Sound Performance Lab EQ MAGIX manual Phase reverse, Input

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The INPUT section of the EQ MAGIX is equipped with a PEAK LED which

lights up approximately 3 dB below the value which would signify poten- 3 Peak tial overdriving of the output (INSERT SEND). The headroom of the INPUT

stage is around 26.5 dB.

The PEAK LED does not indicate the overdriving limit of the PARAMETRIC stage, as this varies, depending on the values set on the EQ. The PARAMETRIC stage has a lower headroom limit (+22 dB) when the stage is activated and the BOOST/CUT control is on 0dB. If the PEAK LED lights up, and the PARAMETRIC stage is in use, the preamplification (MIC/LINE) must be decreased.

Pressing the phase switch (PHASE REVERSE) inverts the polarity of the

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Phase reverse

microphone signal. When the switch has not been pressed (status LED is

off), the polarity is »in phase«. Pressing the switch means that the polarity is »out of phase«.

Phase inversion can be used for a number of different reasons:

1.If, for example, the microphone signal of a singer or speaker is pream- plified in the EQ MAGIX and the monitor signal is folded back to the head- phones, the singer or speaker cannot hear himself very well. Pressing the phase switch inverts the polarity of the microphone and consequently, of the headphone signal, and the singer or speaker can then hear himself on his headphones without having to increase the level.

2.The phase inversion feature is also very useful when the polarity of the XLR input jack has to be inverted to match the polarity of the micro- phone or the microphone cable. The pin assigment of the XLR connector is as follows: Pin 2 = hot (+) and Pin 3 = cold (-).

3.Sometimes it is desirable to swop the polarity of a microphone because of the sound.

Condensor microphones require a supply voltage of 48V DC which

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48 V

supplies the microphone via the balanced audio lines (pins 2 and 3).

When the supply voltage is switched on, a phantom circuit is formed

Input

whereby the 48V DC supply voltage is applied simultaneously to the two

supply lines (+/-) of the microphone and fed back via the cable screen.

Phantom power supply according

to DIN 45 596 / IEC 268-15

There is no DC voltage between the two modulation lines which is why dynamic microphones can be used when the phantom voltage is switched on, without this doing the microphones any harm.

The influences of noise voltages which can superpose the DC supply voltage such as hum loops and parasitic currents in the cable screen are reduced by the phantom power supply. Moreover, this type of connection is particularly resistant towards RF.

As there is no potential difference between the +/- supply lines, the connection technique of the phantom supply is compatible with moving coil and ribbon microphones.

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Contents N e r ´ s N u a l Sound Performance Laboratory Contents Sound Performance Laboratory Foreword IntroductionIntroduction EQ Magix Concept Sound processing EQ Magix Concept of sound processing in the EQ Magix Inputs & Outputs InstallationPower supply EQ Magix rear panel Rear panel Connection ExamplesMic / Line Line -30pB Control Elements InputInput Phase reverseMicrophones are used Active ParametricParametric Sufficient NotchParametric Deleting an Interference Frequency Introduction into Vitalizer Introduction into the Vitalizer +10 pB Peak VITALIZERs Control elementsVITALIZERs control elements Deep Mid-Hi Tune Process Harmonics Combine 22 Pan PPM Meter Fader OutputEQ Magix SpecificationsWarranty Sound Performance Laboratory

EQ MAGIX specifications

Sound Performance Lab has made a significant mark in the world of audio engineering with its EQ MAGIX, an advanced equalizer plug-in designed for professional sound production. Known for its precision and versatility, EQ MAGIX is a valuable tool for music producers, sound designers, and mastering engineers.

One of the standout features of EQ MAGIX is its intuitive user interface, which allows for seamless navigation and efficient workflow. The layout is user-friendly, presenting an array of controls that give users the ability to make precise adjustments to their audio tracks. With a clear visual representation of frequency spectra, users can quickly identify problem areas in their mixes and address them with ease.

At its core, EQ MAGIX employs sophisticated filtering technologies that ensure high-quality sound processing. It offers various filter types, including parametric, low-pass, high-pass, band-pass, and notch filters. This extensive selection enables users to tailor their sound with remarkable accuracy. The parametric filter is particularly noteworthy, allowing for precise frequency adjustments, including bandwidth control, which is essential for making subtle tonal changes.

Another key characteristic of EQ MAGIX is its support for high-resolution audio. It operates at sample rates up to 192 kHz, ensuring that the clarity and detail of your sound are maintained throughout the mixing and mastering process. This high level of audio fidelity is crucial when working in both studio environments and live settings.

The plug-in also features a dynamic EQ mode, which provides users with the ability to adapt the equalization based on the input signal's dynamics. This dynamic processing capability enhances the overall sound quality and enables greater control over how specific frequencies react to varying levels of audio, making it an indispensable tool for achieving professional mixes.

Moreover, EQ MAGIX integrates well with various digital audio workstations (DAWs), allowing for seamless incorporation into existing workflows. Its compatibility with industry-standard platforms ensures that users can easily implement it into their projects without any technical hurdles.

In conclusion, Sound Performance Lab's EQ MAGIX stands out as a robust and versatile equalizer plug-in that caters to the needs of audio professionals. With its intuitive interface, high-quality filtering technologies, dynamic processing capabilities, and high-resolution audio support, EQ MAGIX is an essential tool for anyone looking to elevate their sound production. It epitomizes the merging of functionality and user experience, making it a valuable addition to any audio engineer's toolkit.
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