Ec1 Manual EC 1

User Manual: EC-1

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TOFT AUDIO DESIGNS
DISTRIBUTED BY PMI AUDIO GROUP

1845 W. 169th Street
Gardena, California 90247 USA

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One of the main features of the equalizer is its ability to enhance bass
frequency signals without introducing the unwanted ‘boom’ so often
found in many modern console equalizers. The frequencies and curve
shapes of each range have been carefully chosen after painstaking
listening tests in order to provide the precise degree of control that creative recording engineers require. Whilst a level adjustment of ±15dB
in each range has been provided, use of the unit will show that only a
small amount of boost or cut is needed to provide the desired effect. In
severe cases where it may be necessary to remove unwanted frequencies to provide a particular effect (such as telephone voice simulation),
the full boost and cut range can be used to great advantage.

The equalizer section is a four band swept design identical to that found
in the MTA Series 980 music recording console. As a recording engineer and console designer with over 25 years experience, Malcolm Toft
has gained a reputation for designing consoles and equalizers that are
both highly musical and intuitive to use. The EC-1 equalizer follows that
tradition of excellence in every way.

All three sections offer a wide range of control coupled with extremely
high quality analog electronics that have a real pedigree. The microphone amplifier is the same design as used in Malcolm Toft’s top range
of recording consoles, while both the compressor and equalizer section
borrow heavily from vintage Trident designs.

A standard I.E.C. mains inlet is provided for A.C mains power and universal voltages of either 110 or 240 volts are selectable by rotating the
fuse holder incorporated in the mains inlet socket.

The outputs from the unit is low impedance and designed to operate
with long cable runs without signal degradation such as loss of high frequencies. The front panel instrument input is high impedance designed
to work with a wide range of musical instruments such as guitars,
basses and electronic keyboards. A large amount of amplification is
provided with this input and it will operate in both the microphone and
line mode (determined by the front panel ‘MIC/LINE’ switch). Setting the
input switch to ‘MIC’ will provide slightly more amplification if needed for
very low output instruments.

The rear panel of the unit provides both x-l-r and 1/4” jack inputs for the
line input and output, whilst a female x-l-r only connects the microphone
input. These connectors use the standard industry convention of pin
1 ground, pin 2 + and pin 3- for x-l-r connectors and tip +, ring -, and
sleeve ground for jacks. The jacks can also be connected unbalanced,
tip + and sleeve ground. When connecting a microphone, the input level
control for each channel should be at minimum and the phantom power
+48V switch off (led extinguished). The front panel instrument jack is
also unbalanced and follows the same wiring code. The microphone
input is designed to accept low impedance balanced microphones of
either dynamic, ribbon or condenser types. The line input is designed
to accept balanced or unbalanced, line level audio signals and like the
microphone input is selected via the front panel ‘MIC/LINE’ switch.

CONNECTING THE UNIT

The EC-1 can be used to provide a pristine signal path of exceptional
quality when required allowing subtle control of the audio path, or it can
be used to provide extra punch and dynamics to an otherwise lackluster
signal.

Consoles designed by Malcolm have been used to record just about every major artist in the
past three decades, including Elton John, Dire Straits, David Bowie, Rod Stewart and Stevie
Wonder to name but a few. More recently they have been used to record artists such as
Radiohead and Pavarotti. The Toft Audio range therefore brings with it an historic pedigree,
but what excites Malcolm tremendously is the fact that he is able to offer his designs at a price
that is now affordable to the smaller studios and home recordists.

In 1972 Trident studios decided to buy a new recording console and Malcolm was able to
convince the owners that they could in fact build one themselves. From this idea was borne
Trident Audio Developments Ltd. that went on to become a leading manufacturer of music
recording consoles. One of the company’s earliest advertising slogans was ‘designed by
recording engineers for recording engineers’. This became a key component of what made
the ‘Trident Sound’ so unique. Coming from a background of being a recording engineer rather
than an electronics engineer, Malcolm has always designed with his ears rather than a text
book and it is this coupled with over thirty years experience that has enabled him to develop
his own ‘philosophy of sound’ that is his trademark.

Malcolm Toft started his career in the late 60’s as a recording engineer and was the first engineer to be employed at the famous Trident Recording Studios in London. Among his credits
are the recordings of David Bowie’s ‘Space Oddity’ album, James Taylor’s first album, and
three albums with T-Rex. He was also the mixing engineer on the Beatles ‘Hey Jude’ single.

The EC-1 is a combined microphone/line amplifier, F.E.T. compressor and four band equalizer. Because of the wide range of
facilities it offers, the EC-1 effectively provides a complete recording channel. It will take the signal from a microphone or instrument
and process it so that it is ready to feed straight into a recording
device such as a computer controlled digital audio workstation or
analog storage device such as a multi-track tape recorder. It can
also be inserted into the path of a mixer channel to provide additional signal processing (particularly equalization and compression).

PRODUCT DESCRIPTION

email: info@pmiaudio.com

UK: P.O. Box 358
Torquay, Devon TQ2 5XS
tel: +44 (0) 180 3215111

PMI AUDIO GROUP
USA: 1845 W. 169th Street
Gardena, California 90247
toll free: 877-563-6335
fax: 310-323-9051

Toft Audio Designs is manufactured and
marketed under the direction of:

ABOUT THE DESIGNER

About The Designer..................................................................................................2
Product Description..................................................................................................3
Connecting the Unit .................................................................................................3
Input Section.............................................................................................................4
F.E.T. Compressor....................................................................................................5
Equalizer................................................................................................................6
Troubleshooting........................................................................................................7
Technical Specifications...……………......................……………………………….….8

INSTRUCTION BOOK CONTENTS

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All the compressor related controls, ‘Attack’, ‘Release’, ‘Ratio’ and ‘Make
Up Gain’ should first be set to their minimum positions (fully anti-clockwise).
The input level should be set in accordance with the instructions given in the
preceding section ‘Input Section’. This is very important as the compressor
section works on the principle of a fixed ‘threshold’. This is the preset position at which the compressor starts to operate. Signals below the ‘threshold’
will not be compressed and therefore the circuitry will not operate at its optimum. The ‘Comp’ switch should be set to the ‘IN’ position (led illuminated)
and the ‘Make Up Gain’ control advanced to its midway point. Like the
‘Mic/Line Gain’ control, this is set up so that in it’s midway position, the unit
is designed to give unity or 0dB gain. The signal on the VU meter should
now read the same whether the ‘Comp’ switch is set to ‘IN’ or ‘OUT’. Now
switch the ‘Gain Reduction’ switch to the left of the meter to ‘G.R.’ (Gain
Reduction). The meter will now indicate ‘0’ whether signal is present or not
and irrespective of signal level. This is because in ‘G.R’ mode the meter is
designed to give an indication of the amount that the signal is being attenuated by the compressor circuit. Now advance the ‘Ratio’ control slowly and
compression of the signal will take place. On most programme material it
will not be necessary to advance the ratio control very far to get the desired
effect. The ‘Make Up Gain’ control can be advanced clockwise to adjust for
any difference in output level caused by the compressor. The ‘Attack’ and
‘Release’ control settings depend on the nature of the audio signal through
the compressor. For example, a bass guitar is best processed using a slower attack time (‘Attack’ control advanced clockwise), as the extremely fast
attack time of the compressor may not be desirable on such a percussive
instrument. For vocals, a fast attack time and slow release could be favored
in order to avoid ‘pumping’ effects common in many compressors without
the range of control that the ATC-2 offers. In using compressors, it is very
much a case of experimentation to find what suits different instruments and
different program material.

Operating The Compressor

When using a line level input, the ‘Mic/Line’ switch should be selected to
‘Line’ and the ‘Mic/Line Gain’ control set to its midway position. +48V phan-

When connecting a microphone to the input of the unit, the ‘Mic/Line’ selector switch to the left of the gain control should be selected to ‘Mic’ and the
‘Mic/Line Gain’ control sets to it’s minimum position (fully anti-clockwise).
The ‘Comp’ switch should be set to ‘OUT’ (led extinguished). If +48V
phantom power is to be used, this should be selected whilst the ‘Mic/Line
Gain’ control is at minimum and the associated led will show that phantom
power is present. A few moments (up to 30 seconds) should be allowed
for the microphone to reach normal operating level and the ‘Mic/Line Gain’
control advanced until a suitable level is achieved at the output of the EC1. The V.U meter can be used to monitor the output level of the unit after
having first selected the ‘Meter’ switch (situated to the left of the meter) to
the ‘Output’ position. The ‘Mic/Line Gain’ control should be set so that signal peaks go just into the red portion of the meter scale and should never
cause the meter to deflect fully right for sustained periods. This will provide
a suitable operating level for the unit and will match other professional audio
equipment. The EC-1 is in fact capable of very high output levels (up to
+26dBm) but by setting the level as described above, adequate overload
margins are maintained and there should be no danger of overloading following equipment.

The input section of the EC-1 consists of a very high quality microphone
amplifier designed specifically for professional audio applications. It exhibits near theoretical minimum noise figures, has an extremely fast transient
response and will handle a wide range of input levels with a frequency
response that extends above 40kHz. Naturally, best results will be achieved
using a high quality condenser microphone of either the F.E.T or tube variety. The microphone amplifier will however bring out the best in either a
dynamic or ribbon microphone. The large amount of gain and low noise
available in the amplifier is particularly useful when working with ribbon
microphones as these have an inherently low output level and noise can
therefore become a problem.

INPUT SECTION

Malcolm Toft, Designer

There are many ways to control or reduce the dynamic range of signal
and these include photo-optical devices where the signal triggers a light
emitting device such as an led which in turn shines on to a photo electric cell. The cell then varies in resistance according to the light shining
upon it and the more light, the lower the resistance gets. This can then
be used to reduce the signal level and therefore control the dynamic
range. Compressors based on these devices were particularly popular
in the sixties and are known for their characteristic ‘soft’ form of compression. This is also true of tube based compressors which usually
operate on a ‘variable mu’ principle to control the dynamic range. More
modern developments use either a voltage controlled amplifier, which
is very easy to mathematically predict, and provides extra facilities such
as ‘hard and soft knee’ compression, or the one we have chosen, the
F.E.T. This way of controlling signal dynamics was particularly popular
in the seventies and has unique characteristics of its own. Because
of the nature of the device it can provide extremely fast attack times
and consequently has the ability to really control the dynamics of audio
signal. The design of the compressor is based around a circuit used
by Trident in the early eighties that proved very popular with many
recording studios. Whilst there are many companies producing optical, tube and vca based compressors, F.E.T based designs are much
rarer and normally very expensive as they need care in setting up. We
have been able to minimize the setup needed and are able to offer the
unique F.E.T. characteristics at an affordable price.

F.E.T. COMPRESSOR

tom power should never be selected in the ‘Line’ mode. At it’s midway
position in line mode, the unit is designed to give unity or 0dB gain.
This makes an easy reference point when using line level inputs and
a ‘0’ is placed at the centre point of the ‘Mic/Line Gain’ control for this
reason. In the same way as described above, the VU meter can be
used to set an appropriate level through the unit.

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Make sure the ‘Mic/Line Gain’ control is turned up.

Is the ‘Mic/Line’ switch selected to ‘LINE’

Is it connected to the correct input on the back of the unit?

3) The line input doesn’t work.

Is the ‘Mic/Line’ switch selected to ‘MIC’
Make sure the ‘Mic/Line Gain’ control is turned up

Is the phantom power switched on? (condenser microphones)

Is it connected to the correct input on the back of the unit?

2) The microphone doesn’t work.

Check there is a main supply reaching the unit.

Make sure the unit is selected for the correct mains voltage via the selector
incorporated in the mains inlet socket on the back of the unit. Check the
fuse (also in the mains inlet socket) if the unit has been powered with the
wrong voltage.

1) No Power.

TROUBLESHOOTING

To use the four band equaliser section, first make sure that all of the boost
and cut controls are in their mid way positions. This will be apparent when
a small click is felt at the mid rotation point, which denotes the ‘flat’, i.e. no
boost or cut position. Next it is necessary to switch the ‘EQ’ push-button to
‘IN’ which will illuminate its associated l.e.d. to indicate that the equaliser is
now in circuit. According to the programme material connected to the unit,
a frequency should be chosen from one of the four sections (starting with
bass to the left hand side advancing to treble frequencies on the extreme

Operating The Equalizer

All four bands are of the ‘peaking’ type. For those not familiar with the
term, a peaking equaliser is one that as its name suggests, reaches a peak
and then falls back down. The period over which it reaches it’s peak and
then falls down is known as the bandwidth. The bandwidth of the equaliser
design in the EC-1 has been chosen for its musical characteristics and has
been developed over many years of listening tests and studio appraisal.
Because this type of design reaches a peak and then falls away, it is possible to ‘home’ in on a particular area of frequencies and adjust them without affecting the others around them. This can be particularly useful when
working with instruments such as bass guitars and snare drums.

The EC-1 incorporates a classic four band sweep equalizer that is extremely similar to that employed on the MTA Series 980 console. It consists of
four independent ranges each with continuously sweepable frequency and
continuously variable boost and cut. A feature of each band is that the boost
and cut is completely reciprocal. That is to say that the boost shape is a
mirror image of the cut shape. This provides not only an extremely musical
sound but also a high degree of control. All frequency ranges have been
carefully chosen to have maximum effect on music programme and a good
degree of overlap is provided.

EQUALIZER

Make sure the ‘Make Up Gain’ control is turned up if the compressor
is switched in.

Make sure the ‘Mic/Line Gain’ control is turned up.

Is the ‘EQ In’ switch selected to ‘IN’ ?(led illuminated).

6) The equalizer doesn’t work.

Is there enough signal (set by the ‘Mic/Line Gain’ control) to ‘drive’ the
compressor?

Is the ‘Make Up Gain’ control advanced clockwise? (set to midway).

Is the ‘Ratio’ control advanced clockwise?

Is the ‘Comp In’ switch selected to ‘IN’ ?(led illuminated).

5) The compressor doesn’t work.

Make sure the ‘Mic/Line Gain’ control is turned up.

Check the lead from the instrument.

4) The instrument input doesn’t work.

A final word in general about the use of equalisation. If you find that
you are having to use all four sections of the equaliser and with quite
large amounts of boost or attenuation (other than for a specific ‘effect’
you are trying to make), I would suggest that you go back a step and
check the source that is feeding the equaliser. In most cases, selecting
a different microphone for the job or moving the microphone position
can be far more effective than applying large amounts of equalisation. By the very nature of their design, equalisers introduce phase
changes at specific frequencies and these are to be avoided as much
as possible.

It should be noted that the AFC equaliser is capable of handling high
input signal levels (up to +20dBm) at the inputs and throughout the
device and also delivering up to a +24dBm balanced output signal. It
is important therefore when checking if distortion should occur, that
the mixer or device that the unit is connected to, is not itself being
overloaded.

Use of the ‘EQ’ button will allow comparison of the signal for both difference in sound and level before and after the equaliser section.

Similarly, if a large amount of attenuation (cut) is used either on one or
more sections, it may be necessary to increase the input level to bring
the signal back up to it’s original setting.

If a large amount of accentuation (boost) is used either on one section
or more, it may be necessary to reduce the input level control to either
avoid distortion through the unit or overloading of the device to which
the equaliser is connected.

right), which the operator wishes to process. By turning the centre
detented boost or cut control, the chosen frequency can be either
attenuated (anti-clockwise) or accentuated (clockwise).

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<+24dBu at all frequencies (Compressor out)
<+15dBu at all frequencies (Compressor in)
<+24dBu at all frequencies (Compressor out)
<+15dBu at all frequencies (Compressor in)
<+24dBu at all frequencies (Compressor out)
<+15dBu at all frequencies (Compressor in)

<-128dBu ref 150 ohm (20Hz-20kHz)
<-75dBu (Eq. In, 20Hz-20kHz)
<-70dBu (Compressor In, 20Hz-20kHz)

60dB
-16 to +30dB
36dB

<100 ohm electronically balanced
<100 ohm unbalanced

>1.2K- ohm balanced
>15K ohm electronically balanced
>100K ohm unbalanced

1. Notification of claims: Warranty Service: If Purchaser discovers that the
Product has proven defective in material or workmanship, then written notice
with an explanation of the claim shall be given promptly by Purchaser to PMI
but all claims for warranty service must be made within the warranty period. If
after investigation PMI determines that the reported problem was not covered
by the warranty, Purchaser shall pay PMI for the cost of investigating the
problem at its then prevailing time-and-materials rate. No repair or

CONDITIONS

B: In addition, PMI Audio Group will supply, at no charge, replacements for
defective parts for a period of (three years) from the date of purchase. During
the labor warranty period, to repair the Product, Purchaser must return the
defective Product, freight prepaid, or deliver it to PMI Audio Group Service
Center. The product to be repaired is to be returned in either its original carton or a similar package affording an equal degree of protection. PMI Audio
Group will return the repaired Product freight prepaid to the Purchaser. PMI
Audio Group is not obligated to provide Purchaser with a substitute unit during the warranty period or at any time.

A: For a period of (3) three years from the date of purchase (hereinafter the
labor warranty period), PMI Audio Group will repair or replace this Product if
determined to be defective. After the expiration of the labor warranty period,
the Purchaser must pay labor charges.

PMI Audio Group warrants that all products will be free from defects in material or workmanship:

THIS PRODUCT IS FOR PROFESSIONAL USE ONLY

TOFT AUDIO DESIGNS LIMITED WARRANTY

Instrument Input:

Line Input:

Mic Input:

Maximum Levels

Microphone:
Line:

Noise

Microphone:
Line:
Instrument:

Gain

x-l-r:
Jack:

Output Impedance

Microphone:
Line:
Instrument:

Input Impedance

EC-1 TECHNICAL SPECIFICATIONS
<0.05% T.H.D. (-50dBu input, +4dBu output)
<0.05% T.H.D. (+4dBu input, +4dBu output)
<0.05% T.H.D. (-30dBu input, +4dBu output)
<0.5% T.H.D.(maximum compression)

±1dB 20Hz to 20kHz
±1dB 20Hz to 20kHz
±1dB 20Hz to 20kHz

4. Proof of purchase: The dealer’s dated bill of sale must be retained as
evidence or the date of purchase and to establish warranty eligibility

3. Exceptions to Limited warranty: PMI shall have no liability or obligation
to Purchaser with respect to any Product subjected to abuse, improper
use, negligence, accident, modification, failure of the end-user to follow
the operating and maintenance procedures outlined in the users manual,
attempted repair by non-qualified personnel, operation of the unit
outside of the published environmental and electrical parameters, or
if such products original identification (trademark, serial number) markings
have been defaced, altered, or removed. PMI excludes from warranty
coverage, Products sold AS IS and/or WITH ALL FAULTS and excludes
used products which have not been sold by PMI to the Purchaser. PMI
also excludes from warranty coverage consumables such as fuses and
batteries, tubes, etc.

2. Exclusive Remedy: Acceptance: Purchaser’s exclusive remedy and
PMI’s sole obligation is to supply (or pay for) all labor necessary to
repair any product found to be defective within the warranty period
and to supply, at no extra charge, new or rebuilt replacements for
defective parts. If repair or replacement fails to remedy the defect, then
and only in such an event, shall PMI exchange to Purchaser a new or
reconditioned unit. Purchaser’s failure to make a claim as provided in
paragraph 1 above or continued use of the product shall constitute an
unqualified acceptance of such Product and a waiver by Purchaser of
all claims thereto.

replacement by Purchaser of any Product or part thereof shall extend
the warranty period as to the entire Product. The specific warranty on
the repaired part only shall be in effect for a period of ninety (90) days following the repair or replacement of that part or the remaining period of
the Product warranty, whichever is greater.

In accordance with our policy of continuing product improvement,
we reserve the right to alter specifications without prior notice.

Nominal Operating Level +4dBu

Mic Input:
Line Input
Instrument Input:

Frequency Response

Mic Input:
Line Input:
Instrument Input:
Compressor:

Distortion

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email Address:
Date Purchased:
Dealer:

Telephone Number:
Model Purchased:
Serial Number:

Zip Code:

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Comments:

State:

PRODUCT REGISTRATION INFORMATION
PLEASE FILL IN THE BELOW SECTIONS AND RETURN

Specifications and model numbers are subject to change without notice

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R E TA I N F O R Y O U R R E C O R D S

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CONSEQUENTIAL DAMAGES OF ANY KIND INCLUDING, BUT NOT LIMITED

BE LIABLE TO PURCHASER FOR ANY SPECIAL, INDIRECT, INCIDENTAL, OR

WITH RESPECT TO WHICH SUCH CLAIM IS MADE. IN NO EVENT SHALL PMI

NOT BE GREATER THAN THE ACTUAL PURCHASE PRICE OF THE PRODUCT

THE LEGAL THEORY AND WHETHER ARISING IN TORT OR CONTRACT, SHALL

FOR DAMAGES FOR ANY CLAIM OF ANY KIND WHATSOEVER, REGARDLESS OF

THE LIABILITY OF PMI, IF ANY, AND PURCHASER’S SOLE AND EXCLUSIVE REMEDY

LIMITATION ON LIABILITY

PRODUCTS PURCHASER MAY CHOOSE TO CONNECT TO THE PRODUCT.

THE PRODUCT IS COMPATIBLE WITH ANY COMBINATION OF NON-PMI AUDIO

STATUE. PMI HEREBY DISCLAIMS ANY REPRESENTATIONS OR WARRANTY THAT

OF THE UNIFORM COMMERCIAL CODE AND/OR IN ANY COMPARABLE STATE

TO ANY CLAIM OF INFRINGEMENT THAT MAY BE PROVED IN SECTION 2-312(3)

FITNESS FOR A PARTICULAR PURPOSE AND/OR ANY WARRANTY WITH REGARD

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EXCEPT FOR THE FORGOING WARRANTIES, PMI HEREBY DISCLAIMS AND

DISCLAIMER OF WARRANTY



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