ArtメーカーDUAL TUBE EQの使用説明書/サービス説明書
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DU AL TUBE EQ PROFESSIONAL TWO CHANNEL TUBE P ARAMETRIC EQUALIZER U U S S E E R R ’ ’ S S G G U U I I D D E E.
T able of Contents Introduction 2 Features 2 Registration 2 Overview 3 EQ T ips 3-5 Unpacking 5 AC Power Hookup 6 Audio Connections 6 Installation 6 Safety Precautions 6 Powering Up 6 Front Panel Cont.
Introduction Thank you for purchasing Applied Research and T echnology’s Dual T ube EQ. The Dual Tube EQ may be used anywhere you need equalization or frequency adjustments. Offering a superb level of sound quality , the Dual T ube EQ will enhance the sonic textures of your studio or audio system for years to come.
Fill in the following for your future reference: Date of purchase: ___________________ Purchased From: ____________________ Serial Number: 258-________ Overview Great recordings and great mixes are made from great sounds.
track during mixing, the Dual T ube EQ is a better sounding and more flexible equalizer . It all comes down to economics: Mixer manufacturers need to make trade-offs to keep prices down while keeping performance up.
of the mid bands. Slowly sweep through the frequency range. When the really nasty sound jumps out at you (you’ll know it when it happens) turn the boost back to “0” (12 o’clock).
AC Power Hookup The Dual T ube EQ has an internal power supply designed to operate at 100 to 125V AC, 50 to 60Hz. Units manufactured for use outside of the United States of America have been modified to comply with the required electrical specifications.
power down. Note: Like all tube-based equipment, the Dual T ube EQ needs to warm up before being used. Allow one to two minutes for the tubes to reach proper operating voltage before using. It is normal for the T ube EQ to be warm. The aluminum chassis is used for heat dissipation.
Low Frequency Control The Low Frequency control adjusts a shelving filter with a selectable corner frequency of either 40Hz or 120Hz. The low shelving filter designed into the T ube EQ affects all frequencies below the corner frequency when applying boost or cut.
Hi-Mid Frequency Control The Hi-Mid control is a dual concentric pot (meaning there are two controls - one outer and one inner). The outer control is used to select a frequency while the inner control is used to apply +/-12dB of gain. The Hi-Mid control can cover two fre- quency ranges depending on the position of the Shift x 10 switch.
Note: Y ou’ll notice the High Frequency and Hi-Mid Frequency controls overlap (meaning they cover the same frequencies). This is intentional and is one of the powerful features of the T ube EQ.
switch is depressed the LED will glow red and all eight-bands of the Dual T ube EQ are active for the signal connected to chan- nel One’s input and output jacks (labeled channel 1/MONO on the rear panel). When this mode is used, the input and output level controls for channel two do not affect channel one.
used simultaneously . However , when using the Dual T ube EQ to convert an unbalanced signal to a balanced signal (and vise- versa) you will experience a level difference between the input and output signals.
should give you a good place to start. APPLICA TIONS The T ube EQ is intended for use with line level sources. The proper placement of the Dual T ube EQ in a signal chain is: after a mic/line preamplifier , after a direct output or bus output from a console, after the output of a tape deck, or in the insert point of a mixer .
1 1 4 4 A R T Dual T ube EQ Specifications Dimensions: 5.25"D x 19"W x 1.75"H Weight: 7.0 lbs Frequency Bands: Low Shelf: 40Hz/120Hz Selectable Low-Mid Sweepable: 20Hz to 200Hz/ 200Hz t.
W ARRANTY AND SERVICE INFORMA TION Limited W arranty W arranty service for this unit will be provided by Applied Research and T echnology , Inc. in accordance with the following warranty statement.
SERVICE The following information is provided in the unlikely event that your unit requires service. Use this procedure to return units in the United States only . For service outside the United States, please contact your authorized A R T distributor .
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