Yes, ditto on the ME60, 1/3 octive from 25hz to 20K. I picked one up a few years back to replace my ailing Altec 729A Acousta Voicette, that I had in continous service for 30 years. After Iratec brought the 729A back up to spec, along with a couple upgrades, I've gone back to it. 1/3 octive from 63hz to 12500. I like that it takes out, and does not boost, then compensates with a broadband reinsertion gain. BUT, just try to find one of those in good operating condition.
Originally Posted by Old Guy
As I don't know peoples financial situation was trying to point in an affordable direction.
I came to start using a EQ for the extensive Vinyl collection I have.When you came across an occasional LP with the snap,crackle,pop,they are very effective in producing a listenable record.
ADC wasn't bad when they were still made in Blauvelt, New York
I still have an old SAE
Impulse Noise Reduction System 5000 Radio SAE Inc., Los An
Your neighbors called. They like your music.
No, I was wrong. Please forgive me for my failing memory and thank you for the correction. The 1753A was an attempt to get on the constant-Q band wagon. I guess I really do not recommend this model . . .
BTW: The way to tell for sure if an eq is constant-Q is to look at the graphs showing boost or cut in increments. A constant-Q filter will always have the same "slope" and the base width changes (see the 1753A data sheet). Imagine how your response would look with 3dB of cut on every slider! It would look like a saw blade.
Experience is Knowledge
This gentleman has 8 available.
Altec lansing 1753A 1753-A 1/3 Octave Equalizer - eBay (item 260625767635 end time Jul-25-10 12:04:24 PDT)
I am the last one you should be begging for forgiveness,,,I can start for the kitchen and by the time I get there forget the reason...
Your neighbors called. They like your music.
coming out of recording studios...
currently for digital processing the dbx DriveRack family is pretty good and BSS makes some good products as well... Lab.gruppen AB offers a continuation of the Lake Processing technology so should be quite good but probably as hard to use as ever... dbx has a good user interface you can use on a laptop - pretty handy
digital processing is often much more that you need... very good for multiway systems where you may need delay compensation, lots of choices for slopes and narrow filters, some dynamics control for protection... ...but is generally overkill... but good for P.A. systems and large studio systems that are pressed pretty hard for your deaf rock'n'rollers, hip-hop dudes and Reggae/Dub crowd
for analog processing I use parametric EQ... the one I like most is the Meyer Sound CP-10 - this has five fully parametric EQ bands that individually switch in and out plus hi and lo shelving filters per channel. Other parametric EQ's work... recently tuned a system using a cleaned up and re-chipped Orban 622B and that worked fine and they come up cheap enough
I used to use 1/3rd octave EQ's... originally from White Instruments - some passive cut only and some active. They also made some 1/6th octave models. Whites are quite good and show up used often enough but they do tend to be pretty good at picking up noise so you have to take care where these are in relation to other things that can induce hum... and ground loops etc... more so than others. With white EQ's you have to pay attention to the module number and see what filter and io modules might be on the back - these could have crossover filters in them or not. I moved into using graphics from UREi. They made cut only and boost/cut models. Then I was installed Klark Teknik DN360's and after that I moved into specifying Parametric EQ's
The problem with graphic fixed bandwidth EQ is that the center frequencies never line up with whatever you are trying to correct and whatever you are trying to deal with is rarely going to be properly handled with a 1/3 octave EQ band. All graphic EQ's that I know of, that are used for room tuning anyway, will be constant Q... Crown and Orban made versions of what you might call a paragraphic EQ where the center frequencies could be moved around - quite handy but not as usable as a parametric where you can adjust center frequency and bandwidth. Since the bands on a 1/3rd octave are generally wider and not placed where you need them to fix a problem, and not wide enough to deal with general tonal stuff you end up using more EQ than you need. With a good parametric like the Meyer I might use two or three bands and maybe some hi-pass filter and that's it. With a graphic you can't get the same results and end up using more bands to try to correct something in between and then with fixing the side effects
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john klett
[url]www.johnklett.com[/url]
[url]www.technicalaudio.com[/url][/FONT]
Good stuff John, thanks!
And welcome. The pro studio angle doesn't get enough coverage here IMO. Don't be shy.
I checked your websites a bit, really enjoyed your definition of an emergency...
"[I]We're going all the way, till the wheels fall off and burn[/I]!"
Bob Dylan, from [I]Brownsville Girl[/I]
[I]"Time wounds all heels"[/I]
John Lennon, referring to the Nixon/Hoover deportation fiasco.
Thanks to all for all the info. After looking at some of these I've noticed some are balanced and my stuff is not. Is there a way to adapt to rca?
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