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

ec1 manual.indd 9/29/03, 2:44 PM2-3

INSTRUCTION BOOK CONTENTS

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

ABOUT THE DESIGNER

Malcolm Toft started his career in the late 60’s as a recording engineer and was the first engi-

neer 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.

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.

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.

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.

CONNECTING THE UNIT

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.

The outputs from the unit is low impedance and designed to operate

with long cable runs without signal degradation such as loss of high fre-

quencies. 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.

A standard I.E.C. mains inlet is provided for A.C mains power and uni-

versal voltages of either 110 or 240 volts are selectable by rotating the

fuse holder incorporated in the mains inlet socket.

PRODUCT DESCRIPTION

The EC-1 is a combined microphone/line amplifier, F.E.T. com-

pressor and four band equalizer. Because of the wide range of

facilities it offers, the EC-1 effectively provides a complete record-

ing 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 addi-

tional signal processing (particularly equalization and compression).

All three sections offer a wide range of control coupled with extremely

high quality analog electronics that have a real pedigree. The micro-

phone 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.

The equalizer section is a four band swept design identical to that found

in the MTA Series 980 music recording console. As a recording engi-

neer 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.

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 cre-

ative 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 frequen-

cies to provide a particular effect (such as telephone voice simulation),

the full boost and cut range can be used to great advantage.

Toft Audio Designs is manufactured and

marketed under the direction of:

PMI AUDIO GROUP

USA: 1845 W. 169th Street

Gardena, California 90247

toll free: 877-563-6335

fax: 310-323-9051

UK: P.O. Box 358

Torquay, Devon TQ2 5XS

tel: +44 (0) 180 3215111

email: info@pmiaudio.com

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INPUT SECTION

The input section of the EC-1 consists of a very high quality microphone

amplifier designed specifically for professional audio applications. It exhib-

its 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 vari-

ety. 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.

When connecting a microphone to the input of the unit, the ‘Mic/Line’ selec-

tor 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 EC-

1. 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 sig-

nal 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 fol-

lowing equipment.

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-

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.

F.E.T. COMPRESSOR

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 elec-

tric 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 com-

pression. 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 opti-

cal, 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.

Operating The Compressor

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 posi-

tion at which the compressor starts to operate. Signals below the ‘threshold’

will not be compressed and therefore the circuitry will not operate at its opti-

mum. 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 attenu-

ated 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 slow-

er 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.

Malcolm Toft, Designer

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EQUALIZER

The EC-1 incorporates a classic four band sweep equalizer that is extreme-

ly 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.

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 pos-

sible to ‘home’ in on a particular area of frequencies and adjust them with-

out affecting the others around them. This can be particularly useful when

working with instruments such as bass guitars and snare drums.

Operating The Equalizer

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

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).

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.

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.

Use of the ‘EQ’ button will allow comparison of the signal for both differ-

ence in sound and level before and after the equaliser section.

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.

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 equalisa-

tion. By the very nature of their design, equalisers introduce phase

changes at specific frequencies and these are to be avoided as much

as possible.

TROUBLESHOOTING

1) No Power.

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.

Check there is a main supply reaching the unit.

2) The microphone doesn’t work.

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

Is the phantom power switched on? (condenser microphones)

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

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

3) The line input doesn’t work.

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

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

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

4) The instrument input doesn’t work.

Check the lead from the instrument.

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

5) The compressor doesn’t work.

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

Is the ‘Ratio’ control advanced clockwise?

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

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

compressor?

6) The equalizer doesn’t work.

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

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

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

is switched in.

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EC-1 TECHNICAL SPECIFICATIONS

Input Impedance

Microphone: >1.2K- ohm balanced

Line: >15K ohm electronically balanced

Instrument: >100K ohm unbalanced

Output Impedance

x-l-r: <100 ohm electronically balanced

Jack: <100 ohm unbalanced

Gain

Microphone: 60dB

Line: -16 to +30dB

Instrument: 36dB

Noise

Microphone: <-128dBu ref 150 ohm (20Hz-20kHz)

Line: <-75dBu (Eq. In, 20Hz-20kHz)

<-70dBu (Compressor In, 20Hz-20kHz)

Maximum Levels

Mic Input: <+24dBu at all frequencies (Compressor out)

<+15dBu at all frequencies (Compressor in)

Line Input: <+24dBu at all frequencies (Compressor out)

<+15dBu at all frequencies (Compressor in)

Instrument Input: <+24dBu at all frequencies (Compressor out)

<+15dBu at all frequencies (Compressor in)

Distortion

Mic Input: <0.05% T.H.D. (-50dBu input, +4dBu output)

Line Input: <0.05% T.H.D. (+4dBu input, +4dBu output)

Instrument Input: <0.05% T.H.D. (-30dBu input, +4dBu output)

Compressor: <0.5% T.H.D.(maximum compression)

Frequency Response

Mic Input: ±1dB 20Hz to 20kHz

Line Input ±1dB 20Hz to 20kHz

Instrument Input: ±1dB 20Hz to 20kHz

Nominal Operating Level +4dBu

In accordance with our policy of continuing product improvement,

we reserve the right to alter specifications without prior notice.

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 fol-

lowing the repair or replacement of that part or the remaining period of

the Product warranty, whichever is greater.

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.

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.

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

TOFT AUDIO DESIGNS LIMITED WARRANTY

THIS PRODUCT IS FOR PROFESSIONAL USE ONLY

PMI Audio Group warrants that all products will be free from defects in mate-

rial or workmanship:

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.

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 car-

ton 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 dur-

ing the warranty period or at any time.

CONDITIONS

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

ec1 manual.indd 9/29/03, 2:44 PM10-11

PRODUCT REGISTRATION INFORMATION

PLEASE FILL IN THE BELOW SECTIONS AND RETURN

Name:

Address:

City: State: Zip Code:

Telephone Number: email Address:

Model Purchased: Date Purchased:

Serial Number: Dealer:

Comments:

What magazines do you read to influence your buying decision: (please check all that apply)

❏ MIX ❏ Electronic Musician ❏ EQ ❏ Home Recording ❏ Pro Audio Review ❏ Recording ❏ Pro Sound News

DISCLAIMER OF WARRANTY

EXCEPT FOR THE FORGOING WARRANTIES, PMI HEREBY DISCLAIMS AND

EXCLUDES ALL OTHER WARRANTIES, EXPRESS OR LIMITED, INCLUDING, BUT

NOT LIMITED TO ANY/OR ALL IMPLIED WARRANTIES OF MERCHANT ABILITY,

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

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

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

STATUE. PMI HEREBY DISCLAIMS ANY REPRESENTATIONS OR WARRANTY THAT

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

PRODUCTS PURCHASER MAY CHOOSE TO CONNECT TO THE PRODUCT.

LIMITATION ON LIABILITY

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

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

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

NOT BE GREATER THAN THE ACTUAL PURCHASE PRICE OF THE PRODUCT

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

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

CONSEQUENTIAL DAMAGES OF ANY KIND INCLUDING, BUT NOT LIMITED

TO, COMPENSATION, REIMBURSEMENT OR DAMAGES ON ACCOUNT OF THE

LOSS OF PRESENT OR PROSPECTIVE PROFITS OR ANY OTHER REASON

WHATSOEVER.

OWNERS REGISTRATION CARD

TO BE COMPLETED AT TIME OF PURCHASE

Name _____________________________________________

Date of Purchase ____________________________________

Serial Number ______________________________________

Dealer’s Name ______________________________________

RETAIN FOR YOUR RECORDS

PLEASE DISPATCH AND RETURN

YOUR REGISTRATION

TO TOFT AUDIO DESIGNS

OR REGISTER ONLINE AT TOFTAUDIODESIGNS.COM

WITHIN 14 DAYS OF PURCHASE

Specifications and model numbers are subject to change without notice

ec1 manual.indd 9/29/03, 2:44 PM12-13

Ec1 Manual EC 1

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