Home (amp tone and effects placement)

MIDI rackmount EQs

It is critical that there be such a high Signal/Noise Ratio for EQ-before-distortion, to minimize amplification of the EQ's self-hiss, behind the guitar signal). A Boss EQ pedal before a distortion box generates a lot of self-hiss behind the guitar signal.

You can put one of these on either side of a mic'ed, low-power tube amp. Don't touch the controls on the tube amp. Use the EQs to make the tube-amp sound programmable. I'm sure a glance at the MIDI magazines will reveal many rackmount MIDI EQs.

Beware of going through the left channel of a 2-channel EQ, then strong distortion gain, then through the right channel. Some sound might leak back from the right to the left channel, resulting in a squealing or whistling sound. I might buy two of the 2x14 units. It's easier to adjust 14 bands than 28, and you'll have the right channel of unit 1 and of unit 2, for some other purpose that doesn't risk whistling.

Metallica's Kirk Hammett reports using an "ADA programmable EQ". [investigate]

http://www.fullcompass.com/lit/s_eq-g.html -- list of EQs at gear dealer. Probably several are MIDI-programmable rackmount EQs.


Ashly Protea System II

4.24G Four Channel Graphic Equalizer Main

4.24GS Four Channel Graphic Equalizer Slave

2.24GS Two Channel Graphic Equalizer Slave

4.24PS Four Channel Parametric Equalizer Main

II 2.24PS Two Channel Parametric Equalizer Slave

Programmable 24-bit Digital Equalizer

The Ashly Protea System II programmable 24-bit digital equalizer/system processors are available in two and four channel, twenty-eight band graphic ortwelve band parametric configurations. In addition to equalization, each channel provides a full-function compressor/limiter, 24dB/octave high and lowpass filters, and 1.364 seconds of time delay. Additionally, each channel of the Parametric processors have individual high and low shelf filters.

Introducing the Ashly Protea System II digital equalizer/ processors, now including two- and four-channel parametric processors. The System II offers all the remarkable versatility and control of the original Protea series while providing both parametric and graphic filter devices with enhanced sound quality and exceptional signal-to-noise, making it well suited for applications requiring the installation of precision, tamper-proof equalization and signal processing. Models 2.24PS and 4.24PS represent the next logical step in audio processing to be introduced in the Protea Series, and feature 12 bands of fully programmable parametric equalization, adjustable high and low shelf filters and all the improvements found in System II. All Protea System II devices are U.L. and C.U.L. listed. We’ve taken the Protea’s already impressive and intuitive user interface, extensive control options, expansion possibilities (up to 16 channels of EQ, using 2- and 4-channel slave units), built-in compressor/limiter, and much more, and added a host of truly professional improvements.

The System II features a totally redesigned DSP chain (with new 100MHz DSP and 24-bit A/D/A), >110dB dynamic range, <90dBu signal-to-noise ratio, 1.364-second time delay (quadruple that of the previous Protea!), contact closure scene recall, seamless preset switching to eliminate dropouts, inaudible zipper noise, increased filter adjustment speed, finer compression ratio steps, easier MIDI channel programming, and more. The result? An expanded and improved series of revolutionary Protea equalizer/processors with audiophile quality specs and the versatility for any application you can imagine. There are three graphic equalizer/processors: the model 4.24G Digital Equalization Main Unit, which is front-panel programmable; model 4.24GS Four-channel Graphic Slave; and model 2.24GS Two-channel Graphic Slave. Filter bands are true reciprocating filters spaced at 1/3-octave on ISO centers with a fixed Q.

Two parametric equalizer/processors are available: model 4.24PS Four-channel Parametric Slave, and model 2.24PS Two-channel Parametric Slave. Filterbands are adjustable from 1/25th to 3.3 octaves over a frequency range of 20Hz to 20kHz. Filter level control is adjustable from 20dB to +10dB in 0.5dB increments. High and low shelf filters are adjustable from 1.6kHz to 20kHz and 20Hz to 240Hz respectively. Programmability of all five processors can be accomplished with Ashly’s exclusive Protea System Software (version 2.0) interface for the Windows™ 95 or 98 environment. Additionally, the 4.24RD Remote Control is available for controlling graphic models (4.24G, 4.24GS, and 2.24GS).

Applications include indoor and outdoor sound reinforcement equalization, room equalization/leveling, microphone equalization, reference monitoring, and audio editing/recording where general signal enhancement or sound shaping using graphic equalization or precise control for eliminating unwantedfrequencies using parametric equalization is needed. Ashly is an SIA Software Smaart Partner. The Ashly Protea Series supports SIA Smaart-Pro’s plug-in architecture and is controllable directly from within Smaart-Pro.

4.24RD Full Function Remote Control

Amptone.com ultra gear-search page

Home (amp tone and effects placement)