nae Wok] Sound SMe ee Automatic Computerized Equalizer/Analyzer SS-525X Owner’s ManualFeatures The ADC model $S-525X combines @ microprocessor- controlled 12 band equalizer (EQ), a real-time analyzer (RTA), a pink-noise generator, an automatic equalizer, and a'sound pressure-level meter into one unit. (And it ‘comes with a calibrates microphone.) ‘Twelve rocker type electronic switches control the +1248 boost or cut response at each of twelve frequency ranges. ‘The center frequencies are arranged in such a way that those at 250 Hz and above are exactly one full octave apart from each other, and below 250 Hz Irequencies are only two-thirds of an octave apart. This arrangement gives you increased control of critical low frequency response, making the SS-525X especially useful when used with today's advanced digital equipment. The §$-525%'s automatic equalizer (AUTO EQ) can au- tomatically produce an EQ curve to flat the sound for your ‘speakers with the listener at the microphone's location. It “hears” pink noise generated by the built-in generator ana “thinks” about what itis hearing and adjusts the EQ curve ‘to get what it hears flat ‘The other features of the $S-525X include: © Large flourescent display, dominating the front panel, functions as a frequency equalizer display or as a spec- trum analyzer display with the resolution of 2 dB in both modes. ‘© Separate channel output level display calibrated to 1V at 100.48, ‘© LEFT/RIGHT buttons let you choose eithor the left or ight channel, or a composite of both, and view the selected setting both in the EQ or RTA mode. ® SET FLAT button quickly makes the equalizer's band flat. © Four memory buttons for four custom settings let you recall a pre-equalized response instantly. © RTA SENS(itivity) buttons let you adjust the overall eight of the RTA display. Bidirectional tape dubbing and equalized-response recording/dubbing. © Output LEVEL up/down buttons and an infrasonic filter, © Clip-type condenser microphone is attached. '* Full function remote control In the space provided below, record the serial number of your unit, jocated on the back of the cabinet. The attached ‘microphone has the same number. Unit description ‘AUTOMATIC COMPUTERIZED EQUALIZER/ANALYZER ‘Sound Shaper $S-525X Serial No. Fa ie om [ASK OF ELECTRIC SHOCK. ) =m — CAUTION ——— TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO. USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. Th symbols etonceato alert you of tne presence otunneuated cangerous ‘otaige wthin the unis enciosue at ima boot sutican mance con This symbol tence o alent you ot Ina prosance of important operating tno marntenance insuctions the erature accompanying te unt TO PREVENT FIRE OR SHOCK HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. CAUTION: to prevent ELECTRIC SHOCK DO NOT USE THE POLARIZED PLUG WITH AN EX- TENSION CORD, RECEPTACLE OR OTHER OUTLET UNLESS THE BLADES CAN BE FULLY INSERTED TO PREVENT BLADE EXPOSURE. ATTENTION: pour pre- VENIR LES CHOCS ELECTRIQUES NE PAS UTILISER LE FICHE POLARISEE AVEC UN PROLONGA TEUR UNE PRISE DE COURANT OU UNE AUTRE SORTIE DE COURANT, SAUF Si LES LAMES PEUVENT ETRE INSEREES A FOND SANS EN LAISSER AUCUNE PARTIE A DECOUVERT.Installation ‘As with other quality sound equipment, adequate venti- lation will extend the trouble-free life of your equalizer. You should not install this unit in an overly confined area along with other heat generating equipment. ‘An unswitched AC outlet is available on the rear panel of ‘your unit for connecting other scund equipment acces- Sories and is limited to 200W maximum. Connect the line cord to an AC outlet providing the proper AC voltage. The power consumed is 25W and if available, the switched accessory outlet of your amplifier may be used to turn the unit on or off with your sound system's ‘main power switch, About beep tone When any of the buttons of MEMORY (@, page 6) through LEVEL (@, page 7) is operated, beep tone will sound to indicate that the entry is accepted by the unit, However, a continued beep sound in the auto-EQ mode represents, that the auto-EQ has failed to operate due to the pink noise level being too low. Refer to Page 16, @ for the proper pink noise level adjustment and retry. Before Operating the Equal- All equalizers are designed for ‘unity gain, in other words, the level of signal output is the same as the level of signal, input when the level of frequency bands are set to 0 7). {fone or several frequency bands are boosted in either or both channels (stereo), the output level from your equal izer will increase within the range of frequencies affected by those controls, thereby increasing the sound level or power output of your amplifier. Depending on the master, Volume control setting, this can result in over-driving of the power ampiifier and/or speaker system and incurring possible damage. Itis suggested that you reduce the master volume control setting of your sound system before switching the equal izer in or out of the system and then restore the master volume control setting to your listening preference. Do not use the equalizer to increase volume, it is not an amplifier, itis designed to tailor the frequency response of your system, either to your personal preference or help. Correct deficiencies of the sound system or room acoustics.Connections ‘Turn your system off and the volume all the way down. “Preamp” stands for your preamplifier, receiver, or inte- grated amplifier. ‘The SS-525X has its own tape monitor loops to replace the cones it occupies. © Line In jock These jacks receive the signal rom your preamp. Connect your preamps “Tape Out™ to these inputs. @ LINE OUT jack These are the outputs of the equalizer circuitry. Connect these jacks to your preamp’s "Tape In”. * Note that with some components, “Tape Out" is, “Tape Rec” and “Tape In” is called "Tape Play” or Monitor,” and there are other variations. @ TAPE-1/TAPE-2 (IN/PLAY and OUT/REC) jacks This, of course, is where you connect your cassette deck(s) and/or your reel-to-reel recorder(s). The hookup Is simple. Connect the SS-525X's TAPE (1 or 2) OUT/REC jacks to the INPUT on your deck, and return ils OUTPUT to the S$-525X's TAPE IN/PLAY (same loop number as going out, naturally) @ Ac OUTLET UNSWITCHED (200W MAX) The AC OUTLET receptacle may be used to power the one of associated equipment regardless of the POWER button. Piug the power plug from the associated equip- ‘ment into this receptacle. Important! Do not plug in any equipment with the rated power consumption greater than 200W. © Power cord Connect this cable to the appropriate power source. If another piece of equipment has a switched outlet (your preamp, for instance), that's one good place to plugin Warning: Be sure to remove the power cord from the AC outlet before changing the setting For PX version: If you ever need to change the voltage setting, unscrew the small voltage cover piate near the ac cord, move the switch with a small driver, turn the plate upside down (180°, in other words, which exposes the ‘switch in its new voltage position), and screw it back on. @ Batteries When the power is off or the AC cord is unplugged, the batteries inside keep the memory intact (the SS-525x remembers all other settings too }. To replace them, refer to "Replacing the batteries", next page.Typical Hookup ‘The SS-525X goes In the preamp's tape monitor loop, as___—Replacing the batteries. shown. The tape deck(s) then go in the SS-525X's tape Remove the cover by loosening the knurled thumb-screws loops, to expose the two supplied AA (penlight) alkaline batteries. Replace with the same type. Keep the AC power on to Power requirements preserve the memory during replacement. Power requirements for electrical equipment differ from area to area. J & 3 Please ensure that your unit meets the power requirements 8 in your area. } IH in doubt, consult a qualified electrician 100V, 50/60 Hz for Japan Two AA batiores 4120V, 60 Hz for U.S.A. and Canada 220V, 50 Hz for Europe except U.K. A 240V, 50 Hz for U.K. and Australia Turntable, Tynes —<————s | Wall outlet Tape deck 1 Tape deck '2 CO player inne caren TAPE 4¢*\~ TUNER on Record Selector [shone] TAPE YA. TUNER, Js ADK Speaker SED} system + Te $$-525% fs cannactc 0 TAPE termina ofa preamp. Ta play oF ord through tn equate se he amg's MONITOF switch to TAPE and the [RECORD switch to to doured program source (PHONO, or stance).Controls and functions [RIG] : The remote control duplicates the basic functions. [Beep]: Pressing the button causes beep. @ POWER button Depress to turn the unit on or off. The “ADC” emblem above the button is iluminated when the unit ison, @ REMOTE SENSOR Through this window the unit receives the commands from the remote controller. Do not block here or the remote control function will not work. Frequency response display A tluorescent display consisting of bar or bar-graph in- dicators numbered in 2 dB resolution. In the EO mace, it shows the equalization curve by means of twelve bars; in the RTA mode, it shows the frequency content of the program by twelve rising and felling ber-graphs as a Spectrum analyzer @ Channel indicator Indicates the channel of the equalizer or analyzer. The L = R indicator lights when the equalization curves for lft and right channels are identical. @ Sensitivity indicators In the ATA mode, this indicates the sensitivity of the spectrum analyzer from 60 dB to 110 dB in 10 JB step (with 100.46 equaling 1V rms for 0 level) In the EO mode, this indicates 0.43. © Output level LR indicators When the LINE/MIC button is set to LINE, bar-graph indicators show the output level of each channel, with 100 «48 equaling 1V (rms). When the LINE/MIC button is set to MIC, the signal from the microphone is indicated on the left channel output indicator only. @ Equalization BOOST/CUT switches REE] Each of these electtonic rocker switches increases or ecreases the ampituce ofits frequency band 12 €B in 2 4 steps, When efter the LEFT of RIGHT indicator ison, they affect only that channel; when both are on, they affect both channels, To adjust trom the remote controller, press the desired frequency button and press the BOOST or CUT button, Direction of transmission © MEMORY/1-< buttons/indicators [WC] [B=5] Each button stores and recallsa stereo pair of equalization curves. The curve for each channel may or may not be identical with the other. The reo indicator lights up at pressing of the corresponding button. © SET FLAT button [77] This bution reseis the equalize’s bands (of both left and right channe's ata time) to their center (0 dB) positions 50 the signals are unequalized. Pressing it doesnt affect any ‘equalization curves actually stored in the MEMORY/1-4 buttons. @ ENTER button This allows you to store any displayed curve in memory. Once the desired curve le’ produced by the trequency BOOST/CUT switches, press the ENTER button and one of the MEMORY buttons (1-4) where you want the curve Stored, Any previous curve stored in that location will be erased@ EQ/ATA button [RIC] [Bom ] Pressing this button selects the RTA mode or EQ mode. When this button is operated for the RTA mode, the icator shows the frequency spectrum by the bar-graph indicators. When this button is operated for the EQ mode, the indicator shows the EQ curve by the twelve bars. The equalizer adjustment can be made during the RTA mode. @ LEFTIAIGHT buttons Tr you press the LEFT button, the display shows the equalization curve or frequency spectrum of the left Shannel (the LEFY indicator nthe upper-right comer also ligts). If you press the RIGHT button, its the night Channel equalization cuve or frequency spectrum of he fight channel (the RIGHT inclator ighs), Pressing both buttons at'a time {lighting the both LEFT and AIGHT indicators) shows the average of the two curves or the verage spectrum of both channels. This Goesnvatfect the ctval equalization on each channel. (When tre equal Zatio curves forthe left anc right channels ae identical, the L = R indicator lights.) @® PINK NOISE button/indicator | Press this button (while the MONITOR SOURCE/TAPE ‘switch is set to SOURCE) and pink noise will go out from ‘the LINE OUT jacks. The channel on which the pink noise is fed is determined by the LEFT/AIGHT buttons. Pink noise offers a constant frequency spectrum of noise. @ ATA SENSitivity UP/DOWN buttons [RIG] [6225 | Allows you to adjust the sensitivity of the RTA display from 110 to 60 2/2 button, To make an equalized dubbing, the EQ REC button must be depressed. @ DUBBING 1 > 2/2 > 1 button This button selects the direction of dubbing. When this button is released, dubbing Is made from TAPE1 deck to TAPE2 deck. Press this button to dub in reverse direction. @® EQ REC button This button is pressed to make an equalized tape recording or dubbing. While the EQ REC button is pressed, the equalizer doesn't affect monitor output. @ INFRASONIC button This button is used to switch in the subsonic filter which functions to attenuate the low frequencies below 15 Hz by “18 dB/octave and to eliminate low frequency hum or turntable rumble. @ Microphone jack Connect the microphone supplied only Caution: Use the supplied microphone with the same serial number as the main unit. The use of other micro- phones (dynamic type etc.) will damage your system. {Never connect a headphone here!) Battery Installation/Replacement The detachable back plate of the transmitter covers the compartment to house two AA size batteries. Install the batteries as depicted in the compartment. Do not leave the batteries when the transmitter is not used for a prolonged period of time. Replace the batteries ifthe Indicator of the transmitter doesn't light up.Using the Equalizer(EQ) @ Note that in order for your equalizer to be in operation = that is, in the signal path — the signal always has to be going to and from it. In other words, if you've connected the equalizer in the “Tape” loop, leave the preamp set to monitor “Tapet.” If your preamp is one of those that have. ‘separate input selector and “Rec Out” switches, leave the input selector knob or whatever on “Tapet" and choose the program source with the "Rec Out” knob. @ Confirm pink noise is off and set the MONITOR buttons to the position which you wish to listen to. Press, the MONITOR SOURCE/TAPE button to listen to a tape program and select Tape deck or Tape? with the MONI- TOR TAPE1/TAPE2. @ Using the EQ/ATA button and LEFT/RIGHT buttons Press the EG/RTA button for the EQ mode (The sensitivity indicator shows “0 dB). To adjust the equalization applied to the left channel, press LEFT. You can view the lett channel equalization curve on the display. To adjust the equalization applied to the right channel, press RIGHT. You can view the right channel equalization curve on the display. To adjust the left and right channels simultaneously, press LEFT and RIGHT at a time, You can view the average of the two curves on the display. (This doesn't affect the actual equalization curve.) When the equalization curves for lett and right channels are identical, the L= R indicator also lights. @ Press the SET FLAT button © Equalizer adjustment The 12 electronic rocker switches permit the individual adjustment of each octave, Pressing upper part of them increases level; pressing lower part decreases level To increase level To decrease ove “Their action accelerates as they are held. Of course, more than one switch may be pressedata time. You can correlate what you see with that you heer, you wil periment with the different switches to re what the various frequencies actually sound lke (but be careful with the volume). You can become a better- educated listener (and judge of speakers). Where is most so-called low bass? (Around 63 Hz-adds oomph. Boosting 25 Hz seldom does much.) “Thickness"? (100, 160 and 250 Hz — boomy, too. The 250 Hz area correlates also with “colored”, "hollow" — but with a thump.) “Honkiness’, “nasality"2 (600-1k-2 kHz. The general sound is of con- gestion, but as you 90 higher, the sound assumes a Selephony” quality, 100.) “Brightness”? (4 kHz, Don't forget that the ear is most sensitive in the 1-9 KH2 area). “Air”? (B kHz — also scrathy, sometimes spitty). The 16 kHz band fully increased can add. sparkle, and fully decreased make a strong and effective scratch/hiss filer for some sources. The SET FLAT button returns any new setting to flat. ‘Separate channel equalization vs. simultaneous channel ‘equalization Studies show that it is this total power response, re- flections included, which is most influential in our per- ception of spectrai (tonal) balance. However, localization is determined primarily by direct sound. Equalizing two channels of a stereo system differently, therefore, can adversely affect stereo imaging. So for most cases where ‘speakers are similarly loaded into the room (symmetrical environments etc.), we recommend using the SS-525X to apply the same curve to both speakers, by pressing the LEFT/RIGHT buttons at a time (lighting LEFT and RIGHT indicators) and by adjusting the EQ curve until the L= A indicator lights. For different environments and/or differ- ‘ent speakers in a pair, you probably will want to do them ‘separately, by pressing either the LEFT or RIGHT button, lighting the corresponding indicator. @ Entering curves into memory Once you have @ desired curve by adjusting the equal- ization BOOST/CUT switches, press the ENTER and one of the MEMORY buttons( 1-4), where you want the curve to be located. Whichever MEMORY you choose for the new curve will have its old curve erased, of course. Compa sons among curves or between a curve and no equal- ization (SET FLAT) are simple and instantaneous. no) Xe (or2, 3.014) ENTER fr If you desire, you can change the left or right channel equalization only of a stored curve pair. e.g. To change the right channel curve to a new curve, press RIGHT (lighting the RIGHT indicator in the display). Set a new equalization curve. Press ENTER. Press the MEMORY/1 bution (light- ing the 1 indicator). Now the right channel curve has been ‘changed to new one while allowing the left channel curve remaining the same. —Press the ‘upper part to increase the level of marked frequency,Using the Real-Time Analyzer(RTA) Real-time analysis of LINE inputs To analyze the program from the preamp, etc, turn the @ Set the LINE/MIC button to LINE (the LINE indicator program up to a comfortable listening level lighting). © set the EQ/ATA button for the RTA mode (the sen- __ @ Operate the RTA SENS buttons to roughly center the sitivity indicator shows 60-110 dB). To make an analysis display. on the mixed channels press the LEFT ang RIGHT buttons. simultaneously (lighting both LEFT ang RIGHT indicator). @ Operate the PEAK HOLD button to fix the highest bars The equalizer adjustment can be made during the RTA in the cisplay mode. = Fae = mes | = = S A Sl, JS | owing => S 1K Plug the microphone to analyze the program as itis played inthe Instening room. (Refer to next page.) The equalizer adjustment Is possible curing the - AYA mose Qerenove @ Ss Se & z a eee eta S- SS = e 10To analyze the program in the listening room @ Piug the microphone into the MIC jack. The micro- phone should be piaced at @ convenient location in the oom, For the most accurate measurement of frequency response, the mirophone should be placed in @‘ypical listening location, andthe gle should be aimed ata point rmiguay between ie two loudspeakers @ Set the LINE/MIC button to MIC (the MIC indicator lighting). Locate the microphone centrally ‘between the speakers and ap- proximately 6 feet apart. © Feter to steps 3 and 4 of "Real-time analysis of LINE Inputs tcing page. Note: The equalizer adjustment can be made during the RTA mode. (The output indicator displays the elt channel only. The chanrel to observe fs selected by the LEFT/ RIGHT button.) ° O° © © Amplifier a | Use the supplied microphone withthe same serial number as the main uni "To Listen to TAPE or SOURCE Programs 1 To listen to the LINE input sources, first select the program — phono, tuner, etc. — on your stereo system. 2 Before starting to use the equalizer, set the tape monitor ‘switch of the preamp to on and set the loudness switch and low/high frequency filters (if any) to off Note: If your preamp is equipped with a REC OUT se- lector, frst set the input selector on the preamp to the tape (monitor) position, and set the REC OUT selector to the position which selects the program source you desire to make an equalization. @ To listen to the SOURCE programs, set the MONITOR SOURCE/TAPE switch to SOURCE; to listen to the TAPE programs, set the switch to TAPE. @ Make sure the pink noise is off (extinguishing the indicator). © To analyze, press the EQ/RTA button for the ATA mode the sensitivity indicator shows 60-110 dB). Refer to page 10 @ To equalize, press the EQ/RTA button for the EQ mode (The sensitivity indicator shows 0:43), Refer to page 8 Release unless disturbing low frequency noses Release. are present. rorec nasone 5 a Ss Seto UNE So Press to TAPE 2: release to TAPE Press to TAPE; release to SOURCE.To Record the LINE Inputs on Tape Decks Since the REC output jacks of the TAPE! and TAPE2 will can set both the TAPE1 and TAPE2 decks to recording provide the same recording signal simultaneously, you __- mode for a simultaneous recording To make a normal | Setto SOURCE a T sounce wer 1. vee , ~ LINE OUT a = a TAPE 1 deck - t wwe ee poser —emme— oloase Set to SOURCE to ‘monitor te program a] ouree botore enters the tape deck(). TAPE 2 deck ‘o use the spectrum analyzer as a level meter during recording, the LINE/MIC button should be set to LINE. Note: Monitor Set to SOURCE a J -{lincour TREE ORT Sale — oe oP aD TAPE 1 deck —nowror — —pusema — bred cD TAPE 2 deck I the tape deck employs independent record and playback heads, a true tape monitoring will be possible. This will enable you to hear the program actually on the tape a fraction of a second after you have recorded it. e3) oP an TAPE 2.deck sounce Tare care Taree In the SOURCE position, you can monitor the program before it enters the tape deck. The effect of the equalizer will not be monitored. Note: Swit hing these buttons during recording may cause pop noise. 13Dubbing From TAPE 1 to TAPE 2 Playback the TAPE1 and record it on the TAPE2, rete Set to Set lo Set to Set to TAPE TAPE 2 TAPE 1» 2 ‘* MONITOR TAPE(/TAPE2 button If set to "TAPE1”, the TAPEt signal before it goes to the ‘TAPE2 input will be monitored. RTA Monitor [ap =) an eS a Playback the TAPE2 and record it on the TAPE Bone Set to Set to" Set to Set to TAPE TAPE 1 TAPE 1m 2 ** MONITOR TAPE1/TAPE2 button If set to "TAPE2", the TAPE2 signal before it goes to the TAPEt will be monitored. TAPE 1 deck G Monitor To make an equalized dubbing Press the EQ REC button and EQ/RTA buttons to switch the equalizer in between TAPE1 and TAPE2. Setto Setto Set to Set to TAPE TAPE 2 TAPE 1 2 i Press TAPE 1 or TAPE 2 deck TAPE 2 or TAPE 1 deck 4 L—e_l playback recog Note: During dubbing process, listening to LINE input program is possible without disturbing the dubbing pro- ‘cess, by setting the MONITOR switch to the SOURCE position. The spectrum analyzer will indicate the level of the LINE output signals. 4 MonitorTo Analyze the Sound Field and to use the AUTO EQ. om) a oss] 6 4), So Seo oes || oo ©. as = ey oa IS oo a ve * Trower —ousama— Sane Using the RTA © Turn your preamps input selector oF tape monitor Bolector to TAPE @ Turn down the volume contro of your preamp. @ Plug the microphone into the microphone jack. The microphone shouldbe placed ats convenient location in the room. For the most accurate measurement of ie: quency response, the microphone shoulé be place in 2 ‘pie! itening location and the gill shouldbe aimed al 2 point midway between the two loudspeakers. Press the SET FLAT button @ Set the MONITOR SOURCE/TAPE switch to SOURCE, @ Set the EQ/ATA button to RTA, @ Set the LINE/MIC button to MIC. © Operate the RTA SENS up/down buttons, The level of ambient noise is shown on the display. Note the level ‘Most rooms have some reading in the lowest frequencies at the most sensitive setting ofthe spectrum analyzer. This ambient noise reading is caused by traffic nos conditioners, heaters, etc. @ Press the PINK NOISE button to turn on pink noise, @® Press the LEFT/RIGHT buttons to select the channel to which the pink noise Is ted. Press both buttons simul taneously to feed to both channels. @ Slowly rotate the volume control of the preamp. For accurate readings, the spectrum analyzer should now indicate at least 10 48 greater level in each band than the ambient noise level previously measured. For example, the Sensitivity is 60 dB and the highest ambient noise is 0 48, set the sensitivity to 70 dB by pushing the RTA SENS/ down button to center the pink noise level ‘Caution: Very high levels of pink noise (greater than 95 dBSPL) may camage speakers. Use care in setting the preamp's volume control @ The spectrum analyzer now shows the frequency response of the sound system for that microphone location, @® As the microphone is moved about the room, the effect ‘on frequency response by room boundaries (walls, ceil- ings, floor, furniture, and speaker placement) can be evaluated. (Refer to next page for using the AUTO EQ.) 15Using the AUTO EQ ‘The built-in automatic equalizer (AUTO EQ) measures the frequency response at microphone location and controls the EQ curve to make sound fiat automatically @ Set the LEFT/RIGHT buttons to select the channel on which you wish to make an auto-EQ. To make it on both Channels, press the buttons simultaneously. @® Press the AUTO EQ button. The sensitivity indicator shows “AE” and the SS-625X starts the auto-EQ. If the level of pink noise is not sufficient, the sensitivity indicator shows flashing "E” (Error) and the auto-EQ is cancelled. For accurate equalization, the level of pink noise should be aboat 76 dB. To cancel the auto-EQ press the AUTO EQ. button two fimes.. ‘Alter 23 seconds at most, the display switches from the EQ. to RTA or vice versa momentarily, then the auto-EQ completes. @® Set the PINK NOISE bution to stop pink noise. Note: During the auto-EQ, only the POWER, MONITOR, DUBBING, EQ REC and INFRASONIC buttons are ope rative. ® To store the obtained curve, press the ENTER and one of the MEMORY buttons (1-4). eter @ of page 8 a About pink noise signal ‘The pink noise signal consists of equal parts of each ‘octave of the audio spectrum, like a deeper form of the ‘white noise you hear between FM radio stations or on unoccupied TV channels: an airly rushing sound. White noise exhibits a 3dB inerease per octave as the frequency is increased. 6 ano ‘An approximate frequency spectrum of pink noise E Port Tt ie et i Ptr rt ar ae Th An approximate Irequency spectrum of white noiseSignal Process LINE 7 4 (re: rarer weet ( eo wre = wee (" e une Foe (or ve (mo out = wines 5 8 Cre | But ‘MICRO COMPUTER TR ie] | [EMO 1] MEMO 2| memo 3[memoa] [Remote Eq | enter [eormra| cert muon | OE | AEP | HR sens | sens a] NET | LEYEL at Keyboard 7About Frequency Equalization The front pane! has 12 controls, each varying by +12 dB, the level of a small range of audio frequencies which is ‘centered around the frequency marked over each control. In order to achieve a smooth response, controls for adjacent frequencies within each channel must interact. For example, the 500 Hz control will affect the 1 kHz control. The net effect of such controls set in the same irection (both in + or both in) will be greater than the panel marking indicates. The effect of such controls in ‘opposite directions (one + and one -) will be less than indicates. Refer to figures in Total system equalization that {follow for typical slide control effect. In EQ mode, the frequency response display provides a visual display of the controls depicting graphically the ‘curves you have created, to assist in tailoring the fre- {quency response to your preference. The musical spectrum ‘The Approximate frequency ranges chart on next page correlates familiar musical instruments with the numerical frequencies that they produce. Given the often talked ‘about musical range of 20 Hz to 20 kHz, itis surprising to. ‘see how low musical fundamentals actually are. (Almost all are under 3,500 Hz.) It should be understood however ‘that if all instruments were perceived only by their fun- damental frequency output (black bands), they would all ‘sound alike. It is the harmonics or overtones all sound alike. Itis the harmonics of overtones (grey bands) that give each individual instrument its character or timbre and set it apart from the rest. Interestingly enough, the human ear is more sensitive to certain octaves in the musical spectrum than to others. Whoever designed this engineering marvel deemed it necessary to tune the ear more toward the midrange frequencies where speech and voice communication oc Cur than to the outer octaves of low bass and high musical ‘overtones. As a result, very small energy changes here will cause a more drastic psychoacoustic effect than larger ‘changes would at the frequency extremes. In order to discuss the qualitative effects of adjustment in tonal balance, it is best to arbitrarily divide the musical spectrum into five ranges. ‘The bass (approx. 20 — 140 Hz). There is litle musical material with fundamental frequencies below about 60 Hz, and what is normally perceived as low bass material is actually in the 60 — 140 Hz range. The very lowest frequency controls can be used to enhance output for the few instruments in that range (organ, contrabassoon, etc.) or they can be used to reduce rumbie, acoustic feedback and other low frequency aberrations. A control in what is normally labeled the 60 — 90 Hz area will usually cause the greatest perceptible changes in “bass response”. Total system equalization Frequency response curves 500 Hz full boost 500 He full cut (a8) we ey Frequency (Hz) 18 500 Hz full boost 2 kHz full cut ° Level (8) > Frequency (H2)‘The mid-bass (approx. 140 — 400 Hz). An over accen- tuated mid-bass region will yield a very muddy and “boo- my" quality to the music A system shy of mid-bass will sound hollow and thin. Controls in this region are impor- tant for good overall balance. ‘The mid-range (approx. 400 — 2,600 Hz). As the area where the ear is most sensitive to tonal balance, the midrange is important in adjusting the qualitative sori characteristics of your system. There is controversy a- ‘mong engineers and audiophiles as to what the proper balance should be in this range. Moreover, you will ind some settings optimum for certain types of music with ‘other settings just right for different types. ‘The upper mid-range (approx. 2,600 — 5,200 Hz). Speaker designers often boost output in this range to effect a Quality of “presence” to the music. Too much energy, on the other hand, sounds overbearingly harsh and strident, ‘A.good balance should be achieved between this and a more muted sound, ‘The high end (approx. 5,200 — 20,000 Hz). The region up ‘to only about 12 kHz or so is what is normally perceived high frequencies. Adjustment in this range affects the brilliance of music, with too much boost in energy yielding an unpleasant and piercing quality. ‘The last 8,000 Hz contains very litle musical material. And most adults have hearing which control in the 14 — 20 kHz range will havea very sublle effect. It can be used to add a little more dimension to the sound or as very high fre- quency noise filter. Approximate frequency ranges for musical instruments and voice Pena me Harmonic 500 He full boost 1 kHz lull boost (ae) +5 Level (dB) Frequency (Hz) 500 Hz full boost ! Frequency (H2) 1 kHz full cut 10Specifications Equalizer Microcomputer Control range 208 Four frequency curve memories back-up by batteries, Frequency response Bo 100 kHz 21 6B SET FLAT function Control trequencies 25 40 63 100 160250500 Automatic equalization function “k 2k 4k Bk 16k (Hz) Gain (SET FLAT pressed) =1dB unity Miscellaneous Maximum inpuvoutput level 4Vrme a Harmonie distortion over wiath 435 mm, 17-1/8" 20 He to 20 kHz 0.008% et 1V output 483 mm, 19", with intermodulation distortion, Gewese 60 Hz:7 kHz~ 4:1 0.008% at 1V output height ere Hum and noise A-weighted 100 4BV depth 302 mm, 11-7/8" (oad impedance 0 kohm or greater Weight 4.8 kgs, 1 Ibs. Subsonic fit 8 dB/octave, 15 Hz Power requirement 1 00-120y7200-240V Inputimpedance at tkHz 47 kohm (PX version) Output impedance at 1kHz 470 ohm (uskurdGaaie” version) Analyzer Center frequencies 25 40 63 100 160 250 50 Remote controller AW 2k 4k Bk 16K (Fe) Type Infrared remote control Display accuracy cca Control range ‘Approx. 24° (7m) Frequency response fom Batteries ‘AR 18V x2 LINE IN 16 to 16 kHz, #05 6B Dimensions Fequng geareton st, seman, cariblated MIC 25 t0 16 kHz, #3.4B oan tener ey Peakhold duration Continuous input impedance, MIG jack 2.2 kohm (at 1 KA) Designs and specifications subject to change without Input sensitivity, MIG jack __200uV Input sensitivity, LINE IN 150 mv Pink noise generator output __ 100 mV (unity gain) Pink noise frequency (Over 20 t0 16 kHe, response £9.68 rms Microphone Element type Electret condenser Directvity ‘Omnidirectional Impedance, at 1 KHz 22 kohm Sensitivity (a6 = W/microbar, ~70. 48 Bias .5V DC supplied by $8-525%Abe ADC Products Division dbx 71 Chapel Street Newton, MA 02195 USA KTSS25KPXX o786sG Printed in Japan