi-Mid control can cover two fre-quency ranges depending on the position of the Shift x 10switch These ranges are 200Hz to 2KHz and 2KHz to 20KHz

HHii--MMiidd SShhiifftt xx 1100 SSwwiittcchhThe Hi-Mid Shift x 10 switch determines the range over which theHi-Mid Frequency control will cover In its ldquooutrdquo position therange is set at 200Hz to 2KHz In its ldquoinrdquo position the range isset at 2KHz to 20KHz

NNoottee Yoursquoll notice the Lo-Mid and Hi-Mid Frequency controlsoverlap (meaning they cover the same frequencies) in the 200Hzto 2KHz range This is intentional and is another of the powerfulfeatures of the Tube EQ This feature allows either or both con-trols to be used in this range This is extremely useful if you wantto cut at 200Hz and boost at 350Hz

HHiigghh FFrreeqquueennccyy CCoonnttrroollThe High Frequency control adjusts a shelving filter with a selec-table corner frequency of either 6KHz or 18KHz The high shelv-ing filter designed into the Tube EQ affects all frequencies abovethe corner frequency when applying boost or cut In other wordscutting at 6KHz also cuts 7KHz 8KHz etc The High Frequencycontrol has as range of +- 12dB The two ranges are selectedwith the High Shift switch 6KHz is great for adding top end toguitars snare drums and vocals Cutting 6KHz can also help toldquotake the edge offrdquo brittle or harsh sounding instruments 18KHzmay be used to add ldquosizzlerdquo to cymbals and is generally referred

12

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

to as the ldquoairrdquo band While there arenrsquot very many instrumentsthat contain 18KHz information directly many instruments andmixes contain upper harmonics which can add extra definitionand ldquospacerdquo when boosted Cutting at 18KHz can decrease hissand noise

HHiigghh SShhiifftt SSwwiittcchhThe High Shift switch selects the corner frequency of the HighFrequency control In the ldquooutrdquo position the corner is 18KHz Inthe ldquoinrdquo position the corner is 6KHz

NNoottee Yoursquoll notice the High Frequency and Hi-Mid Frequencycontrols overlap (meaning they cover the same frequencies) Thisis intentional and is one of the powerful features of the Tube EQThis feature allows you the ultimate in flexibility For example oncymbals try boosting 18KHz with the High control while cutting20KHz with the Hi-Mid control for a very bright yet noise freeresult

RREEAARR PPAANNEELL CCOONNNNEECCTTIIOONNSS

PPoowweerrThe Power switch applies and removes power from the unit TheTube EQ should be turned ldquoonrdquo only when all monitor levels areturned down or off to protect against any ldquothumpingrdquo causedby high gain settings Likewise the Tube EQ should be turnedldquooffrdquo after turning all monitor levels down

IInnppuutt aanndd OOuuttppuutt CCoonnnneeccttiioonnssThe Tube EQrsquos XLR connectors follow the AES standard Pin 1 = Ground Pin 2 = Hot (+) Pin 3 = Cold (-) The unbal-anced 14rdquo phone jacks are typical Tip = Hot (+) Sleeve =Grd

13

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

IInnppuuttOne input jack per channel should be used at a time Becauseof its design the Tube EQ can be hard-wired without having todisconnect the XLR inputs when using the 14rdquo jacks In this caseif no load is placed on the XLR input (no instrument or line-levelsource connected) the 14rdquo jack will function as if there wasnothing connected to the XLR input However the inverse is NOTtrue If you are using the XLR input you should not have any-thing plugged into the 14rdquo jack

OOuuttppuuttBoth balanced and unbalanced output connections may be usedsimultaneously However when using the Tube EQ to convert anunbalanced signal to a balanced signal (and vise-versa) you willexperience a level difference between the input and output sig-nals This isnrsquot a big deal as you can compensate with the Inputand Output Level controls but the front panel ldquo0rdquo indicators willnot be accurate unless using common connectors (both XLRs orboth 14)

NNoottee If you experience a hum when using both output connec-tors simultaneously (one to the console and one to an instrumentamp) a ground loop may be the problem To remedy this prob-lem disconnect the ground wire (pin 1) from the XLR cableplugged into the Tube EQrsquos output (or use a ground-lifted audiocable) This interrupts the ground path and therefore breaks theloop

TTuubbee RReeppllaacceemmeennttThe tube in your Tube EQ should last for many years The tubesused in your unit are hand-sorted for performance In the eventthat you need to replace them A R T suggests that you do sowith tubes available from A R T These are matched to the TubeEQ and will yield consistent sonic results Yoursquoll find these tubesto be very reasonably priced You can replace the tubes withother brands however A R T has no responsibility for the result-

14

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

ing sound quality They may sound better they may soundworse The choice is yours Please realize that unauthorizedalterations to the Tube EQ will void the warranty

AAPPPPLLIICCAATTIIOONNSSThe Tube EQ is intended for use with line level sources Theproper placement of the Tube EQ in a signal chain is after amicline preamplifier after a direct output or bus output from aconsole after the output of a tape deck or in the insert point ofa mixer

The Tube EQ has gain and it is possible to plug an instrumentdirectly into it However the Tube EQ does not have enoughgain to plug a microphone into it

15

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

AA RR TT TTuubbee EEQQ SSppeecciiffiiccaattiioonnssDimensions 525D x 85W x 165HWeight 50 lbsFrequency Bands

Low Shelf 40Hz120Hz SelectableLow-Mid Sweepable 20Hz to 200Hz 200Hz to 2KHzHigh-Mid Sweepable 200Hz to 2KHz 2KHz to 20KHzHigh Shelf 6KHz18KHz Selectable

GainFrequency Band +- 12dBDynamic Range gt90dB (no weighting)Input Impedance 20k ohms (XLR) 1M Ohm (14rdquo)Output Impedance 600 ohms (XLR) 300 Ohms (14rdquo)Maximum Input Level +20dBu (XLR)Maximum Output Level +27dBu (XLR) +22dBu (14rdquo)Total Harmonic Distortion (THD) lt01Tube Hand Selected 12AX7aPower Requirements 100-125 VAC 9W Export units

configured for country of desti-nation

A R T retains a policy of constant product improvement A R T reserves the rightto make changes in design or make additions to or improvements upon thisproduct without any obligation to install the same on products previously manu-factured In other words specifications are subject to change without notice

Designed and manufactured in the United States of America

Applied Research and Technology Inc (716) 436-2720 (Phone)215 Tremont Street (716) 436-3942 (FAX)Rochester NY 14608 USA

WWEErsquorsquoRREE OONN--LLIINNEEFor Product information questions applications tips answers and general dis-cussion with A R T employees look for A R T on the Internet

CChheecckk oouutt oouurr WWeebb PPaaggee aatt hhttttppwwwwwwaarrttrroocchhccoomm

Look for the A R T discussion area in Craig Andertonrsquos Stage Studio and Sound(httpwww 3daudioinccom) under the Manufacturer Supported Forums Emailus at artrochaolcom

16

Look for the A R T supported area in the MIDI Forum B area on CompuServe(Go MIDI) CompuServe address 767023700 Email us at artrochciscom-puservecom

WWAARRRRAANNTTYY AANNDD SSEERRVVIICCEE IINNFFOORRMMAATTIIOONNLLiimmiitteedd WWaarrrraannttyyWarranty service for this unit will be provided by AppliedResearch and Technology Inc in accordance with the followingwarranty statement

Applied Research and Technology Inc (A R T) warrants to theoriginal purchaser that this product is free from defects in work-manship and materials for a period of oonnee yyeeaarr from the date ofpurchase A R T will without charge repair or replace at itsoption defective product or component parts upon prepaiddelivery to the factory service department or an authorized ser-vice center accompanied by proof of purchase date in the formof a valid sales receipt

EXCLUSIONS This warranty does not apply in the event of mis-use or abuse of the product or as a result of unauthorized alter-ations or repairs This warranty is void if the serial number isaltered defaced or removedA R T reserves the right to make changes in design and makeadditions or improvements upon this product without any obliga-tion to install the same on products previously manufactured

A R T should not be liable for any consequential damagesincluding without limitation damages resulting from the loss ofuse Some states do not allow limitation of incidental or conse-quential damages so the above limitation or exclusion may notapply to you This warranty gives you specific rights and you mayalso have other rights which vary from state to state

For products purchased outside the United States service will beprovided by an authorized distributor of Applied Research andTechnology Inc products

17

SSEERRVVIICCEEThe following information is provided in the unlikely event thatyour unit requires service Use this procedure to return units inthe United States only For service outside the United Statesplease contact your authorized A R T distributor

1) Be sure the unit is the cause of the problem Check to makesure the unit has power supplied all cables are connected cor-rectly and the cables themselves are in working condition

2) If you find the unit to be at fault write down a description ofthe problem including how and when the problem occurs

3) Call the factory for a Return Authorization (RA) number

4) Pack the unit in its original carton or reasonable substituteThe packing box is not recommended for a shipping carton Putthe packaged unit in another box for shipping Print the RA num-ber clearly under the address

5) Include with your unit a return shipping address (we cannotship to a PO Box) a copy of your purchase receipt a daytimephone number and the description of the problem

6) Ship the unit to AApppplliieedd RReesseeaarrcchh aanndd TTeecchhnnoollooggyy IInncc215 Tremont StreetRochester NY 14608Atten Repair DepartmentRA _______________

7) Contact our Customer Service department at (716) 436-2720for your Return Authorization number or questions regardingyour repair Customer Service hours are Monday through Friday900AM to 500PM Eastern timecopy1998 Applied Research and Technology Inc

18