ONE q manual - Joe Meek · 2012-05-16 · Place Stamp Here JOEMEEK DISTRIBUTED BY PMI AUDIO GROUP...
13
ONE q manual.indd 4/8/05, 9:47 AM 1
Transcript of ONE q manual - Joe Meek · 2012-05-16 · Place Stamp Here JOEMEEK DISTRIBUTED BY PMI AUDIO GROUP...
ONE q manual.indd 4/8/05, 9:47 AM1
Pla
ce
Sta
mp
H
ere
JO
EM
EE
KD
IST
RIB
UT
ED
BY
PM
I AU
DIO
GR
OU
P
1845 W. 169th S
treetG
ardena, CA
90247U
SA
ONE Q
Joem
eek
User
Gui
de
vis
it u
s o
n t
he
we
b a
t j
oe
me
ek
.co
m
ONE q manual.indd 4/8/05, 9:47 AM2-3
3
JOEM
EEK
rebo
rn –
the
leg
end
grow
s
The
Nex
t G
ener
atio
n of
Joe
mee
k st
udio
pro
cess
ors
repr
esen
ts a
qua
ntum
le
ap in
the
his
tory
of
the
Joem
eek
lege
nd.
Long
reg
arde
d fo
r its
“B
ig S
ound
”,
the
orig
inal
Joe
mee
k ge
ar w
as b
oth
reve
red
and
revi
led
for
its s
omew
hat
“qui
rky”
nat
ure.
Now
we
have
tak
en t
he b
est
of w
hat
mad
e th
e Jo
emee
k pr
oduc
ts s
ound
gre
at,
refin
ed it
, di
still
ed it
, ad
ded
to it
and
rep
acka
ged
it.
Pro
perly
and
rob
ustly
eng
inee
red
for
pred
icta
ble,
con
trol
labl
e pe
rfor
man
ce,
the
new
ran
ge r
etai
ns th
e fa
mou
s Jo
emee
k so
und,
with
its
wid
e, fl
at fr
eque
ncy
resp
onse
ext
endi
ng f
rom
sub
soni
c to
ultr
ason
ic.
It al
so u
ses
genu
inel
y lo
w
no
ise
ci
rcu
itry,
w
ith
lots
o
f h
ea
dro
om
(i
mm
un
ity
to
ove
rlo
ad
). A
ccu
rate
ca
libra
tion
and
met
erin
g, t
oget
her
with
cle
ar p
anel
labe
lling
, gi
ve y
ou c
ompl
ete
conf
iden
ce i
n w
hat’s
goi
ng o
n. W
hile
som
e eq
uipm
ent
pays
lip
-ser
vice
to
qual
ity a
nd “
prof
essi
onal
rul
es”
but
fails
to
deliv
er,
the
Nex
t G
ener
atio
n Jo
emee
k pr
oduc
ts a
re fo
unde
d on
goo
d so
lid e
lect
roni
c an
d au
dio
engi
neer
ing,
an
d w
ithst
and
dire
ct c
ompa
rison
with
the
ver
y be
st n
ames
in
mix
ers
and
outb
oard
gea
r.
The
Joe
mee
k ra
nge
prov
ides
eve
ryth
ing
you
need
to
get
your
per
form
ance
on
to t
ape/
disc
.
Abou
t th
e De
sign
er
The
Nex
t G
ener
atio
n of
Joe
mee
k ha
s be
en c
ompl
etel
y re
-eng
inee
red
by
reno
wne
d au
dio
elec
tron
ics
cons
ulta
nt A
llan
Bra
dfor
d. W
ith h
is b
ackg
roun
d in
phy
sics
and
30
year
s ex
perie
nce
with
the
des
ign
of i
nstr
umen
ts,
mix
ers,
pr
oces
sors
and
am
plifi
ers,
Alla
n’s
uniq
ue r
ange
of
expe
rtis
e en
sure
s th
at
Joem
eek
rem
ains
at
the
fore
fron
t of
mus
ic t
echn
olog
y.
Joem
eek
is m
anuf
actu
red
and
mar
kete
d un
der
the
dire
ctio
n of
:
PM
I A
UD
IO G
RO
UP
US
A:
1845
W. 1
69th
Str
eet
Gar
dena
, CA
902
47
toll
free
: 87
7-56
3-63
35
fax:
310
-323
-090
0 em
ail:
info
@jo
emee
k.co
m
UK
: P.
O. B
ox 3
58To
rqua
y, D
evon
TQ
2 5X
S
tel:
+44
(0)
180
321
5111
em
ail:
eus
ales
@jo
emee
k.co
m
Writ
ten
by A
llan
Bra
dfor
d, M
Sc
3
Cont
ents
on
eQ C
on
tro
ls a
t a
Gla
nce
......
......
......
......
......
......
......
.....4
Ove
rvie
w...
......
......
......
......
......
......
......
......
......
......
......
......
.6P
rea
mp
lifie
r...
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
.6In
sert
Poi
nt...
......
......
......
......
......
......
......
......
......
......
......
.....7
C
om
pre
sso
r...
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
8 M
eequ
aliz
er...
......
......
......
......
......
......
......
......
......
......
......
..10
Enh
ance
r...
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
...1
2D
e-E
sse
r...
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
...1
2O
utpu
t S
tage
......
......
......
......
......
......
......
......
......
......
......
...12
Dig
ital I
nter
face
......
......
......
......
......
......
......
......
......
......
......
13
Usi
ng
th
e o
neQ
......
......
......
......
......
......
......
......
......
......
...14
Get
ting
Con
nect
ed...
......
......
......
......
......
......
......
......
......
....1
4U
sing
the
Pre
amp.
......
......
......
......
......
......
......
......
......
......
..14
Usi
ng t
he C
ompr
esso
r.....
......
......
......
......
......
......
......
......
..15
Usi
ng t
he M
eequ
aliz
er...
......
......
......
......
......
......
......
......
....1
5 U
sing
the
Enh
ance
r.....
......
......
......
......
......
......
......
......
......
15U
sing
the
De-
Ess
er...
......
......
......
......
......
......
......
......
......
..16
Usi
ng th
e O
utpu
t Sta
ge...
......
......
......
......
......
......
......
......
...16
Tro
ub
lesh
oo
tin
g...
......
......
......
......
......
......
......
......
......
.....1
6
Tech
nic
al S
pec
ific
atio
n...
......
......
......
......
......
......
......
......
18
ONE q manual.indd 4/8/05, 9:47 AM4-5
54
48
V P
HA
NT
OM
PO
WE
R s
wit
ch
- f
ee
ds
48
V p
ow
er
to t
he
mic
rop
ho
ne
XL
R
con
ne
cto
rs.
Mo
st c
on
de
nse
r m
icro
ph
on
es
req
uir
e p
ha
nto
m p
ow
er
to o
pe
rate
.
IRO
N s
wit
ch -
sel
ects
tra
nsfo
rmer
cou
plin
g of
the
Mic
(X
LR)
inpu
ts.
The
LE
D
light
s w
hen
activ
e.
PA
D s
wit
ch -
sel
ects
20d
B a
ttenu
atio
n of
the
Mic
(X
LR)
inpu
ts.
The
LE
D li
ghts
w
hen
activ
e.
LIN
E s
wit
ch -
sel
ects
the
Line
and
INS
TR
umen
t (1/
4” ja
ck)
inpu
ts in
stea
d of
the
Mic
(X
LR)
inpu
t. T
he L
ED
ligh
ts w
hen
activ
e.
Ø s
wit
ch -
rev
erse
s th
e ph
ase
of a
ll in
puts
.
MIC
in
pu
t –
low
im
peda
nce
mic
roph
one
inpu
t. P
aral
lels
the
Rea
r P
anel
MIC
so
cket
. Use
onl
y on
e of
thes
e tw
o so
cket
s at
a ti
me.
INS
TR
um
ent
inp
ut
– hi
gh im
peda
nce
inpu
t. P
lugg
ing
in h
ere
over
rides
any
thin
g pl
ugge
d in
to th
e Li
ne in
put.
PR
EA
MP
GA
IN -
set
s th
e am
ount
of
audi
o am
plifi
catio
n. T
oo li
ttle
gain
and
the
so
und
will
be
too
quie
t; to
o m
uch
and
the
sign
al c
ould
bec
ome
dist
orte
d.
PE
AK
LE
D -
ligh
ts 6
dB b
elow
clip
ping
.
HP
F -
“hi
gh-p
ass
filte
r”. M
ainl
y fo
r us
e w
ith m
icro
phon
es, t
his
help
s re
mov
e st
age
rum
ble,
han
dlin
g no
ise
and
“pop
s”. T
he L
ED
ligh
ts w
hen
activ
e.
ME
TE
R -
ana
logu
e m
ovem
ent
show
s ou
tput
sig
nal
leve
l (V
U),
pre
amp
sign
al
leve
l or
the
amou
nt o
f C
ompr
esso
r ga
in r
educ
tion
(GR
) in
dB
, de
pend
ing
on t
he
setti
ngs
of t
he M
eter
sw
itche
s. T
he
“PR
E”
switc
h ov
errid
es b
oth
“VU
” an
d “G
R”
met
erin
g.
CO
MP
RE
SS
- s
ets
the
leve
l of
sig
nal
(or
“Thr
esho
ld”)
abo
ve w
hich
the
sig
nal
star
ts to
be
com
pres
sed.
SL
OP
E -
set
s th
e co
mpr
essi
on r
atio
app
lied
to s
igna
ls a
bove
thre
shol
d.
AT
TAC
K -
set
s ho
w q
uick
ly th
e co
mpr
esso
r re
spon
ds to
pea
ks a
bove
thre
shol
d.
RE
LE
AS
E -
set
s th
e tim
e ta
ken
for
the
sign
al t
o re
turn
to
its n
orm
al s
ize
afte
r co
mpr
essi
on. I
n ge
nera
l, th
e lo
nger
the
time,
the
less
obv
ious
the
com
pres
sion
.
MA
KE
UP
GA
IN -
res
tore
s th
e le
vel o
f the
sig
nal a
fter
com
pres
sion
.
PO
ST
EQ
sw
itch
– p
lace
s th
e C
ompr
esso
r af
ter
the
Mee
qual
izer
in
the
sign
al
path
. (W
hen
this
sw
itch
is o
ut t
he C
ompr
esso
r is
bef
ore
the
Mee
qual
izer
in
the
sign
al p
ath)
. The
LE
D li
ghts
whe
n ac
tive.
CO
MP
LIN
K –
for
ste
reo
wor
k, t
he m
aste
r on
eQ’s
“C
ompr
ess”
, “A
ttack
” an
d “R
elea
se”
cont
rol b
oth
mas
ter
and
slav
e on
eQ (
the
corr
espo
ndin
g sl
ave
oneQ
’s
cont
rols
are
red
unda
nt).
Thi
s av
oids
ste
reo
imag
e sh
ifts.
All
othe
r co
ntro
ls s
till
oper
ate
inde
pend
ently
on
both
mas
ter
and
slav
e an
d m
ust
be s
et t
he s
ame
for
corr
ect s
tere
o ba
lanc
e.
Co
mp
ress
or
ON
sw
itch
- tu
rns
the
com
pres
sor
on. T
he L
ED
ligh
ts w
hen
activ
e.
LF
- c
ontr
ols
the
volu
me
of L
ow F
requ
enci
es o
r “B
ass”
in th
e au
dio
spec
trum
. 15
dB o
f boo
st o
r cu
t is
avai
labl
e at
the
sele
cted
freq
uenc
y.
120H
z sw
itch
- s
ets
the
freq
uenc
y at
whi
ch t
he H
F c
ontr
ol o
pera
tes,
in
for
120H
z, o
ut fo
r 80
Hz.
The
LE
D li
ghts
whe
n in
.
LM
- c
ontr
ols
the
Low
er M
iddl
e fr
eque
ncie
s in
the
aud
io s
pect
rum
. 15
dB o
f bo
ost o
r cu
t is
avai
labl
e at
the
sele
cted
freq
uenc
y.
LM
FR
EQ
- s
ets
the
freq
uenc
y at
whi
ch t
he L
M c
ontr
ol o
pera
tes,
any
whe
re
from
200
Hz
to 2
kHz.
HM
- c
ontr
ols
the
Hig
her
Mid
dle
freq
uenc
ies
in t
he a
udio
spe
ctru
m.
15dB
of
boos
t or
cut i
s av
aila
ble
at th
e se
lect
ed fr
eque
ncy.
HM
FR
EQ
- s
ets
the
freq
uenc
y at
whi
ch t
he H
M c
ontr
ol o
pera
tes,
any
whe
re
from
1kH
z to
6kH
z.
HF
- c
on
tro
ls t
he
vo
lum
e o
f th
e H
igh
Fre
qu
en
cie
s o
r “T
reb
le”
in t
he
au
dio
sp
ect
rum
. 1
5d
B o
f b
oo
st o
r cu
t is
ava
ilab
le a
t th
e s
ele
cte
d f
req
ue
ncy
.
7kH
z sw
itch
- s
ets
the
freq
uenc
y at
whi
ch t
he H
F c
ontr
ol o
pera
tes,
in
for
7kH
z, o
ut fo
r 14
KH
z. T
he L
ED
ligh
ts w
hen
in.
EQ
ON
sw
itch
- tu
rns
the
equa
lizer
on.
The
LE
D li
ghts
whe
n ac
tive.
En
han
cer
EF
FE
CT
– s
ets
the
amou
nt o
f enh
ance
men
t.
En
han
cer
RA
NG
E –
set
s th
e fr
eque
ncy
abov
e w
hich
enh
ance
men
t is
appl
ied.
En
han
cer
Q –
add
s a
reso
nant
pea
k at
the
fre
quen
cy s
et b
y th
e R
AN
GE
co
ntro
l.
En
han
cer
ON
sw
itch
- tu
rns
the
Enh
ance
r on
. The
LE
D li
ghts
whe
n ac
tive.
De-
Ess
er T
UN
E –
set
s fr
eque
ncy
at w
hich
gai
n re
duct
ion
take
s pl
ace.
De
-Es
se
r L
IST
EN
sw
itc
h –
ass
ists
with
tu
nin
g i
nto
th
e “
Ess
” so
un
d b
y lis
ten
ing
to
the
outp
ut o
f the
sid
e ch
ain
filte
r. T
he L
ED
ligh
ts w
hen
activ
e.
DE
-ES
S –
set
s th
e th
resh
old
abov
e w
hich
gai
n re
duct
ion
is a
pplie
d to
the
“Ess
” so
und.
The
red
“D
e_E
ss”
LED
ligh
ts w
hen
gain
red
uctio
n is
taki
ng p
lace
.
De-
Ess
er O
N s
wit
ch -
turn
s th
e E
nhan
cer
on. T
he L
ED
ligh
ts w
hen
activ
e.
OU
TP
UT
GA
IN -
the
volu
me
cont
rol o
r “F
ader
” fo
r th
e ou
tput
of t
he o
neQ
.
PE
AK
FS
D L
ED
- li
ghts
6dB
bel
ow c
lippi
ng.
“FS
D”
mea
ns “
Ful
l Sca
le D
igita
l” an
d th
is L
ED
als
o w
arns
you
if th
e D
igita
l Int
erfa
ce is
abo
ut to
be
over
load
ed.
‘EX
T C
LK
’ L
ED
-
illum
inat
es w
hen
the
oneQ
’s d
igita
l ou
tput
is
succ
essf
ully
lo
cked
to a
n ex
tern
al w
ord
cloc
k.
+4d
Bu
/-10
dB
v sw
itch
- s
elec
ts t
he o
pera
ting
leve
l of
the
1/4
” ja
ck o
utpu
t, ei
ther
to th
e pr
ofes
sion
al +
4dB
u le
vel,
or to
the
-10d
Bv
sem
i-pro
leve
l.
oneQ
Con
trol
s at
a G
lanc
e
ONE q manual.indd 4/8/05, 9:47 AM6-7
76Ov
ervi
ew
The
JO
EM
EE
K o
neQ
is
like
havi
ng o
ne c
hann
el o
f a
prof
essi
onal
rec
ordi
ng
stud
io i
n on
e bo
x. I
t ta
kes
mic
roph
ones
or
inst
rum
ents
, am
plifi
es t
hem
, co
mpr
esse
s an
d eq
ualiz
es t
hem
rea
dy t
o be
rec
orde
d. S
impl
e to
use
yet
ex
trem
ely
pow
erfu
l, th
e on
eQ w
ill b
ring
out
the
best
in
any
mic
roph
one
or
inst
rum
ent
and
give
the
glo
ss o
f a
prof
essi
onal
stu
dio
prod
uctio
n to
all
your
pe
rfor
man
ces.
As
wel
l as
reco
rdin
g it
will
als
o be
foun
d us
eful
for
live
wor
k.
Th
ink
of
the
on
eQ a
s si
x se
par
ate
item
s o
f eq
uip
men
t:
• T
he
Pre
amp
lifie
r•
Th
e JO
EM
EE
K O
pti
cal
Co
mp
ress
or
• T
he
Mee
qu
aliz
er•
Th
e E
nh
ance
r•
Th
e D
e-E
sser
• T
he
Fad
er
Prea
mpl
ifie
r
Thi
s is
the
all-
impo
rtan
t fr
ont
end
to t
he o
neQ
. Its
job
is t
o ac
cept
any
typ
e of
mic
roph
one,
ins
trum
ent
or o
ther
sou
rce
of a
udio
sig
nal,
and
mak
e it
loud
eno
ugh.
Mic
roph
ones
ofte
n ne
ed r
athe
r a
lot
of a
mpl
ifica
tion,
whi
le
guita
rs,
keyb
oard
s an
d C
D p
laye
rs n
eed
less
. M
ics
need
to
be c
onne
cted
to
low
im
peda
nce
inpu
ts,
whi
le i
nstr
umen
ts p
refe
r hi
gh i
mpe
danc
e in
puts
. To
ens
ure
corr
ect
impe
danc
e m
atch
ing,
the
inp
uts
are
split
int
o an
XLR
co
nnec
tor
for
Mic
s, a
nd 1
/4”
jack
“Li
ne”
and
“IN
ST
Rum
ent”
con
nect
ors
for
ever
ythi
ng e
lse.
A s
witc
h on
the
fron
t pan
el d
ecid
es w
hich
inpu
t con
nect
or is
ac
tive,
the
XLR
or
the
1/4”
jack
s. T
he L
ED
nex
t to
the
sw
itch
light
s to
sho
w
that
the
Lin
e in
puts
(ja
cks)
are
sel
ecte
d. I
n ot
her
wor
ds:-
Sw
itch
out
(LE
D o
ff) =
“M
ic”
Sw
itch
in (
LED
on)
= “
Line
” or
“In
str”
Bot
h M
ic a
nd L
ine
inpu
ts a
re e
lect
roni
cally
bal
ance
d. N
ote:
alth
ough
th
e L
ine
in
pu
t is
no
t n
orm
ally
use
d f
or
mic
rop
ho
ne
s, i
t ca
n a
lso
be
su
itab
le f
or
som
e h
igh
ou
tpu
t u
nb
ala
nce
d m
icro
ph
on
es,
su
ch a
s b
att
ery
pow
ered
Ele
ctre
t ty
pes.
The
fro
nt a
nd r
ear
pane
l Mic
inpu
ts (
XLR
) ar
e ba
lanc
ed a
nd w
ired
as
follo
ws:
Pin
2:
+ (
hot)
Pin
3:
- (c
old)
Pin
1:
grou
nd
The
Lin
e in
put
(jack
) is
bal
ance
d an
d w
ired
as f
ollo
ws:
Tip
: +
(ho
t)R
ing:
- (
cold
)S
leev
e: g
roun
d
The
fron
t pan
el In
stru
men
t inp
ut (
jack
) is
bal
ance
d an
d w
ired
as fo
llow
s:T
ip:
+ (
hot)
Sle
eve:
gro
und
(NB
: us
e a
mon
o ja
ck p
lug)
.
Not
e th
at i
f so
met
hing
is
plug
ged
into
the
Ins
trum
ent
inpu
t, an
ythi
ng
plug
ged
into
the
rea
r pa
nel L
ine
inpu
t w
ill b
e cu
t of
f.
Ph
anto
m p
ow
erM
ost
high
-qua
lity
stud
io m
ics
are
“Pha
ntom
pow
ered
”, w
hich
is
to
say
they
hav
e el
ectr
onic
s in
side
the
m,
whi
ch g
et t
heir
pow
er f
rom
the
pr
eam
p. M
ost
mic
s re
quire
a s
uppl
y of
48
Vol
ts,
so P
hant
om P
ower
is
ofte
n la
belle
d “4
8V”.
The
“48
V”
switc
h tu
rns
this
pow
er o
n or
off
and
a re
d LE
D l
ight
s w
hen
activ
e. W
hen
switc
hing
the
Pha
ntom
Pow
er
on,
quite
a l
oud
thum
p m
ay b
e pr
oduc
ed,
so i
t is
a g
ood
idea
to
turn
do
wn
the
Out
put
Gai
n (o
r to
mom
enta
rily
sele
ct t
he L
ine
inpu
t),
whe
n pr
essi
ng t
he s
witc
h.
Whe
n us
ing
dyna
mic
or
ribbo
n m
ics,
do
not
turn
Pha
ntom
Pow
er o
n. I
t pr
obab
ly w
on’t
do a
ny h
arm
but
it
cert
ainl
y w
on’t
do a
ny g
ood,
so
leav
e it
off!
Con
sult
the
mic
roph
one
hand
book
if
you
are
unsu
re w
hat
kind
of
mic
yo
u ha
ve.
The
mai
n co
ntro
l, la
belle
d “I
nput
Gai
n”,
cove
rs a
ran
ge o
f am
plifi
catio
n fr
om 1
0dB
to
60dB
. In
man
y ot
her
prea
mps
the
act
ion
of t
he G
ain
cont
rol
is r
athe
r un
even
, w
ith t
he 4
0dB
to
60dB
ran
ge b
eing
cra
mm
ed in
to t
he la
st
1/6t
h of
a t
urn.
All
Joem
eek
prea
mps
use
a s
peci
ally
des
igne
d co
ntro
l tha
t en
sure
s sm
ooth
ope
ratio
n ov
er t
he w
hole
ran
ge o
f ro
tatio
n. T
he (
0) s
ymbo
l ne
xt t
o th
e 25
dB m
ark,
mea
ns u
nity
gai
n, o
r 0d
B,
for
a si
gnal
in
the
Line
in
put.
Hen
ce f
or L
ine
inpu
ts t
he r
ange
of
gain
adj
ustm
ent
eith
er s
ide
of t
his
mar
k, is
+35
dB,
-15d
B.
The
PE
AK
LE
D l
ight
s 6d
B b
elow
clip
ping
, so
occ
asio
nal
brie
f fla
shes
are
O
K b
ut if
it’s
on
all t
he t
ime
you
need
to
back
the
Inp
ut G
ain
off!
HP
F m
eans
“hi
gh-p
ass
filte
r”.
Mai
nly
for
use
with
mic
roph
ones
, th
is h
elps
re
mov
e st
age
rum
ble,
han
dlin
g no
ise
and
“pop
s”.
The
LE
D l
ight
s w
hen
activ
e.
Tech
nic
al s
tuff
Ver
y lo
w n
oise
- d
oes
it m
atte
r? Y
es a
nd n
o, i
t al
l de
pend
s w
hat
you
are
doin
g -
wha
t re
ally
mat
ters
is “
sign
al-t
o-no
ise
ratio
”. A
ll el
ectr
onic
s pr
oduc
e a
cert
ain
amou
nt o
f bac
kgro
und
nois
e -
it’s
in th
e na
ture
of t
hing
s. P
rovi
ding
th
ere
is o
nly
a re
lativ
ely
smal
l am
ount
of n
oise
, the
sig
nal w
ill c
over
it u
p, o
r “m
ask”
it.
So
prov
idin
g th
e si
gnal
is m
uch
bigg
er t
han
the
nois
e, y
ou w
on’t
be a
war
e of
the
nois
e. In
oth
er w
ords
the
“sig
nal-t
o-no
ise
ratio
” ne
eds
to b
e a
big
num
ber,
idea
lly s
uch
as 8
0dB
or
90dB
.
So
how
do
you
achi
eve
that
in p
ract
ice?
The
tric
k is
to k
eep
the
mic
roph
one
as c
lose
to th
e so
und
sour
ce a
s po
ssib
le w
ithou
t ove
rload
ing
it, s
o as
to g
et
as m
uch
sign
al o
ut o
f it
as p
ossi
ble.
The
n yo
u se
t th
e G
ain
cont
rol t
o gi
ve
only
as
muc
h ga
in a
s is
nee
ded
to g
et a
dec
ent
leve
l int
o th
e re
cord
er.
Of
cou
rse
wh
en
th
ere
is
no
sig
na
l g
oin
g o
n,
you
ma
y h
ea
r th
e
ba
ckg
rou
nd
noi
se o
f th
e el
ectr
onic
s. I
n th
at c
ase,
giv
en t
he a
mou
nt
of g
ain
in a
typ
ical
stu
dio
mon
itorin
g sy
stem
, th
is n
oise
“flo
or”
shou
ld
idea
lly b
e in
the
reg
ion
of -
80dB
u or
low
er,
in o
rder
for
it
not
to b
e no
ticed
.
The
one
Q m
icro
phon
e pr
eam
plifi
er u
ses
stat
e-of
-the
-art
ele
ctro
nics
an
d ha
s an
equ
ival
ent
inpu
t no
ise
of a
roun
d -1
28dB
u (w
ith 1
50oh
m
inpu
t loa
d). D
espi
te a
ll th
e hy
perb
olae
and
obf
usca
tion,
the
theo
retic
al b
est
poss
ible
per
form
ance
for
sili
con-
base
d el
ectr
onic
s is
abo
ut -
132d
Bu.
S
o th
e pr
eam
plifi
er d
esig
n us
ed i
n th
e on
eQ a
nd a
ll ot
her
Nex
tGen
Jo
emee
k pr
oduc
ts a
ppro
ache
s th
is l
imit.
To
impr
ove
sign
ifica
ntly
on
this
wou
ld r
equi
re h
ighl
y sp
ecia
lised
ele
ctro
nics
and
pro
babl
y a
vat
of
liqui
d N
itrog
en t
o co
ol it
!
The
max
imum
gai
n av
aila
ble
from
the
pre
amp
is 6
0dB
, in
whi
ch c
ase
the
nois
e flo
or w
ill b
e -6
8dB
u. T
his
is a
ctua
lly q
uite
noi
sy -
if y
ou r
ecor
d th
at n
oise
ont
o a
digi
tal
reco
rder
and
pla
y it
back
you
can
def
inite
ly
hear
it. I
n pr
actic
e of
cou
rse,
you
do
not r
ecor
d an
d pl
ay b
ack
“sile
nce”
an
d th
e re
st o
f th
e m
ix w
ill p
roba
bly
be m
ore
than
70d
B l
oude
r th
an
this
noi
se a
nd w
ill m
ask
it co
mpl
etel
y. E
ven
so i
t is
gen
eral
ly a
goo
d id
ea n
ot t
o us
e ga
ins
grea
ter
than
40d
B o
r 50
dB a
nd in
deed
, it
shou
ld
rare
ly b
e ne
cess
ary
to d
o so
.
Inse
rt P
oint
Thi
s is
sim
ply
an u
nbal
ance
d “S
end
and
Ret
urn”
jack
on
the
rear
pan
el.
It al
low
s yo
u to
pat
ch a
ny o
ther
pie
ces
of e
quip
men
t in
to t
he s
igna
l pa
th, s
uch
as a
n ef
fect
s pr
oces
sor
or n
oise
gat
e. T
o us
e it
you
will
nee
d a
“Y”
lead
wire
d as
fol
low
s:
Tip
: se
ndR
ing:
ret
urn
Sle
eve:
gro
und
ONE q manual.indd 4/8/05, 9:47 AM8-9
9
the
thre
shol
d of
hea
ring
(eg:
a p
in d
ropp
ing
onto
sof
t car
pet)
to th
resh
old
of
pain
(eg
: st
andi
ng n
ext
to a
jet
airc
raft)
- s
ome
120d
BA
in
all.
By
cont
rast
, vi
nyl,
cass
ette
tape
and
rad
io b
road
cast
s al
l hav
e a
dyna
mic
ran
ge o
f abo
ut
half
that
. S
ince
the
adv
ent
of t
he C
D,
the
dyna
mic
ran
ge o
f th
e m
ediu
m is
fa
r le
ss o
f an
issu
e an
d co
mpr
esso
rs a
re u
sed
mor
e to
giv
e a
cert
ain
“fee
l” to
a p
rodu
ctio
n. A
M a
nd F
M r
adio
how
ever
, is
stil
l ve
ry m
uch
com
pres
sed
to f
it its
res
tric
ted
dyna
mic
ran
ge.
5. M
od
ific
atio
nA
com
pres
sor
can
chan
ge t
he d
ynam
ics,
or
“env
elop
e” o
f th
e tr
ack
and
it is
he
re t
hat
the
Joem
eek
Com
pres
sor
exce
ls!
Typ
es o
f C
om
pre
sso
rM
ost
com
pres
sors
wor
k in
ess
entia
lly t
he s
ame
way
: a
volu
me-
cont
rolli
ng
elem
ent
or “
gain
cel
l” is
inse
rted
into
the
aud
io s
igna
l pat
h. T
he le
vel o
f th
e si
gnal
at
any
give
n m
omen
t is
mea
sure
d an
d th
at i
nfor
mat
ion
is u
sed
to
cont
rol t
he g
ain
cell.
So
if th
e si
gnal
get
s bi
gger
, the
vol
ume
is tu
rned
dow
n.
Var
ious
typ
es o
f ga
in c
ell
in c
omm
on u
se i
nclu
de F
ETs
, va
lves
(tu
bes)
, lig
ht-d
epen
dent
-res
isto
rs (
phot
oele
ctric
), d
igita
l po
tent
iom
eter
s an
d vo
ltage
-co
ntro
lled-
ampl
ifier
s, b
ette
r kn
own
as V
CA
s.
The
one
Q C
ompr
esso
r is
a u
niqu
e re
crea
tion
of t
he s
ort
of p
hoto
elec
tric
co
mpr
esso
r us
ed b
y re
cord
pro
duce
r Jo
e M
eek
in th
e 19
60’s
. Usi
ng m
oder
n co
mpo
nent
s fo
r co
nsis
tenc
y an
d re
liabi
lity,
it n
onet
hele
ss r
epro
duce
s fa
ithfu
lly
the
sam
e pu
nchy
sou
nd t
hat
was
so
char
acte
ristic
of
the
pop
reco
rds
of
that
tim
e.
Co
mp
ress
ion
Rat
ioW
hat?
? O
K, i
t’s s
impl
er th
an it
sou
nds.
If th
e in
put g
ets
10dB
loud
er b
ut th
e ou
tput
onl
y in
crea
ses
by 5
dB t
hen
the
com
pres
sion
rat
io i
s “2
to
1”.
If th
e in
put
goes
up
10dB
but
the
out
put
only
goe
s up
1dB
, th
en t
he c
ompr
essi
on
ratio
is
“10
to 1
”. I
n a
theo
retic
ally
ide
al c
ompr
esso
r, th
is r
atio
is
the
sam
e fo
r an
y si
ze o
f sig
nal a
bove
the
thre
shol
d bu
t for
that
to b
e tr
ue, t
he g
ain
cell
and
its c
ontr
ol c
ircui
try
mus
t be
per
fect
ly l
inea
r ov
er a
ver
y w
ide
rang
e. I
n
prac
tice
only
com
pres
sors
bas
ed o
n V
CA
s an
d di
gita
l po
tent
iom
eter
s ar
e lik
ely
to b
ehav
e in
thi
s w
ay.
Som
e co
mpr
esso
rs h
ave
a co
ntro
l to
set
the
rat
io a
nyw
here
bet
wee
n 1:
1 (ie
: no
com
pres
sion
), a
nd 2
0:1
(whi
ch w
ould
be
rega
rded
as
a “b
rick
wal
l lim
iter”
). I
n th
e on
eQ t
he “
Slo
pe”
or “
Com
pres
sion
Rat
io”
is
varia
ble
from
1:1
(ie
: no
com
pres
sion
) to
10:
1. S
lope
s ar
ound
3:1
are
ge
ntle
for
voc
als
whi
le h
ighe
r sl
opes
are
har
d fo
r dr
ums
and
guita
rs.
How
ever
tha
t’s n
ot a
ll th
ere
is t
o it.
Var
iab
le R
atio
In t
he J
oem
eek
optic
al c
ompr
esso
r th
e co
mpr
essi
on ‘t
hres
hold
’ is
not
clea
rly d
efin
ed a
nd t
he c
ompr
essi
on r
atio
var
ies
with
the
am
ount
of
com
pres
sion
app
lied.
Sup
pose
the
‘S
lope
’ co
ntro
l is
set
to
5:1.
For
si
gnal
s on
ly j
ust
exce
edin
g th
resh
old,
the
rat
io i
s lit
tle m
ore
than
1:1
. A
s th
e co
mpr
esso
r is
driv
en h
arde
r, th
e ra
tio r
ises
to 5
:1, a
t lea
st u
p to
a
poin
t. It
is a
feat
ure
of th
e Jo
emee
k co
mpr
esso
r th
at th
e co
mpr
essi
on
ratio
act
ually
redu
ces
agai
n du
ring
larg
e tr
ansi
ents
and
, adj
uste
d co
rrec
tly,
this
he
lps
to r
eta
in b
rig
htn
ess
th
at
is o
fte
n l
ost
with
oth
er
typ
es
of
com
pre
sso
r. T
his
is w
hy v
inta
ge c
ompr
esso
rs o
ften
soun
d m
ore
livel
y th
an t
heir
mod
ern
coun
terp
arts
.
Co
ntr
ols
‘CO
MP
RE
SS
’ se
ts t
he l
evel
of
sign
al (
the
“Thr
esho
ld”)
abo
ve w
hich
th
e si
gnal
sta
rts
to b
e co
mpr
esse
d. T
urni
ng t
he c
ompr
essi
on c
ontr
ol
cloc
kwis
e lo
wer
s th
e co
mpr
essi
on th
resh
old,
and
driv
es th
e co
mpr
esso
r ha
rder
.
‘SL
OP
E’ s
ets
the
aver
age
com
pres
sion
rat
io a
pplie
d to
sig
nals
abo
ve
thre
shol
d. L
ower
set
tings
(an
ti-cl
ockw
ise)
hav
e le
ss e
ffect
. T
urni
ng
the
con
tro
l cl
ock
wis
e i
ncr
ea
ses
the
ra
tio a
nd
ma
kes
the
eff
ect
s o
f co
mp
ress
ion
mo
re d
ram
atic
. A
t m
axi
mu
m (
10
:1)
the
Jo
em
ee
k co
mp
ress
or
eff
ect
ive
ly b
eco
me
s a
lim
iter.
8W
hen
no ja
ck is
inse
rted
, th
e so
cket
is in
tern
ally
link
ed,
or “
norm
alle
d”,
so
that
the
sig
nal
flow
s un
inte
rrup
ted.
Not
e th
at t
he I
nser
t P
oint
is
afte
r th
e P
ream
p bu
t be
fore
the
Com
pres
sor
and
EQ
.
ME
TE
RT
he a
nalo
gue
met
er d
ispl
ays
one
of t
hree
thi
ngs,
dep
endi
ng o
n th
e se
tting
of
the
“M
ET
ER
” sw
itche
s.In
VU
mod
e (G
R s
witc
h ou
t),
the
Met
er s
how
s si
gnal
lev
el a
t th
e ou
tput
s,
afte
r th
e O
utpu
t G
ain
fade
r. N
ote
that
thi
s is
rel
ativ
e to
the
sel
ecte
d op
er-
atin
g le
vel
of “
+4d
Bu”
or
“-10
dBv”
. In
oth
er w
ords
if
you
have
sel
ecte
d “+
4dB
u” a
nd t
he m
eter
rea
ds “
0”,
then
you
hav
e +
4dB
u co
min
g ou
t of
the
1/
4” ja
ck o
utpu
t so
cket
. If
you
have
sel
ecte
d “-
10dB
v” a
nd t
he m
eter
rea
ds
“0”,
the
n yo
u ha
ve -
10dB
v co
min
g ou
t of
the
out
put
jack
.
In G
ain
Red
uctio
n m
ode
(GR
sw
itch
in),
the
Met
er c
hang
es t
o re
ad “
0”dB
, w
hen
no s
igna
l is
pre
sent
. W
hene
ver
the
com
pres
sor
redu
ces
the
gain
of
a si
gnal
, th
e m
eter
the
n m
oves
“ba
ckw
ards
” to
sho
w t
he a
mou
nt o
f ga
in
redu
ctio
n ta
king
pla
ce a
t an
y m
omen
t. N
ote
that
unl
ike
man
y ot
her
prod
-uc
ts,
in t
he o
neQ
thi
s re
adin
g is
a t
rue
mea
sure
men
t of
gai
n re
duct
ion,
de
rived
by
com
parin
g th
e in
put
and
outp
ut o
f th
e P
hoto
Opt
ical
gai
n ce
ll.
The
thi
rd m
ode
“PR
E”
allo
ws
the
outp
ut o
f th
e pr
eam
p to
be
met
ered
di
rect
ly,
rath
er li
ke t
he “
PF
L” b
utto
n on
a m
ixin
g co
nsol
e. T
his
is u
sefu
l for
ad
just
ing
the
gain
of
the
Pre
amp.
The
mom
enta
ry ‘
PR
E’
switc
h ov
errid
es
both
‘VU
’ and
‘GR
’ met
erin
g.
Com
pres
sor
The
ha
rdes
t de
vice
to
un
ders
tand
, ye
t on
e of
th
e m
ost
usef
ul,
the
Pho
toO
ptic
al C
ompr
esso
r is
wha
t gi
ves
Joem
eek
prod
ucts
the
ir un
ique
ch
arac
ter.
Its j
ob i
s to
mak
e qu
iet
soun
ds l
oude
r an
d lo
ud s
ound
s qu
iete
r, or
in o
ther
wor
ds t
o re
duce
the
dyn
amic
ran
ge o
f th
e pr
ogra
mm
e m
ater
ial.
It’s
a bi
t lik
e m
anua
lly r
idin
g th
e vo
lum
e co
ntro
l, ex
cept
the
com
pres
sor
does
it a
utom
atic
ally
, re
spon
ding
far
qui
cker
and
mor
e ac
cura
tely
tha
n yo
u ev
er c
ould
by
hand
. T
he c
ompr
esso
r is
app
lied
in s
ever
al w
ays:
1. M
ake
So
un
ds
Sta
nd
Ou
tB
ecau
se c
ompr
esso
rs m
ake
loud
sou
nds
quie
ter,
you
can
boos
t th
e vo
lum
e of
the
qui
et b
its w
ithou
t th
e lo
ud b
its g
ettin
g ev
en lo
uder
. T
hat
mea
ns y
ou c
an r
aise
the
aver
age
leve
l of a
n in
stru
men
t or
voca
l in
the
mix
, w
hich
has
the
effe
ct o
f lif
ting
it an
d br
ingi
ng it
for
war
ds.
Thi
s ca
n ac
tual
ly im
prov
e vo
cals
for
exam
ple,
brin
ging
them
out
in fr
ont o
f a m
ix,
mak
ing
them
sou
nd d
ense
r, m
ore
even
, an
d m
ore
conf
iden
t!
2. C
ran
k U
p T
he
Vo
lum
eR
aisi
ng t
he a
vera
ge v
olum
e of
who
le m
ixes
mea
ns t
hey
can
be h
eard
in
noi
sy e
nviro
nmen
ts,
such
as
vehi
cles
and
fac
torie
s. B
oost
ing
the
aver
age
leve
l is
wha
t mak
es r
adio
sta
tions
sou
nd L
OU
D a
nd th
e sa
me
tech
niqu
e is
use
d on
TV
com
mer
cial
s to
o, w
hich
is
why
the
y al
way
s se
em a
nnoy
ingl
y lo
uder
tha
n th
e m
ovie
you
wer
e tr
ying
to
wat
ch!
3. P
rote
ctio
nF
ast
resp
onse
tim
es a
re g
ener
ally
use
d to
con
trol
brie
f tr
ansi
ents
. In
ot
her
wor
ds i
f an
occ
asio
nal
peak
stic
ks i
ts h
ead
abov
e a
max
imum
pe
rmitt
ed l
evel
, th
e co
mpr
esso
r cl
obbe
rs i
t; th
is i
s kn
own
as l
imiti
ng
and
a co
mpr
esso
r de
sign
ed s
olel
y fo
r th
is p
urpo
se i
s kn
own
as a
Li
mite
r. Li
mite
rs a
re p
rimar
ily u
sed
to p
rote
ct r
ecor
ders
and
mon
itor
syst
ems
from
ove
rload
, ra
dio
tran
smitt
ers
from
ove
rmod
ulat
ion,
etc
. T
he J
oem
eek
com
pres
sor
is n
ot p
rimar
ily in
tend
ed f
or t
his
purp
ose
as
the
Atta
ck is
not
rea
lly f
ast
enou
gh t
o sa
tisfy
rad
io s
tatio
n re
quire
men
ts,
alth
ough
it is
gen
eral
ly g
ood
enou
gh to
pro
tect
rec
orde
rs a
nd m
onito
rs,
whe
re t
he e
ffect
of
tran
sien
ts i
s le
ss c
ritic
al.
Nor
mal
ly y
ou s
houl
d no
t he
ar a
lim
iter
oper
atin
g bu
t if
it is
driv
en h
ard
cons
tant
ly,
it ca
n re
nder
a
mix
som
ewha
t fla
t an
d lif
eles
s.
4. A
cco
mm
od
atio
nT
he d
ynam
ic r
ange
of
the
hum
an e
ar i
s ph
enom
enal
, ex
tend
ing
from
ONE q manual.indd 4/8/05, 9:47 AM10-11
11
The
Upp
er M
id b
and
can
be t
uned
or
“sw
ept”
any
whe
re b
etw
een
1kH
z an
d 6k
Hz.
Cut
ting
the
Upp
er M
id c
an r
educ
e si
bila
nce
or o
ther
ann
oyin
g re
sona
nces
. B
oost
ing
can
brin
g ou
t th
e ha
rmon
ics
of in
stru
men
ts o
r m
ake
voca
ls m
ore
dist
inct
. Inc
reas
ing
or r
educ
ing
the
“pre
senc
e” o
f an
inst
rum
ent
or v
ocal
in t
his
way
, ca
n ap
pear
to
mov
e th
e so
und
forw
ards
or
back
war
ds
in a
mix
.
The
HF
or
treb
le s
ectio
n is
cen
tred
at
eith
er 7
kHz
or 1
4kH
z. B
oost
ing
the
14kH
z ba
nd g
ives
a s
ense
of
“air”
or
“spa
rkle
” to
voc
als,
ins
trum
ents
and
m
ixes
, w
ithou
t bo
ostin
g ha
rsh
uppe
r-m
id f
requ
enci
es.
Alte
rnat
ivel
y w
ith
bass
ins
trum
ents
, cu
tting
thi
s ba
nd w
ill r
educ
e H
F n
oise
suc
h as
his
s an
d cr
ackl
e. T
he 7
kHz
setti
ng is
ver
y ef
fect
ive
at c
ontr
ollin
g si
bila
nce
and
redu
cing
ha
rshn
ess,
or
inde
ed c
reat
ing
it, f
or e
xam
ple
by b
oost
ing
the
harm
onic
s of
el
ectr
ic g
uita
rs.
The
EQ
‘ON
’ sw
itch
allo
ws
com
paris
on b
etw
een
equa
lized
and
une
qual
ized
so
und
(LE
D li
ghts
whe
n th
e M
eequ
aliz
er is
act
ive)
.
The
Mee
qual
izer
is
norm
ally
afte
r th
e P
ream
plifi
er,
the
Inse
rt P
oint
and
th
e C
ompr
esso
r. P
ress
ing
the
PO
ST
E
Q
switc
h ho
wev
er,
plac
es
the
Mee
qual
izer
bef
ore
the
Com
pres
sor.
Tech
nic
al s
tuff
Eac
h se
ctio
n of
the
Mee
qual
izer
has
a p
eaki
ng o
r “b
ell”
shap
ed f
requ
ency
re
spo
nse
, w
hic
h w
ill b
e f
ou
nd
to
be
mu
sica
lly m
ore
sa
tisf
yin
g t
ha
n
con
ven
tio
na
l “s
helv
ing”
equ
aliz
ers.
The
use
of
bell
curv
es a
t LF
and
HF
al
so a
void
s bo
ostin
g su
bson
ics
and
ultr
ason
ics
whi
ch c
an h
ave
adve
rse
effe
cts
on o
ther
stu
dio
equi
pmen
t, su
ch a
s re
cord
ers,
mon
itor
ampl
ifier
s an
d sp
eake
rs.
The
“Q
” va
lue
of t
he p
eaki
ng f
ilter
s is
0.9
(or
1.6
oct
aves
).
Zer
o ph
ase
dist
ortio
n en
sure
s th
e be
st p
ossi
ble
audi
o co
here
nce.
10
‘AT
TAC
K’ s
ets
how
qui
ckly
the
com
pres
sor
reac
ts to
pea
ks a
bove
thre
shol
d.
Tur
n th
is c
ontr
ol a
ntic
lock
wis
e fo
r a
quic
k re
spon
se.
Slo
wer
(cl
ockw
ise)
al
low
s th
e fa
st l
eadi
ng e
dge
of p
ercu
ssiv
e so
unds
to
pass
unc
ompr
esse
d fo
r a
mom
ent,
befo
re
the
com
pres
sor
reac
ts
to
cont
rol
the
gain
. T
his
exam
ple
of “
chan
ging
the
enve
lope
” of
a s
ound
exa
gger
ates
the
perc
ussi
ve
natu
re o
f dr
ums
and
othe
r in
stru
men
ts.
Set
tings
aro
und
mid
-pos
ition
are
us
ed w
here
the
com
pres
sion
nee
ds to
be
less
obv
ious
. Voc
als
for
exam
ple,
re
quire
Atta
ck t
imes
aro
und
10m
sec
for
natu
ral
soun
ding
res
ults
. F
aste
r a
tta
ck
tim
es
(an
ti-c
lock
wis
e)
in
con
jun
ctio
n
wit
h
larg
e
am
ou
nts
o
f co
mp
ress
ion
, re
sult
in
ext
rem
e “
pu
mp
ing
” e
ffe
cts.
‘RE
LE
AS
E’
sets
how
lon
g th
e co
mpr
esso
r go
es o
n sq
uash
ing
the
soun
d fo
r, on
ce t
he s
igna
l ha
s dr
oppe
d be
low
thr
esho
ld.
If it
stop
ped
inst
antly
th
ere
wou
ld b
e ve
ry n
otic
eabl
e m
odul
atio
n or
“pu
mpi
ng”
of t
he s
ound
. S
o w
e m
ay w
ant
it to
sto
p co
mpr
essi
ng l
ess
abru
ptly
and
tha
t is
wha
t th
e R
elea
se c
ontr
ol i
s fo
r. G
ener
ally
, th
e lo
nger
the
Rel
ease
tim
e, t
he l
ess
obvi
ous
is t
he c
ompr
essi
on.
Of
cour
se s
ome
“pum
ping
” m
ight
act
ually
be
desi
rabl
e as
a s
peci
al e
ffect
and
tha
t is
ano
ther
way
in w
hich
the
env
elop
e of
a s
ound
can
be
mod
ified
. T
he o
neQ
Rel
ease
is v
aria
ble
from
100
mS
up
to 3
sec
onds
giv
ing
a w
ide
varie
ty o
f ef
fect
s.
How
the
com
pres
sor
beha
ves
actu
ally
cha
nges
with
pro
gram
me
cont
ent
and
volu
me.
So
expe
rimen
t with
the
cont
rols
with
diff
eren
t kin
ds o
f mat
eria
l to
disc
over
the
ran
ge a
nd d
epth
of
effe
cts
that
can
be
achi
eved
. T
he ‘C
OM
P’
in/o
ut s
witc
h al
low
s co
mpa
rison
bet
wee
n co
mpr
esse
d an
d un
com
pres
sed
soun
d (b
lue
LED
ligh
ts w
hen
activ
e).
Rem
embe
r th
at t
he ‘M
AK
E U
P G
AIN
’ is
the
re t
o re
stor
e th
e le
vel
of t
he s
igna
l af
ter
com
pres
sion
. C
orre
ctly
ad
just
ed,
ther
e w
ill b
e no
cha
nge
in v
olum
e as
the
Com
pres
sor
‘ON
’ sw
itch
is o
pera
ted.
The
Com
pres
sor
is n
orm
ally
afte
r th
e P
ream
plifi
er a
nd th
e In
sert
Poi
nt, a
nd
befo
re t
he M
eequ
aliz
er.
Pre
ssin
g th
e P
OS
T E
Q s
witc
h ho
wev
er,
plac
es t
he
Com
pres
sor
afte
r th
e M
eequ
alis
er.
‘CO
MP
LIN
K’
Thi
s is
impo
rtan
t w
hen
two
oneQ
’s a
re u
sed
toge
ther
for
ste
reo
wor
k.
Whe
n tw
o m
ono
com
pres
sors
are
use
d fo
r st
ereo
, diff
erin
g am
ount
s of
ga
in r
educ
tion
occu
r in
eac
h ch
anne
l, w
hich
cau
ses
the
ster
eo im
age
to w
ande
r. T
he “
Com
p Li
nk”
switc
h av
oids
thi
s pr
oble
m b
y su
mm
ing
the
com
pres
sor
cont
rol
path
s of
bot
h on
eQ’s
and
ass
igni
ng c
ontr
ol
of t
he s
lave
one
Q’s
gai
n ce
ll to
the
mas
ter
oneQ
. T
he “
Com
pres
s”,
“Atta
ck”
and
“Rel
ease
” on
the
mas
ter
then
ope
rate
bot
h on
eQ’s
and
th
e co
rres
pond
ing
slav
e on
eQ c
ontr
ols
are
redu
ndan
t. N
ote
how
ever
th
at a
ll ot
her
cont
rols
stil
l op
erat
e in
depe
nden
tly o
n bo
th o
neQ
’s a
nd
mus
t be
set
the
sam
e fo
r co
rrec
t st
ereo
bal
ance
. The
LE
D li
ghts
whe
n ac
tive.
Mee
qual
izer
The
one
Q “
Mee
qual
izer
” is
a h
ighl
y ef
fect
ive,
ver
satil
e an
d m
usic
ally
re
war
ding
fou
r-ba
nd e
qual
izer
, or
ton
e co
ntro
l sy
stem
. E
ach
stag
e al
low
s bo
ost
or c
ut o
f up
to
15dB
aro
und
the
freq
uenc
y in
que
stio
n.
The
“E
Q”
switc
h tu
rns
the
equa
lizer
on,
and
the
gree
n LE
D li
ghts
whe
n ac
tive.
The
LF
ban
d is
cen
tred
at
eith
er 8
0Hz
or 1
20H
z. C
uttin
g ca
n be
use
d to
red
uce
unw
ante
d LF
noi
se,
such
as
hum
or
rum
ble.
Boo
stin
g ca
n br
ing
out
the
war
mth
and
bod
y of
bas
s lin
es a
nd (
espe
cial
ly a
roun
d 80
Hz)
kic
k dr
ums.
The
Low
er M
id b
and
can
be t
uned
or
“sw
ept”
any
whe
re b
etw
een
200H
z an
d 2k
Hz.
It
may
hel
p to
thi
nk o
f it
as li
ke a
gra
phic
equ
aliz
er,
only
ins
tead
of
lots
of
freq
uenc
y ba
nds,
you
hav
e ju
st o
ne,
but
it ca
n be
mov
ed t
o co
ver
any
give
n fr
eque
ncy
band
. C
uttin
g th
e Lo
wer
Mid
ca
n re
duce
boo
min
ess
or o
ther
ann
oyin
g re
sona
nces
. B
oost
ing
can
brin
g ou
t th
e bo
dy a
nd w
arm
th o
f a
voca
l, or
the
har
mon
ics
of b
ass
inst
rum
ents
.
ONE q manual.indd 4/8/05, 9:47 AM12-13
EN
HA
NC
ER
Th
e e
nh
an
cer
imp
art
s a
se
nse
of
pre
sen
ce a
nd
cla
rity
to
all
typ
es
of
pro
gra
mm
e m
ater
ial.
It do
es s
o by
ana
lysi
ng a
rang
e of
upp
er m
id fr
eque
ncie
s an
d sy
nthe
sizi
ng m
usic
ally
rel
ated
har
mon
ics,
whi
ch a
re t
hen
adde
d in
sm
all
quan
titie
s to
the
orig
inal
sig
nal.
The
‘EF
FE
CT
’ con
trol
set
s th
e pe
rcen
tage
of
harm
onic
s to
be
mix
ed w
ith t
he
orig
inal
, w
hile
‘T
UN
E’
sele
cts
the
rang
e of
upp
er m
id f
requ
enci
es u
sed
for
harm
onic
syn
thes
is (
the
part
of
the
audi
o sp
ectr
um a
bove
the
ind
icat
ed
freq
uenc
y w
ill b
e pr
oces
sed)
. ‘Q
’ em
phas
izes
a n
arro
w r
ange
of
freq
uenc
ies
arou
nd t
he f
requ
ency
set
by
the
‘TU
NE
’ co
ntro
l an
d th
is c
an b
e us
ed t
o co
ncen
trat
e pr
oces
sing
on
a pa
rtic
ular
ban
d of
freq
uenc
ies.
Usi
ng th
e ‘T
UN
E’
and
‘Q’ c
ontr
ols
toge
ther
allo
ws
the
Enh
ance
r to
lift
out
a p
artic
ular
par
t of
a
voic
e or
mix
.
The
‘O
N’
switc
h al
low
s co
mpa
rison
bet
wee
n pr
oces
sed
and
unpr
oces
sed
soun
d (L
ED
ligh
ts w
hen
the
Enh
ance
r is
act
ive)
.
DE
-ES
SE
R
The
De-
Ess
er c
an b
e us
ed t
o re
mov
e or
red
uce
anno
ying
sib
ilanc
e in
voc
al
reco
rdin
gs,
such
as
the
“S”
or “
T”
soun
d. I
t is
bas
ical
ly a
fre
quen
cy-c
onsc
ious
co
mpr
esso
r th
at c
ompr
esse
s on
ly a
nar
row
ran
ge o
f fr
eque
ncie
s ra
ther
tha
n th
e w
hole
spe
ctru
m.
The
‘TU
NE
’ con
trol
set
s th
e fil
ter t
o m
atch
the
“Ess
” fre
quen
cy a
nd th
e be
st w
ay
to d
o th
is is
to
pres
s th
e ‘L
IST
EN
’ sw
itch
so a
s to
hea
r on
ly t
he o
utpu
t of
the
fil
ter,
then
adj
ust t
he ‘T
UN
E’ c
ontr
ol u
ntil
the
“Ess
” is
at m
axim
um lo
udne
ss. T
he
‘DE
-ES
S’ c
ontr
ol s
ets
the
amou
nt o
f gai
n re
duct
ion
with
in th
e “E
ss”
band
.
The
‘O
N’
switc
h al
low
s co
mpa
rison
bet
wee
n pr
oces
sed
and
unpr
oces
sed
soun
d (L
ED
ligh
ts w
hen
the
De-
Ess
er is
act
ive)
and
the
‘DE
-ES
S’ L
ED
ligh
ts
whe
n ga
in r
educ
tion
is ta
king
pla
ce.
Outp
ut S
tage
‘OU
TP
UT
GA
IN’.
Thi
s ou
tput
vol
ume
cont
rol
prov
ides
up
to 1
0dB
of
gain
and
als
o go
es r
ight
dow
n to
not
hing
, so
act
ing
as a
fad
er t
o fa
de
a so
und
out
com
plet
ely.
CO
NN
EC
TO
RS
Two
outp
uts
are
prov
ided
, ja
ck a
nd X
LR,
so y
ou c
an s
imul
tane
ousl
y fe
ed (
say)
a r
ecor
der
and
a m
onito
r am
plifi
er.
The
sw
itch
adja
cent
to
the
1/4”
jac
k se
lect
s th
e ou
tput
ope
ratin
g le
vel
to e
ither
+4d
Bu
(sui
ts
mos
t pr
ofes
sion
al s
tudi
o eq
uipm
ent)
or
-10d
Bv
(sui
ts s
emi-p
ro o
r hi
-fi
equi
pmen
t).
The
XLR
out
put
is a
lway
s +
4dB
u. C
heck
with
the
han
d-bo
ok f
or w
hate
ver
you
are
feed
ing,
to
find
out
whi
ch le
vel i
s re
quire
d.
The
XLR
out
put
is b
alan
ced
and
wire
d as
fol
low
s:P
in 2
: +
(ho
t)P
in 3
: -
(col
d)P
in 1
: gr
ound
The
jack
out
put
is b
alan
ced
and
wire
d as
fol
low
s:T
ip:
+ (
hot)
Rin
g: -
(co
ld)
Sle
eve:
gro
und
Bal
ance
d or
Unb
alan
ced
To r
un t
he X
LR o
utpu
t un
bala
nced
, it
will
be
nece
ssar
y to
gro
und
pin
3 of
the
cab
le c
onne
ctor
.To
run
the
1/4
” ja
ck o
utpu
t un
bala
nced
, ju
st p
lug
in a
mon
o ja
ck p
lug.
E
ither
way
, th
is in
crea
ses
the
gain
of
the
“+”
sign
al b
y 6d
B,
so t
here
is
no d
rop
in le
vel c
ompa
red
with
bal
ance
d ge
ar.
All
outp
uts
on a
ll N
extG
en J
oem
eek
prod
ucts
are
pro
perly
bal
ance
d,
whi
ch is
to s
ay th
ere
is a
sig
nal o
n bo
th p
ins!
In th
is w
ay th
e m
axim
um
poss
ible
com
mon
-mod
e re
ject
ion
of i
nter
fere
nce,
can
be
achi
eved
at
the
rece
ivin
g en
d.
Digi
tal
Inte
rfac
e
The
Joe
mee
k D
igita
l A
udio
Int
erfa
ce p
rovi
des
high
qua
lity
digi
tal
audi
o ou
tput
s pl
us t
he a
bilit
y to
syn
chro
nize
to
an e
xter
nal w
ord
cloc
k. T
he d
igita
l au
dio
outp
uts
are
com
patib
le w
ith m
ost
digi
tal r
ecor
ders
, as
wel
l as
Dig
ital
Aud
io W
orks
tatio
ns a
nd m
ixer
s. S
/PD
IF f
orm
at is
ava
ilabl
e fr
om t
he o
ptic
al
and
RC
A p
hono
con
nect
ors,
whi
le t
he t
rans
form
er c
oupl
ed X
LR c
onne
ctor
pr
ovid
es a
n A
ES
3 co
mpa
tible
out
put.
The
Joe
mee
k D
igita
l Int
erfa
ce h
as h
ighl
y st
able
onb
oard
mas
ter
cloc
ks f
or
low
-jitte
r, hi
-fi
resu
lts.
Inte
rnal
sam
ple
rate
s of
44.
1kH
z, 4
8kH
z, 8
8.2k
Hz
or 9
6kH
z ar
e se
lect
ed b
y m
eans
of
rear
pan
el s
witc
hes.
44.
1kH
z is
the
st
anda
rd u
sed
for
audi
o C
D’s
, w
hile
48k
Hz
and
96kH
z ar
e w
idel
y us
ed
in r
ecor
ding
stu
dios
. In
gen
eral
, th
e hi
gher
the
sam
ple
rate
, th
e be
tter
the
audi
o fid
elity
, bu
t th
e m
ore
disk
spa
ce i
s re
quire
d fo
r th
e re
cord
ing.
For
ex
ampl
e, r
ecor
ding
at
96kH
z re
quire
s tw
ice
as m
uch
stor
age
as 4
8kH
z.
Con
sult
the
man
ual o
f yo
ur r
ecor
der
or D
AW
as
to w
hat
sam
ple
rate
s it
will
ac
com
mod
ate.
Alte
rnat
ivel
y th
e on
eQ m
ay b
e se
t to
the
fre
quen
cy o
f an
ext
erna
l m
aste
r w
ord
cloc
k, g
ener
ated
, for
exa
mpl
e, b
y th
e st
udio
’s r
ecor
der
or D
AW
. Whe
n co
nnec
ted
to t
he B
NC
soc
ket
prov
ided
, a
suita
ble
exte
rnal
wor
d cl
ock
will
be
det
ecte
d au
tom
atic
ally
and
will
ove
rrid
e th
e on
eQ’s
inte
rnal
wor
d cl
ock.
Th
e f
ron
t p
an
el
LE
D l
ab
elle
d ‘
EX
T C
LK
’ ill
um
ina
tes
wh
en
th
e o
ne
Q i
s su
cce
ssfu
lly l
ock
ed
to
an
ext
ern
al
wo
rd c
lock
.
To a
void
dis
tort
ion,
car
e sh
ould
be
take
n no
t to
ove
rdriv
e th
e in
put
to t
he
Dig
ital
Inte
rfac
e. T
he r
ed L
ED
nex
t to
the
Out
put
Gai
n co
ntro
l is
lab
eled
“P
EA
K F
SD
” w
hich
sta
nds
for
“Ful
l S
cale
Dig
ital”.
Occ
asio
nal
flash
es a
re
OK
but
if it
is o
n al
l the
tim
e, t
urn
som
ethi
ng d
own!
Not
e th
at t
he D
igita
l In
terf
ace
is a
tw
o-ch
anne
l de
vice
, w
ith c
hann
el
one
fed
by t
he o
neQ
’s i
nter
nal
circ
uitr
y. I
n or
der
to u
tiliz
e th
e se
cond
di
gita
l ch
anne
l, an
ext
erna
l an
alog
inp
ut i
s pr
ovid
ed i
n th
e fo
rm o
f a
bala
nced
1/4
” ja
ck o
n th
e re
ar p
anel
wire
d as
fol
low
s:T
ip:
+ (
hot)
Rin
g: -
(co
ld)
Sle
eve:
gro
und
In t
his
way
the
out
put
of t
he o
neQ
and
ano
ther
ana
log
sour
ce c
an b
e fe
d in
to o
ne d
igita
l inp
ut o
f a
reco
rder
or
digi
tal w
orks
tatio
n.
12
13
ONE q manual.indd 4/8/05, 9:47 AM14-15
15
Usin
g th
e Co
mpr
esso
r
Sta
rt w
ith t
he C
ompr
esso
r an
d M
eequ
aliz
er o
ff an
d ad
just
the
inp
ut a
nd
outp
ut g
ain
so t
hat
the
VU
Met
er r
eads
aro
und
0dB
. N
ow s
witc
h th
e m
eter
to
rea
d ga
in r
educ
tion
usin
g th
e ‘G
R’ p
ushb
utto
n.
Set
‘CO
MP
RE
SS
ION
’ and
‘AT
TAC
K’ f
ully
ant
i-clo
ckw
ise,
with
‘SLO
PE
’ and
‘R
ELE
AS
E’
at m
id-p
ositi
on.
Pre
ss t
he C
ompr
esso
r “O
N”
push
-but
ton
and
turn
up
the
‘CO
MP
RE
SS
ION
’ con
trol
unt
il th
e co
mpr
esso
r G
R m
eter
sta
rts
to r
ead
3dB
or
5dB
on
audi
o pe
aks.
You
sho
uld
now
be
able
to
hear
the
co
mpr
esso
r w
orki
ng a
s th
e vo
lum
e di
min
ishe
s. U
se t
he ‘
MA
KE
UP
GA
IN’
cont
rol t
o re
stor
e th
e si
gnal
to
its p
revi
ous
(unc
ompr
esse
d) l
evel
. A
lter
the
SLO
PE
and
lis
ten
to h
ow t
he s
ever
ity o
f th
e ga
in r
educ
tion
chan
ges.
Try
ch
an
gin
g t
he
Att
ack
an
d l
iste
n f
or
pe
rcu
ssiv
e s
ou
nd
s g
ett
ing
lo
ud
er.
R
ed
uci
ng
the
Atta
ck a
nd R
elea
se t
imes
sho
uld
emph
asis
e th
is e
ven
mor
e an
d th
e co
mpr
esso
r sh
ould
sta
rt to
“pu
mp”
aud
ibly
.
The
ove
rall
resu
lt of
com
pres
sion
dep
ends
on
the
com
bine
d se
tting
s of
the
C
ompr
ess,
Slo
pe,
Atta
ck a
nd R
elea
se c
ontr
ols.
Exp
erim
ent
with
diff
eren
t co
mbi
natio
ns to
dis
cove
r w
hat b
est s
uits
the
mat
eria
l you
wis
h to
com
pres
s.
Wat
ch th
e G
R m
eter
and
don
’t ov
erdo
thin
gs -
it’s
pos
sibl
e to
app
ly 2
0dB
of
gain
red
uctio
n be
fore
you
rea
lise
it!
Use
the
Com
pres
sor
‘ON
’ sw
itch
to m
ake
com
paris
ons
betw
een
com
pres
sed
and
unco
mpr
esse
d si
gnal
s.
Usin
g th
e M
eequ
aliz
er
Alw
ays
star
t w
ith t
he M
eequ
aliz
er b
oost
/cut
con
trol
s (L
F, M
ID a
nd H
F)
set
to “
0” (
the
cont
rol k
nobs
set
ver
tical
ly,
in t
heir
cent
re n
otch
es).
Thi
s se
tting
is
als
o kn
own
as “
flat”
.
You
nee
d to
be
care
ful
abou
t to
o m
uch
boos
t or
“lif
t”,
sinc
e bo
ostin
g ta
kes
the
oneQ
clo
ser
to o
verlo
ad.
The
one
Q h
as g
ener
ous
over
load
m
arg
ins
bu
t w
he
n a
lo
t o
f b
oo
st i
s u
sed
, it
ma
y b
e n
ece
ssa
ry t
o
com
pe
nsa
te b
y re
duci
ng t
he O
utpu
t G
ain
or t
he I
nput
Gai
n (t
he la
tter
will
affe
ct th
e C
ompr
esso
r se
tting
thou
gh).
Kee
p an
eye
on
the
VU
Met
er w
hen
adju
stin
g th
e E
Q.
Whe
n th
e re
d LE
D (
labe
led
“PE
AK
FS
D”)
lig
hts,
the
one
Q i
s w
ithin
6dB
of
clip
ping
. O
ccas
iona
l fla
shes
are
OK
but
if
it is
on
all
the
time,
tur
n so
met
hing
do
wn!
The
way
to
use
the
LMF
and
HM
F c
ontr
ols,
is
to a
pply
qui
te a
lot
of
boos
t, th
en s
wee
p th
e fr
eque
ncy
until
you
“tu
ne i
n” t
o th
e so
und
you
are
inte
rest
ed in
. O
nce
you
find
it, a
djus
t th
e am
ount
of
boos
t or
cut
to
give
the
desi
red
effe
ct.
Exp
erim
ent
with
com
bina
tions
of
setti
ngs
of E
Q a
nd t
ry t
o pi
ctur
e ho
w
the
audi
o si
gnal
is
bein
g af
fect
ed.
Use
the
EQ
‘O
N’
switc
h to
mak
e co
mpa
rison
s be
twee
n E
Q’d
and
non
-EQ
’d s
igna
ls.
Usin
g th
e En
hanc
er
Pre
ss th
e ‘O
N’ s
witc
h an
d se
t the
‘EF
FE
CT
’ con
trol
to m
id p
ositi
on a
nd
the
‘Q’ c
ontr
ol fu
lly a
ntic
lock
wis
e. U
se th
e ‘T
UN
E’ c
ontr
ol to
cha
nge
the
char
acte
r of
the
resu
lting
enh
ance
men
t.
14
Usin
g th
e on
eQ
GE
TT
ING
CO
NN
EC
TE
D
The
fig
ure
show
s th
e on
eQ b
eing
use
d in
stea
d of
a m
ixin
g de
sk in
a
reco
rdin
g se
tup:
• A
mic
roph
one
is c
onne
cted
to
the
Mic
Inp
ut
• A
gui
tar
is c
onne
cted
to
the
Inst
rum
ent
Inpu
t
• T
he in
sert
poi
nt is
bei
ng u
sed
to d
iver
t the
pre
ampl
ified
sig
nal t
hrou
gh
a
n ex
tern
al e
ffect
s pr
oces
sor
• T
he r
ecor
der
outp
ut i
s co
nnec
ted
to t
he L
ine
Inpu
t fo
r pl
ayba
ck.
P
revi
ousl
y re
cord
ed t
rack
s m
ay a
lso
be r
epla
yed
via
the
Line
Inp
ut,
t
o pe
rmit
com
pres
sion
and
equ
aliz
atio
n
PO
WE
R S
UP
PLY
Con
nect
the
one
Q p
ower
cor
d to
the
AC
con
nect
or o
n th
e re
ar p
anel
an
d sw
itch
on th
e m
ains
sup
ply.
NB
: ens
ure
that
the
oneQ
is s
et to
the
corr
ect
mai
ns v
olta
ge f
or y
our
regi
on –
eith
er 1
15V
or
230V
. O
rient
ate
the
fu
se h
old
er
/ m
ain
s vo
ltag
e s
ele
cto
r d
raw
so
th
at
the
re
qu
ire
d
volta
ge
app
ears
at t
he to
p. If
in d
oubt
con
sult
a co
mpe
tent
eng
inee
r.
Usin
g th
e Pr
eam
p
Tur
n th
e ‘IN
PU
T G
AIN
’ co
ntro
l to
min
imum
and
con
nect
the
inp
ut
sour
ce.
If yo
u ar
e us
ing
a co
nden
ser
mic
roph
one,
rem
embe
r to
sw
itch
on th
e 48
V P
hant
om P
ower
. Set
the
‘OU
TP
UT
GA
IN’ t
o “0
dB”.
Tur
n up
th
e ‘IN
PU
T G
AIN
’ unt
il th
e m
icro
phon
e so
und
regi
ster
s on
the
VU
Met
er,
adju
stin
g it
so t
hat
the
met
er r
eads
bet
wee
n “0
” an
d “+
3” o
n so
und
peak
s. W
hen
the
red
LED
(la
bele
d “P
eak”
) lig
hts,
the
one
Q i
s w
ithin
6d
B o
f cl
ippi
ng.
Occ
asio
nal
flash
es a
re O
K b
ut i
f it
is o
n al
l th
e tim
e,
turn
the
Inpu
t Gai
n do
wn!
Rem
embe
r yo
u ca
n ch
eck
the
prea
mp
gain
at a
ny ti
me
by p
ress
ing
the
“Met
er P
re”
butto
n.
ONE q manual.indd 4/8/05, 9:47 AM16-17
17
5) T
oo
litt
le o
r to
o m
uch
co
mp
ress
ion
• T
urn
the
‘Inpu
t Gai
n’ c
ontr
ol u
p or
dow
n re
spec
tivel
y, to
adj
ust t
he
sig
nal l
evel
to th
e co
mpr
esso
r
6) T
he
Mee
qu
aliz
er d
oes
n’t
wo
rk.
• Is
the
EQ
‘ON
’ sw
itch
in (
LED
on)
?•
Is ‘I
nput
Gai
n’ c
ontr
ol tu
rned
up?
• Is
‘Out
put G
ain’
con
trol
turn
ed u
p?
7) T
he
En
han
cer
do
esn
’t w
ork
• Is
the
Enh
ance
r ‘O
N’ s
witc
h in
(LE
D o
n)?
• Is
‘Effe
ct’ c
ontr
ol tu
rned
up
suffi
cien
tly?
• D
oes
the
prog
ram
me
mat
eria
l con
tain
onl
y lo
w-b
ass
freq
uenc
ies?
8) T
he
De-
Ess
er d
oes
n’t
wo
rk•
Is th
e D
e-E
sser
‘ON
’ sw
itch
in (
LED
on)
and
the
‘LIS
TE
N’ s
witc
h ou
t (
LED
off)
?•
Is ‘D
e-E
ss’ c
ontr
ol tu
rned
up?
• D
oes
the
prog
ram
me
mat
eria
l con
tain
onl
y lo
w fr
eque
ncie
s?
9) T
oo
mu
ch n
ois
e•
Is th
e ‘In
put G
ain’
con
trol
too
high
? T
ry m
ovin
g th
e m
ic c
lose
r t
o th
e so
urce
• Is
the
‘Out
put G
ain’
con
trol
too
high
(eg
: whe
n lo
ts o
f com
pres
sion
is
bei
ng u
sed)
? •
Is th
ere
too
muc
h E
Q b
oost
?•
Is th
e no
ise
alre
ady
pres
ent i
n th
e in
put s
igna
l? (
Try
rem
ovin
g th
e in
put)
10)
So
un
ds
dis
tort
ed•
Is th
e ‘In
put G
ain’
con
trol
too
high
?•
Is th
e ‘O
utpu
t Gai
n’ c
ontr
ol to
o hi
gh?
• Is
ther
e to
o m
uch
EQ
boo
st?
• W
hen
usin
g th
e co
mpr
esso
r, is
the
Rel
ease
con
trol
set
too
low
?•
Is th
e E
nhan
cer
on w
ith th
e ‘E
ffect
’ con
trol
set
too
high
and
/or
the
‘
Tun
e’ c
ontr
ol s
et to
o lo
w?
16
The
n tu
rn u
p th
e ‘Q
’ con
trol
and
use
the
‘TU
NE
’ con
trol
to
hunt
aro
und
for
part
icul
ar e
lem
ents
of a
voi
ce o
r m
ix. W
ith th
e E
nhan
cer
you
will
usu
ally
find
th
at “
less
is
mor
e” a
nd i
t is
as
wel
l to
kee
p th
e ‘E
FF
EC
T’ a
nd ‘
Q’ s
ettin
gs
fairl
y lo
w. I
t is
very
eas
y to
add
too
muc
h ha
rmon
ic a
nd th
ough
the
effe
ct c
an
be d
ram
atic
at
first
, it
will
soo
n be
com
e w
earin
g an
d co
ntrib
ute
to li
sten
ing
fatig
ue. I
f you
can
hea
r au
dibl
e di
stor
tion
cree
ping
in y
ou a
re d
efin
itely
ove
r-do
ing
it, s
o tu
rn d
own
the
‘EF
FE
CT
’ con
trol
and
/or
rais
e th
e ‘T
UN
E’ s
ettin
g.
Use
th
e ‘
ON
’ sw
itch
to
ma
ke c
om
pa
riso
ns
be
twe
en
pro
cess
ed
an
d
un
pro
cess
ed
sou
nd. T
he n
atur
e of
har
mon
ic e
nhan
cem
ent i
s su
ch th
at y
ou
may
not
rea
lise
how
muc
h ef
fect
it is
hav
ing
until
you
turn
it o
ff!
Usin
g th
e De
-Ess
er
Set
the
‘D
E-E
SS
’ co
ntro
l fu
lly a
ntic
lock
wis
e. P
ress
the
‘O
N’
and
‘LIS
TE
N’
switc
hes
so a
s to
hea
r on
ly t
he (
som
ewha
t sh
rill)
outp
ut o
f th
e fil
ter,
then
ad
just
the
‘TU
NE
’ con
trol
unt
il th
e “E
ss”
soun
ds a
re a
t m
axim
um lo
udne
ss.
Tur
n th
e ‘L
IST
EN
’ sw
itch
off
agai
n an
d ad
vanc
e th
e ‘D
E-E
SS
’ con
trol
unt
il th
e si
bila
nce
is r
educ
ed to
an
acce
ptab
le, n
atur
al s
ound
ing
leve
l.
Be
sure
that
the
‘LIS
TE
N’ s
witc
h is
off
(out
) pr
ior
to a
ny r
ecor
ding
!
Use
the
‘O
N’
to m
ake
com
paris
ons
betw
een
proc
esse
d an
d un
proc
esse
d so
und.
Usin
g th
e Ou
tput
Sta
ge
Fin
al a
djus
tmen
ts t
o th
e ou
tput
leve
l can
be
mad
e w
ith t
he O
UT
PU
T G
ain
cont
rol,
agai
n ke
epin
g an
eye
on
the
VU
met
er a
nd P
EA
K F
SD
LE
D.
Not
e ho
w th
is c
ontr
ol c
an a
lso
be u
sed
to fa
de o
ut th
e si
gnal
com
plet
ely.
Trou
bles
hoot
ing
1) N
o P
ow
er (
no
lig
hts
wo
rk)
• Is
the
pow
er s
uppl
y pl
ugge
d in
(bo
th e
nds)
?•
Is t
he m
ains
pow
er o
n?•
Is t
he m
ains
vol
tage
set
cor
rect
ly f
or y
our
regi
on?
• H
as t
he m
ains
fus
e bl
own?
2) T
he
mic
rop
ho
ne
do
esn
’t w
ork
• Is
it c
onne
cted
to
the
corr
ect
(XLR
) in
put
on t
he f
ront
or
rear
pan
el?
• If
it is
a c
onde
nser
mic
roph
one,
is t
he p
hant
om p
ower
sw
itche
d on
?•
Is t
he ‘L
ine’
sw
itch
out
(LE
D o
ff)?
• Is
the
‘Inp
ut G
ain’
con
trol
tur
ned
up?
• Is
the
‘Out
put
Gai
n’ c
ontr
ol t
urne
d up
?
3) T
he
line
inp
ut
do
esn
’t w
ork
• Is
the
sour
ce c
onne
cted
to th
e co
rrec
t (ja
ck)
inpu
t on
the
back
of t
he
unit?
• Is
the
‘Lin
e’ s
witc
h in
(LE
D o
n)?
• Is
the
‘Inpu
t Gai
n’ c
ontr
ol tu
rned
up?
• Is
the
‘Out
put G
ain’
con
trol
turn
ed u
p?
4) T
he
com
pre
sso
r d
oes
n’t
wo
rk•
Is th
e C
ompr
esso
r ‘O
N’ s
witc
h in
(LE
D o
n)?
• Is
the
‘Com
pres
s’ c
ontr
ol tu
rned
up
enou
gh?
• Is
the
‘Slo
pe’ c
ontr
ol tu
rned
up
enou
gh?
• Is
ther
e en
ough
sig
nal,
as s
et b
y th
e ‘In
put G
ain’
con
trol
, to
driv
e th
e c
ompr
esso
r?
ONE q manual.indd 4/8/05, 9:47 AM18-19
18
Tech
nica
l Sp
ecif
icat
ion
Inp
ut
imp
edan
ces
Mic
: 1.
2koh
m;
Line
: 20
kohm
Pre
-am
p o
vera
ll g
ain
10dB
to
60dB
(va
riabl
e)
Co
mm
on
mo
de
reje
ctio
n
70
dB
Eq
uiv
alen
t in
pu
t n
ois
e
-128
.5dB
u (u
nwei
ghte
d)
Dis
tort
ion
0.
001%
(b
elow
Com
pres
sor
thre
shol
d)
Fre
qu
ency
res
po
nse
15H
z to
70k
Hz
(-3d
B)
Max
imu
m i
np
ut
bef
ore
clip
pin
g
Mic
: +
21dB
u; L
ine:
+45
dBu
Hea
dro
om
bef
ore
clip
pin
g
+
21dB
u
Pad
20dB
atte
nuat
ion
Hig
h P
ass
Filt
er
12dB
per
oct
ave
cut
belo
w 8
0Hz
Co
mp
ress
or
thre
sho
ld
-6
dBu
to +
22dB
u (v
aria
ble)
Co
mp
ress
or
rati
o
1:1
to 1
0:1
(var
iabl
e)
Co
mp
ress
or
atta
ck t
ime
1
mse
c to
100
mse
c (a
dapt
ive)
Co
mp
ress
or
rele
ase
tim
e
0.1
sec
to 3
sec
(ad
aptiv
e)
EQ
Bo
ost
an
d C
ut
+/-
15dB
(ze
ro p
hase
-shi
ft be
ll re
spon
se)
EQ
“Q
”
0.
9 (1
.6 o
ctav
es)
LF
Fre
qu
ency
80H
z/12
0Hz
switc
habl
e
LM
F F
req
uen
cy
20
0Hz
to 2
kHz
varia
ble
HM
F F
req
uen
cy
1k
Hz
to 6
kHz
varia
ble
HF
Fre
qu
ency
7kH
z/14
kHz
switc
habl
e
No
min
al o
utp
ut
leve
ls
+4d
Bu/
-10d
Bv
Ou
tpu
t im
ped
ance
10
0 oh
m
Ou
tpu
t L
evel
sw
itch
12
dB a
ttenu
atio
n
No
ise
Flo
or
-8
5dB
u (t
ypic
al,
with
~40
dB m
ic g
ain)
VU
Met
er
A
nalo
gue
mov
emen
t
Po
wer
su
pp
ly
11
5V /
230
V a
c m
ains
, 50
/60H
z
Po
wer
co
nsu
mp
tio
n
30W
Mec
han
ical
482W
x 8
8H x
220
D (
over
all)
Wei
gh
t
3
kilo
s
Not
es
ONE q manual.indd 4/8/05, 9:47 AM20-21
Not
es
repl
acem
ent
by P
urch
aser
of
any
Pro
duct
or
part
the
reof
sha
ll ex
tend
th
e w
arra
nty
perio
d as
to
the
entir
e P
rodu
ct.
The
spe
cific
war
rant
y on
th
e re
paire
d pa
rt o
nly
shal
l be
in e
ffect
for
a pe
riod
of n
inet
y (9
0) d
ays
fol-
low
ing
the
repa
ir or
rep
lace
men
t of
tha
t pa
rt o
r th
e re
mai
ning
per
iod
of
the
Pro
duct
war
rant
y, w
hich
ever
is g
reat
er.
2. E
xclu
sive
Rem
edy:
Acc
epta
nce:
Pur
chas
er’s
exc
lusi
ve r
emed
y an
d P
MI’s
sol
e ob
ligat
ion
is t
o su
pp
ly (
or
pa
y fo
r) a
ll la
bo
r n
ece
ssa
ry t
o
rep
air
an
y p
rod
uct
fo
un
d t
o b
e d
efe
ctiv
e w
ithin
th
e w
arr
an
ty p
erio
d an
d to
sup
ply,
at
no e
xtra
cha
rge,
new
or
rebu
ilt r
epla
cem
ents
for
de
fect
ive
part
s. If
rep
air
or r
epla
cem
ent f
ails
to r
emed
y th
e de
fect
, the
n an
d on
ly in
suc
h an
eve
nt,
shal
l PM
I ex
chan
ge t
o P
urch
aser
a n
ew o
r re
cond
ition
ed u
nit.
Pur
chas
er’s
fai
lure
to
mak
e a
clai
m a
s pr
ovid
ed i
n pa
ragr
aph
1 ab
ove
or c
ontin
ued
use
of t
he p
rodu
ct s
hall
cons
titut
e an
un
qual
ified
acc
epta
nce
of s
uch
Pro
duct
and
a w
aive
r by
Pur
chas
er o
f al
l cla
ims
ther
eto.
3. E
xcep
tions
to L
imite
d w
arra
nty:
PM
I sha
ll ha
ve n
o lia
bilit
y or
obl
igat
ion
to P
urch
aser
with
res
pect
to
any
Pro
duct
sub
ject
ed t
o ab
use,
impr
oper
us
e, n
eglig
ence
, acc
iden
t, m
odifi
catio
n, fa
ilure
of t
he e
nd-u
ser
to fo
llow
th
e op
erat
ing
and
mai
nten
ance
pro
cedu
res
outli
ned
in th
e us
ers
man
ual,
att
em
pte
d r
ep
air
by
no
n-q
ua
lifie
d p
ers
on
ne
l, o
pe
ratio
n o
f th
e u
nit
ou
tsid
e o
f th
e p
ub
lish
ed
env
ironm
enta
l an
d el
ectr
ical
par
amet
ers,
or
if su
ch p
rodu
cts
orig
inal
iden
tific
atio
n (t
rade
mar
k, s
eria
l num
ber)
mar
king
s ha
ve b
een
defa
ced,
alte
red,
or
rem
oved
. P
MI
excl
udes
fro
m w
arra
nty
cove
rage
, Pro
duct
s so
ld A
S IS
and
/or
WIT
H A
LL F
AU
LTS
and
exc
lude
s us
ed p
rodu
cts
whi
ch h
ave
not
been
sol
d by
PM
I to
the
Pur
chas
er.
PM
I al
so e
xclu
des
from
war
rant
y co
vera
ge c
onsu
mab
les
such
as
fuse
s an
d ba
tterie
s, t
ubes
, et
c.
4. P
roof
of p
urch
ase:
The
dea
ler’
s da
ted
bill
of s
ale
mus
t be
reta
ined
as
evid
ence
or
the
date
of
purc
hase
and
to
esta
blis
h w
arra
nty
elig
ibili
ty
Joem
eek
Lim
ited
War
rant
y
TH
IS P
RO
DU
CT
IS
FO
R P
RO
FE
SS
ION
AL
US
E O
NLY
PM
I Aud
io G
roup
war
rant
s th
at a
ll pr
oduc
ts w
ill b
e fr
ee fr
om d
efec
ts in
mat
e-ria
l or
wor
kman
ship
:
A:
For
a p
erio
d of
(3)
thr
ee y
ears
fro
m t
he d
ate
of p
urch
ase
(her
eina
fter
the
labo
r w
arra
nty
perio
d),
PM
I Aud
io G
roup
will
rep
air
or r
epla
ce t
his
Pro
duct
if
dete
rmin
ed t
o be
def
ectiv
e. A
fter
the
expi
ratio
n of
the
lab
or w
arra
nty
perio
d,
the
Pur
chas
er m
ust
pay
labo
r ch
arge
s.
B:
In a
dditi
on,
PM
I A
udio
Gro
up w
ill s
uppl
y, a
t no
cha
rge,
rep
lace
men
ts f
or
defe
ctiv
e pa
rts
for
a pe
riod
of (
thre
e ye
ars)
from
the
date
of p
urch
ase.
Dur
ing
the
labo
r w
arra
nty
perio
d, t
o re
pair
the
Pro
duct
, P
urch
aser
mus
t re
turn
the
de
fect
ive
Pro
duct
, fr
eigh
t pr
epai
d, o
r de
liver
it
to P
MI
Aud
io G
roup
Ser
vice
C
ente
r. T
he p
rodu
ct t
o be
rep
aire
d is
to
be r
etur
ned
in e
ither
its
orig
inal
car
-to
n or
a s
imila
r pa
ckag
e af
ford
ing
an e
qual
deg
ree
of p
rote
ctio
n. P
MI A
udio
G
roup
will
ret
urn
the
repa
ired
Pro
duct
fre
ight
pre
paid
to
the
Pur
chas
er.
PM
I A
udio
Gro
up is
not
obl
igat
ed t
o pr
ovid
e P
urch
aser
with
a s
ubst
itute
uni
t du
r-in
g th
e w
arra
nty
perio
d or
at
any
time.
Cond
itio
ns1.
Not
ifica
tion
of c
laim
s: W
arra
nty
Ser
vice
: If
Pur
chas
er d
isco
vers
tha
t th
e P
rodu
ct h
as p
rove
n de
fect
ive
in m
ater
ial o
r w
orkm
ansh
ip, t
hen
writ
ten
notic
e w
ith a
n ex
plan
atio
n of
the
clai
m s
hall
be g
iven
pro
mpt
ly b
y P
urch
aser
to P
MI
but a
ll cl
aim
s fo
r w
arra
nty
serv
ice
mus
t be
mad
e w
ithin
the
war
rant
y pe
riod.
If
afte
r in
vest
igat
ion
PM
I de
term
ines
tha
t th
e re
port
ed p
robl
em w
as n
ot c
over
ed
by t
he w
arra
nty,
Pur
chas
er s
hall
pay
PM
I fo
r th
e co
st o
f in
vest
igat
ing
the
prob
lem
at
its t
hen
prev
ailin
g tim
e-an
d-m
ater
ials
rat
e. N
o re
pair
or
ONE q manual.indd 4/8/05, 9:47 AM22-23
Disc
laim
er o
f W
arra
nty
EX
CE
PT
FO
R T
HE
FO
RG
OIN
G W
AR
RA
NT
IES
, P
MI
HE
RE
BY
DIS
CLA
IMS
AN
D E
XC
LUD
ES
ALL
OT
HE
R W
AR
RA
NT
IES
, EX
PR
ES
S O
R L
IMIT
ED
, IN
CLU
DIN
G, B
UT
NO
T L
IMIT
ED
TO
AN
Y/O
R A
LL
IMP
LIE
D W
AR
RA
NT
IES
OF
ME
RC
HA
NT
AB
ILIT
Y, F
ITN
ES
S F
OR
A P
AR
TIC
ULA
R P
UR
PO
SE
AN
D/
OR
AN
Y W
AR
RA
NT
Y W
ITH
RE
GA
RD
TO
AN
Y C
LAIM
OF
INF
RIN
GE
ME
NT
TH
AT
MA
Y B
E P
RO
VE
D
IN S
EC
TIO
N 2
-312
(3)
OF
TH
E U
NIF
OR
M C
OM
ME
RC
IAL
CO
DE
AN
D/O
R I
N A
NY
CO
MP
AR
AB
LE
STA
TE
STA
TU
E.
PM
I H
ER
EB
Y D
ISC
LAIM
S A
NY
RE
PR
ES
EN
TAT
ION
S O
R W
AR
RA
NT
Y T
HA
T
TH
E P
RO
DU
CT
IS
CO
MP
AT
IBLE
WIT
H A
NY
CO
MB
INA
TIO
N O
F N
ON
-PM
I A
UD
IO P
RO
DU
CT
S
PU
RC
HA
SE
R M
AY
CH
OO
SE
TO
CO
NN
EC
T T
O T
HE
PR
OD
UC
T.
Lim
itat
ion
of L
iabi
lity
TH
E L
IAB
ILIT
Y O
F P
MI,
IF A
NY,
AN
D P
UR
CH
AS
ER
’S S
OLE
AN
D E
XC
LUS
IVE
RE
ME
DY
FO
R
DA
MA
GE
S F
OR
AN
Y C
LAIM
OF
AN
Y K
IND
WH
AT
SO
EV
ER
, R
EG
AR
DLE
SS
OF
TH
E L
EG
AL
TH
EO
RY
A
ND
W
HE
TH
ER
A
RIS
ING
IN
T
OR
T
OR
C
ON
TR
AC
T,
SH
ALL
N
OT
B
E
GR
EA
TE
R
TH
AN
TH
E A
CT
UA
L P
UR
CH
AS
E P
RIC
E O
F T
HE
PR
OD
UC
T W
ITH
RE
SP
EC
T T
O W
HIC
H S
UC
H
CLA
IM I
S M
AD
E.
IN N
O E
VE
NT
SH
ALL
PM
I B
E L
IAB
LE T
O P
UR
CH
AS
ER
FO
R A
NY
SP
EC
IAL,
IND
IRE
CT,
IN
CID
EN
TAL,
OR
CO
NS
EQ
UE
NT
IAL
DA
MA
GE
S O
F A
NY
KIN
D I
NC
LUD
ING
, B
UT
NO
T L
IMIT
ED
TO
, C
OM
PE
NS
AT
ION
, R
EIM
BU
RS
EM
EN
T O
R D
AM
AG
ES
ON
AC
CO
UN
T O
F T
HE
LOS
S O
F P
RE
SE
NT
OR
PR
OS
PE
CT
IVE
PR
OF
ITS
OR
AN
Y O
TH
ER
RE
AS
ON
WH
AT
SO
EV
ER
.
Info
rma
tio
n in
th
is U
ser
Gu
ide
is s
ub
ject
to
ch
an
ge
wit
ho
ut
no
tice
. N
o p
art
of
this
Use
r G
uid
e m
ay
be
re
pro
du
ced
o
r tr
an
smit
ted
in
an
y fo
rm o
r b
y a
ny
me
an
s, e
lect
ron
ic,
me
cha
nic
al
or
by
an
y o
the
r m
ea
ns,
fo
r a
ny
pu
rpo
se,
wit
ho
ut
the
exp
ress
wri
tte
n p
erm
issi
on
of
PM
I A
ud
io G
rou
p.
PM
I A
ud
io G
rou
p m
ay
ha
ve t
rad
em
ark
s, c
op
yrig
hts
or
oth
er
inte
llect
ua
l p
rop
ert
y ri
gh
ts c
ove
rin
g t
he
su
bje
ct
ma
tte
r o
f th
is U
ser
Gu
ide
. E
xce
pt
as
exp
ress
ly p
rovi
de
d i
n a
ny
wri
tte
n a
gre
em
en
t fr
om
PM
I A
ud
io G
rou
p,
the
fu
rnis
hin
g o
f th
is U
ser
Gu
ide
is
pro
vid
ed
fo
r th
e s
ole
use
of
the
au
tho
rize
d U
ser
[or
Se
rvic
e A
ge
nt
wh
ere
ap
pli-
cab
le]
an
d d
oe
s n
ot
giv
e t
he
Use
r a
ny
lice
nse
to
use
an
y tr
ad
em
ark
s, c
op
yrig
hts
or
oth
er
inte
llect
ua
l p
rop
ert
y o
f P
MI
Au
dio
Gro
up
.
PM
I,
PM
I A
UD
IO,
TE
D
FL
ET
CH
ER
, M
EE
QU
AL
IZE
R,
ST
UD
IO
PR
OJE
CT
S,
JOE
ME
EK
, T
OF
T
AU
DIO
D
ES
IGN
S,
CU
RR
EN
TS
EN
SE
, M
EE
KR
OP
HO
NE
, T
RA
KP
AK
, a
nd
(I
f it
S
ou
nd
s R
igh
t...
It
is
Rig
ht!
) a
re
eit
he
r re
gis
tere
d
tra
de
ma
rks
or
tra
de
ma
rks
of
PM
I A
ud
io
Gro
up
in
th
e
U.S
.A.
an
d/o
r o
the
r co
un
trie
s.
Co
pyr
igh
t ©
20
05
PM
I A
ud
io G
rou
p.
All
rig
hts
re
serv
ed
.
Owne
rs R
egis
trat
ion
Card
TO
BE
CO
MP
LE
TE
D A
T T
IME
OF
PU
RC
HA
SE
Nam
e __
____
____
____
____
____
____
____
____
____
____
___
Dat
e of
Pur
chas
e __
____
____
____
____
____
____
____
____
__
Ser
ial N
umbe
r _
____
____
____
____
____
____
____
____
____
_
Dea
ler’
s N
ame
____
____
____
____
____
____
____
____
____
__
RE
TA
IN F
OR
YO
UR
RE
CO
RD
S
PL
EA
SE
DIS
PA
TC
H A
ND
RE
TU
RN
Y
OU
R R
EG
IST
RA
TIO
N
TO
JO
EM
EE
K W
ITH
IN 1
4 D
AY
S
OF
PU
RC
HA
SE
Spe
cific
atio
ns a
nd m
odel
num
bers
are
sub
ject
to
chan
ge w
ithou
t no
tice
Prod
uct
Regi
stra
tion
Inf
orm
atio
nPl
ease
Fill
in
the
Belo
w S
ecti
ons
and
Retu
rn
Nam
e:
Add
ress
:
City
:
Sta
te:
Z
ip C
ode:
Tele
phon
e N
umbe
r:
em
ail A
ddre
ss:
Mod
el P
urch
ased
:
D
ate
Pur
chas
ed:
Ser
ial N
umbe
r:
Dea
ler:
Com
men
ts:
Wha
t m
agaz
ines
do
you
read
to
infl
uenc
e yo
ur b
uyin
g de
cisi
on:
(ple
ase
chec
k al
l tha
t ap
ply)
❏ M
IX ❏
Ele
ctro
nic
Mus
icia
n ❏
EQ
❏
Sou
nd o
n S
ound
❏
Pro
Aud
io R
evie
w ❏
Rec
ordi
ng ❏
Pro
Sou
nd N
ews
❏ A
udio
MID
I
ONE q manual.indd 4/8/05, 9:47 AM24-25
