Tubo EQP-WA Ampequalizzatore di programma lificato

EQP-WA
TUBE AMPEQUALIZZATORE DI PROGRAMMI LIFIED
Manuale d'istruzioni
AUDIO CALDO EQP WA Tubo Amplified Program Equalizer - HISTORY

GRAZIE!
Thank you for purchasing the Warm Audio EQP-WA mono program equalizer. We feel this product offers the best in terms of the sound, function, and vibe of classic premium equalizers from the analog era of recording. We cut no corners when it comes to what goes into our products, and the EQP-WA is no exception. We’ve chosen the highest quality input and output transformers, and inductors by Cinemag Transformers. The EQP-WA features selected high-quality vacuum tubes, potentiometers, switches, and rugged construction. We are confident you will love recording with the EQP-WA.

BENTORNATI NEL MONDO DELL'ANALOG
Sebbene la tecnologia digitale e il software abbiano fatto grandi passi avanti nelle loro prestazioni negli ultimi anni; sentiamo ancora che nulla è paragonabile al livello di articolazione, profondità, realismo e reattività di un dispositivo analogico ben costruito. Quando senti la presenza di fascia bassa e i dettagli di fascia alta di apparecchiature analogiche di qualità, la differenza può essere sbalorditiva. Il costo della maggior parte delle apparecchiature analogiche boutique è finanziariamente fuori portata per molti artisti della registrazione. La nostra missione è cambiare questo e introdurre quante più persone possibile alla registrazione e al missaggio con hardware reale e dedicato. Se questo è il primo equipaggiamento fuoribordo che hai mai acquistato al di fuori di un'interfaccia di registrazione, o semplicemente il primo da molto tempo; ti ringraziamo e ti diamo il benvenuto di nuovo nel mondo dell'analogico.
Bryce Young
Presidente
Audio caldo
Austin, Texas, Stati Uniti
REGISTER YOUR EQP-WA
Prima di iniziare, prenditi il ​​tempo per visitare www.warmaudio.com per registrare il tuo prodotto. Per assicurarti di ricevere un'assistenza in garanzia adeguata e ininterrotta per il tuo prodotto, registra la tua unità entro 14 giorni dall'acquisto.

DICHIARAZIONE DI GARANZIA

Warm Audio warranties this product to be free from defects in materials and workmanship for one year from the date of purchase, for the original purchaser to whom this equipment is registered.

This warranty is non-transferable.
Questa garanzia è nulla in caso di danni causati da assistenza non autorizzata a questa unità o da modifiche elettriche o meccaniche a questa unità. Questa garanzia non copre i danni derivanti da abuso, danno accidentale, uso improprio, condizioni elettriche improprie come cablaggio errato, vol.tageo frequenza, alimentazione instabile, disconnessione dalla messa a terra (per prodotti che richiedono un cavo di alimentazione a 3 pin con messa a terra) o dall'esposizione a condizioni ambientali ostili come umidità, umidità, fumo, fuoco, sabbia o altri detriti e temperature estreme.

Warm Audio, a sua esclusiva discrezione, riparerà o sostituirà questo prodotto in modo tempestivo. Questa garanzia limitata si estende solo ai prodotti giudicati difettosi e non copre i costi accessori come il noleggio dell'attrezzatura, la perdita di entrate, ecc. Visitateci all'indirizzo www.warmaudio.com per ulteriori informazioni sulla garanzia o per richiedere assistenza in garanzia.

This warranty applies to products sold in the United States of America. For warranty information in any other country, please refer to your local Warm Audio distributor. This warranty provides specific legal rights, which may vary from state to state. Depending on the state in which you live, you may have rights in addition to those covered in this
statement. Please refer to your state laws or see your local Warm Audio retailer for more information.

SERVIZIO NON IN GARANZIA

Se hai un'unità difettosa che è al di fuori del nostro periodo o condizioni di garanzia; siamo ancora qui per te e possiamo far funzionare di nuovo la tua unità a un modesto costo di servizio. Per favore, vieni a trovarci su www.warmaudio.com per contattarci sull'impostazione di una riparazione o per ulteriori informazioni.

Con la cura adeguata, la tua attrezzatura Warm Audio dovrebbe durare una vita e offrire una vita di divertimento. Crediamo che la migliore pubblicità che possiamo avere sia un'unità correttamente funzionante che viene messa a frutto. Lavoriamo insieme per realizzarlo.

ORA INIZIAMO!

COMANDI HARDWARE — PANNELLO FRONTALE

Interruttore di bypass
Located on the bottom left-hand side of the faceplate is the bypass toggle switch. This switch engages or disengages the equalizer section of the EQP-WA. By design, it is not a  true bypass; but merely takes the EQ circuitry out of the audio path. More on this is discussed later in the manual.

Power Switch and indicator bulb
Located on the bottom right-hand side of the faceplate is the main power toggle switch. This turns the unit on, and power will be indicated by the adjacent power indicator
lampadina.

Boost and Cut – Low Frequency’ selector
The rotary switch selects a frequency in the low to lower midrange bands for boost, cut, or even simultaneous boost and cut to create a desired texture effect to the selected band.

LOW-FREQUENCY CONTROL

‘Boost’ (low frequency)
Controls the amount of gain applied to the band selected by the low-frequency selector with a range from zero (unity gain) to +12dB.

‘Cut’ (low frequency)
Controls the amount of attenuation applied to the band selected by the low-frequency selector, with a range from zero (unity gain) to -18dB.AUDIO CALDO EQP WA Tubo Amplified Program Equalizer - frequency

HIGH-FREQUENCY CONTROL

Larghezza di banda
The bandwidth knob varies the width of the high-frequency boost and cut controls from a relatively sharp Q (affecting the least surrounding frequencies) to a somewhat broader Q (affecting a larger area of bandwidth). A sharp Q is considered useful for more surgical work, such as boosting or cutting a specific overhead piece or octave of an instrument; while a broader Q is more natural and musical, for gentler tone shaping of instruments or program material.

Boost knob
The boost knob controls the amount of boost applied by the high-frequency boost selector, from zero (unity gain) to +18dB.

Boost High-Frequency Selector
This rotary switch selects the high frequency to be boosted by the boost knob.

Cut knob
This knob controls the amount of attenuation applied by the high-frequency cut selector, from zero (unity gain) to -14dB.

Cut High-Frequency Selector:
This rotary switch selects the high frequency to be attenuated by the cut knob.AUDIO CALDO EQP WA Tubo Amplified Program Equalizer - Selector

HARDWARE CONTROLS — REAR PANEL

Energia
The EQP-WA requires a 3-pin, grounded IEC cord, and should ship with the power cord appropriate for the territory in which it is sold. Voltage is selectable between 115v and  230v operation, from the rear voltage selector switch. Power input is via a standard fused IEC power receptacle with built-in fuse access, chassis mounted on the rear of the unit. Power is turned on and off via the toggle switch labeled ‘ON/OFF on the right side of the unit’s front panel.

Connessioni Audio
The EQP-WA has both XLR and ¼ inch TRS balanced inputs and outputs, rear chassis-mounted, operating at line level. Unbalanced connection is also possible via a ¼ inch TS  cable. It is not advised to connect both input connectors or both output connectors at once.AUDIO CALDO EQP WA Tubo Amplified Program Equalizer - Connections

Tube Gain Adjust
Located next to the output section, this control provides for approximately 6db of adjustable gain in the tube makeup amplifier, generally between -3 and +3dB. This will allow users to match two units for stereo use with either a test tone or source material, or to match one or two units for unity gain within a particular setup. At fully clockwise (when facing the rear of the unit), the control is essentially bypassed and the EQ has its original default level. At fully counterclockwise, the EQ will be at full attenuation.

Aside from its technical purpose, this feature allows for some additional creative use. For instance, hotter bus material can benefit from the slightly improved headroom and transparency of pulling down the tube gain lower. Conversely, solo instruments and vocals (acoustic guitar or female vocal, for example) può trarre vantaggio dalla maggiore rotondità e circonferenza del tubo di avere il guadagno del tubo sollevato più in alto. Come per qualsiasi cosa, lascia che le tue orecchie siano il giudice finale di come utilizzare questa funzione.

SPECIFICHE TECNICHE

  • Tube Equalizer based on the classic “Pultec” EQP-1A
  • CineMag USA transformers
  • Premium high voltage 12AX7 and 12AU7 tubes
  • CineMag USA inductor EQ section
  • EQ section is bypassable – signal still passes through tubes and transformers for the warming effect
  • No insertion loss – loss restored by tube amppiù vivace
  • XLR and TRS transformer balanced inputs
  • XLR and TRS transformer balanced outputs
  • Flat frequency response from 20 Hz – 50 kHz
  • Boost and Cut controls can be used simultaneously for phase effect
  • Low frequency boost – 20, 30, 60, 100, 200, 400, 800 Hz – 12 db
  • Low frequency cut – 20, 30, 60, 100, 200, 400, 800 Hz – 18 db
  • High frequency boost – 3, 4, 5, 8, 10, 12, 16 kHz – 18 db
  • High frequency cut – 3, 4, 5, 10, 20 kHz – 14 db
  • 5 added frequency points for greater flexibility
  • Switchable 115/230 volt IEC power inlet
  • Dimensions: 19 x 3.5 x 6 inches – 2RU rack-mountable

UN PO 'DI STORIA

AUDIO CALDO EQP WA Tubo Ampequalizzatore di programma lificato

Most early recording consoles had very primitive equalization capabilities, often consisting of only two knobs. These consisted of either a simple ‘tone control’ type shelving equalizer, or a ‘low’ and ‘hi’ control knob with a fixed frequency center. One of the most significant advancements in early studio recording came with the advent of dedicated equalizers. The invention of dedicated equalizers inspired desk manufacturers to start putting more comprehensive equalization into their desks. This addition, more than any other, brought about what we would consider the modern recording desk.

Molti dei primi equalizzatori fuoribordo erano dispositivi passivi, che operavano in modo puramente sottrattivo, richiedendo un preamplifier (either in the form of outboard gear or routed back into an unoccupied channel of the console). Not only did the equalizer lose the signal level by performing equalization; but often caused ‘loading loss’ merely by being patched in, resulting in added noise, hum or buzz, and loss of tone or high frequencies. By the time an equalized signal was preamplified again and passed through additional console circuitry, the signal-to-noise ratio was often worse off. This made EQ difficult to use without negatively affecting the signal quality.

What followed next was the innovation that brought the use of EQ into the mainstream, known as active equalization.
‘Active equalization’ allowed an EQ to be patched into a mixing desk for the first time without the fear of ‘insertion loss’, added noise, or loss of fidelity. Finally, EQ could be performed risk-free. Most analog equalizers manufactured today use some form of solid-state electronics to apply their boosts or makeup gain. The earliest incarnations of these equalizers, however, used vacuum tubes, along with large input and output transformers, as required by most high voltage tube circuits. This type of design imparts a  ‘sweet’ character that many modern designs fail to reproduce. Though many modern EQs have a generous amount of features, few offer the warmth and richness, or the natural and forgiving qualities of the classic designs.

In the early days of recording, distance mic recording was more common than the close-mic technique.
Large rooms tend to ‘even out’ a sound stage, eliminating the need for much of the corrective EQ used in modern production. As close mic recording became the accepted norm for superior track isolation, the need for equalization became much more apparent to recording engineers. Early studios began to utilize what many termed the ‘Tamla/ Motown’ technique (named after the famous record label and studio), whereby an instrument or voice is ‘manipulated’ to some degree via equalization in order to sit well within the context of a mix. Today, this is a nearly inseparable part of the art and science of modern music production.

FILOSOFICA DELLA CERA

QUANDO EQ?

Questa è una domanda che merita riflessione. In alcuni casi, l'equalizzazione può essere intuitiva. Uno dei più semplici examples of corrective EQ would be in treating the human voice; adding top end to a vocal that needs articulation, or adding bottom end to a vocal that appears thin. In all cases, one should listen thoughtfully and let the material tell you what it needs.  Ultimately, one should EQ when a signal requires help to fit naturally and compliment a mix.

Most musicians and artists would say they want their voice or instrument to sound as natural as possible; however, there are many acoustic factors that can affect one’s perception of how an event sounds. What most artists and engineers desire is for an instrument to sound natural or, in an idealized way, closer to the artist’s intention. Most artists expect their recorded material to perform well in the context of a mix without covering other performers or getting covered up. Using an outboard equalizer should typically be viewed è un modo tanto per apportare modifiche correttive quanto per apportare modifiche creative. La ragione di ciò è che la posizione del microfono, l'acustica della stanza, le impostazioni dello strumento o ampe tutta una serie di altre variabili applicano sempre il proprio tipo unico di equalizzazione a un segnale, alcune delle quali potrebbero essere al di fuori del tuo controllo e indesiderabili.

As a general rule, one should do most EQ after applying compression; though there are exceptions, such as taming a problem frequency in advance of a compressor to allow the compressor to respond more naturally. In this situation, one might consider subtractive EQ prior to compression, and additive EQ post-compression. The most notable exception to this rule is in stereo mastering, where EQ should precede final compression and limit, to prevent any chance of peak overages.

CONSIGLI PER L'UTILIZZO DELL'EQP-WA

The EQP-WA is a program equalizer by design, which means, though quite capable on individual instruments, it especially shines on complex, full bandwidth material; i.e. complete mixes or instrument groups. It is especially good with providing a final tone balance and adjusting the relationship of the midrange to the low and high-frequency bands in the finished material. As with all equalization, listen for what the source material calls for, and reference back to the original (unaltered) source often to maintain perspective.

SCHEMI DI COLLEGAMENTO

AUDIO CALDO EQP WA Tubo Amplified Program Equalizer - HOOKUP

In questo example, un microfono sta alimentando un preamplifier, which feeds into the EQP-WA via a balanced XLR patch cable, which feeds in the LINE LEVEL input of your
recording interface/recorder.

Nota: it is important to use a line-level input on your recording device as opposed to a microphone or instrument-level input.

SCHEMI DI COLLEGAMENTO

AUDIO CALDO EQP WA Tubo Amplified Program Equalizer - HOOKUP DIAGRAMS

In questo example, the EQP-WA is being routed as an insert into a recording device. This is useful for using the EQP-WA as an “analog plug-in” or insert for mix-down. The recording device is feeding the EQP-WA with a balanced 1/4” cable via a line output.
Then, the recording device is capturing the EQP-WA via a LINE LEVEL input.

RICHIAMO FOGLI

© 2017 Warm Audio LLC.
Austin, Texas USA | www.warmaudio.com

Documenti/Risorse

AUDIO CALDO EQP-WA Tubo Ampequalizzatore di programma lificato [pdf] Manuale di istruzioni
Tubo EQP-WA AmpEqualizzatore programma lified, EQP-WA, Tube Ampequalizzatore di programma lificato

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