The EQ50 is a mastering-quality analog three-band 500-series equalizer module. I received two for review and they were immediately connected to the output of the stereo bus of my SSL Sigma Summing system. I also used them on individual tracks in the mix.
The EQ50 has a continuously adjustable low cut filter with a 20 Hz to 1kHz range. It rolls off or cuts 6dB per octave. The middle control is called a See-Saw (sometimes called a “tilt”) equalizer with a selectable “pivot” frequency of either 400Hz or 1kHz.
In a See-Saw equalizer, a single control knob boosts and cuts at the same time up to +/- 16dB centered at a pivot frequency. The EQ50’s third band is a high cut filter that is also continuously adjustable from 5kHz to over 200kHz and also rolls off or cuts 6dB per octave.
200kHz? The upper harmonics of transient laden audio sources—the fast attack of drums, pianos, and percussion instruments range from just inside the range of human hearing to well above our ability to hear.
I used the See-Saw mid-range section set to 1kHz to add a touch of “cut” and, at the same time, lower the frequencies below 1kHz. This is a touchy control used on program material this way—a little goes a long way and I loved it!
The EQ50 is meticulously designed to maintain an accurate phase/ amplitude response for a fully transparent signal path when in circuit. Each Ingram Engineering EQ50 sells for $455 MSRP.
Barry Rudolph is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility and loves teaching audio engineering at Musician’s Institute, Hollywood, CA. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com