Manley ENHANCED PULTEC EQP1-A EQUALIZER - Manual (Page 4)

EQ HINTS
We usually give a few hints about tricks commonly used with our products. With an
EQ of this type it is not so likely you need much help.
The most common question we get asked about our Pultecs is "Why both a boost and
a cut knob in the lows?". We don't know why it was designed that way for sure. It was designed
in the 1930's by Western Electric to improve music fed through telephone lines. We believe
it was done this way because it was the most practical in a simple passive design. This was
before op-amps and Baxandall type cut / boost circuits were common. We do know that most
engineers do use both knobs at the same time. Cutting a bit, boosting a bit, and the
combination gets the fat bottom they turn to the Pultec for. "Wouldn't they just cancel out?"
No, the shapes of the cut and boost are different and the result typically is boosted lows and
a dip in the mids but it depends on the relative settings. The slope of the low boost tends to
be steeper as well. We included a few pages of response curves to clarify this for you.
Vintage Pultecs are known for their usefulness on kick, bass, and raunchy guitars.
They are rarely used for vocals, mixes or sounds where transparent highs are important. The
Manley version, however, is often used for these purposes. It is featured in quite a few
mastering suites as one of the primary EQs. The difference is the Manley has better gain
make-up amps and fewer and better transformers. Here is the hint: for low end punch we
suggest using the XLR transformer inputs & outputs because the signal passes through two
transformers with a selected saturation characteristics. For situations where highs and fidelity
are most important you can bypass the transformers using the 1/4 inch phone jacks. You can
also use one transformer and bypass the other for something in-between. A little experimentation
when you first get the unit will go a long way in the years of use. The Manley EQs were never
intended as a clone of the original. We sought to improve them where we could. We knew
it was a good concept and, with permission, could produce this little gem.
The Bandwidth control (mid &high boost section) seems reverse to many. As one
turns the Bandwidth control clockwise the actual bandwidth increases - the "Q" is less. If one
is used to "Q" controls then it will seem reverse - but think of it as "bandwidth" not "Q". It
also boosts less dB's as bandwidth is increased but because the "area" is somewhat constant
it doesn't sound like lost boost. The bandwidth narrows slightly as frequency is increased.
Watch out boosting major amounts of low end when using most nearfield monitors.
Most don't have great response down there. One common technique is for engineers to watch
speaker excursion to get an idea how much lows they are putting on. How accurate is that?
It is not uncommon for an engineer to be surprised once they hear the tape in the car or on
a system with a sub woofer. The extreme lows and highs are the most likely part of a sound
to not "nail" because of monitors, fatigue, and the hype factor that is occasionally called for.
Best applications for this EQ? Important up-front sounds that a cheap EQ might
butcher just passing the signal. Low end sounds like kick and bass that need serious fatness
and punch & guitar amps that have lost that low thump we hear in the studio. Strong transient
sounds like shakers, tamborines, and cowbells that some solid state gear has a way of
smearing and turning into noise. Best time and place to shape the sound - before recording
and with mic technique. Then the EQ becomes a useful tool - not a needed crutch.
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