The joe meek meequalizer amplifier takes the audio signals from any microphone and amplifies them up to ‘line’ level; that is, from a few millivolts, up to about a volt. This function is not too difficult and the microphone amplifiers on normal professional mixers do it quite well; BUT they cut costs and corners. By using the finest components available for the purpose, and with proven high overload amplifier design developed over many years, the performance is startlingly good. Dynamic or ribbon microphones should be used with the phantom power turned joe meek meequalizer, then full advantage can be taken of the extreme low noise performance of this amplifier.
Plugins in Studio D
The microphone amplifier takes the audio signals from any microphone and amplifies them up to ‘line’ level; that is, from a few millivolts, up to about a volt. This function is not too difficult and the microphone amplifiers on normal professional mixers do it quite well; BUT they cut costs and corners. By using the finest components available for the purpose, and with proven high overload amplifier design developed over many years, the performance is startlingly good. Dynamic or ribbon microphones should be used with the phantom power turned off, then full advantage can be taken of the extreme low noise performance of this amplifier.
Some capacitor microphones can produce enormous output voltages when placed close to a loud sound source. To eliminate any possibility of overload under these conditions, a 20dB pad switch is fitted.
It’s Fletcher Company theory that ‘big’ sounds are only possible if the recording channel keeps the response and phase of the lower frequencies flat and under control.
This ensures that there are no sudden phase shifts in the low end. The proof of the theory is that the sound from the Studio Channel is characteristically full bodied and rounded in character. Such extreme LF response can often bring its own problems so a ‘subsonic’ High Pass filter can be switched in with a front panel push-button.
A push button is provided on the front panel to reverse the phase of all audio signals mic and line. Balanced operation means that the audio is carried on two wires working in opposite phase.
Then should any interference appear on the ‘line’, it will be effectively canceled out Both of the main inputs Microphone and Line and the line output are accurately balanced to get the best advantage from true balanced operation. The Compressor: The compressor is a photoelectric device where the sound triggers light emitting diodes which in turn control the resistance of a photo sensitive resistor.
This form of compression used to be common in the 60’s and 70’s but has been superseded by so called ‘improved’ voltage controlled amplifiers. The advantages of the older system are that distortion is virtually eliminated, noise is extremely low while overload margin is extremely good. The disadvantages are that the design is more difficult to produce cheaply and, according to those who judge equipment by specifications and not by listening, the older design is less flexible in operation and more difficult to use!
Using ‘s electronics for the control circuitry, Ted Fletcher has recreated the compressed sound of the 60’s; a sound that was unlikely ever to be heard again. Totally unlike a modem compressor, it can pull voices forward, help with internal mix balance, and add ‘presence’ to the sound as well as controlling recording volume levels. But its main and unique attribute is it’s ability to produce the characteristic 60’s compressed exciting sound without losing the transient sparkles that are such a feature of good digital recording.
To get the best use out of the compressor it is necessary to understand the basic physics and what it is designed to do. So using a 2: Early compressors which used variable mu thermionic tubes or photoelectric devices only approximated true compression over a limited range. They had a soft ‘threshold’ where compression started and held to a predictable ratio up to a certain level, then they returned to a more linear amplification allowing transients through.
The musical effect is that VCA compressors sound muddy and flat, while the historic compressors sound lively and retain sparkle. But all compressors change the sound to some extent. It is advisable to keep compression to a minimum during recording. The most effective way of using compression is during the mixdown process. There can be no rule as to the correct amount of compression for any particular program material. In rock music, it is possible to use considerable amounts of compression 10dB or more and still for the effect to be slight.
An enhancer or exciter adds a particular type of sparkle to sounds, particularly voices. It appears to create brightness from sounds that were ‘flat’. It adds high frequency sparkle, making singing voices sound more present and exciting without some of the other hissy effects you get from simply turning up the HF equalizer. It is the supreme ‘suck-it-and-see’ device.
Used properly it can create beautiful sounds. Overused it can be horrible. Once the effect is audible, experiment with the three controls to set the desired sound, the controls are very much interdependent and musically related. If in any doubt at all, leave enhancement till the mixdown; its easy to put on but impossible to take off! Under many normal conditions of use, the enhancer has the effect of amplifying selected narrow frequency bands in the upper mid range. The danger is always to overuse the enhancer This has the effect that any noise sounds particularly ‘scratchy’.
The problem is that the existence of these frequencies is common in quality recording. The effect can be reduced to almost nothing with careful use of the drive and enhance controls; but it does take practice. A de-esser is used to remove sibilance from vocals. The Studio Channel is optimized for the three main types of inputs found in recording studios.
XLR microphone inputs are on the front and rear of the unit. On the rear of the unit, the line input is balanced. On the front of the unit there is an unbalanced ‘instrument’ input. A high pass filter push button removes extreme rumble frequencies if required. Generally, the longer the time, the less obvious the compression.
The circuit performs like an audio transformer. XLR input 3kohm approx. Current Sense Impedance matching. Switchable 48V phantom. Input level fromdB to 0dB. Instrument input K impedance unbalanced. Mix input 10K impedance unbalanced. Line in 80dB below operating level Mic in Generally within 0. Line in 6Hz to 20khz within 0. High pass filter switch.
Operates at 25Hz at 12dB per octave. Output approx. Photoresistive servo operated Ratio minimum approx. Attack time 1mS min. Release time mS min 3. POWER 3. IEC socket for power cable.
Joemeek MEQ500 Overview
The Joemeek meQ Series EQ gives you the sought-after sound of the famed Meequalizer, with improved control. You get four bands with boost/cut controls. Mar 4, Can anyone tell me if the other Joe Meek units that have the “meequalizer” printed on it are the same eqs? I have access to buy an old VC3Q.
VIDEO: Joe Meek Meequalizer
This is the first version of the Meequalizer. A little rash from being in a rack and also one of the input housing is cracked on the back, but still accepts a. Joemeek VC5 Meequalizer 2-Channel EQ. By Joemeek. Write the first review. Aw , shucks, nobody is selling one of these today. Sell One Like This.