Specifications

1961 OPERATORS’ MANUAL 5
APPLICATIONS
Further to its obvious applications as a general studio equaliser, the 1961 is also
particularly effective as a post-production or mastering tool when used to treat
complete stereo mixes, especially when used in conjunction with the 1960 tube
compressor. Even before EQ is applied, the output tube circuitry may be mildly
overdriven in order to add warmth and depth to the sound, while at the same time,
emphasising mid-range and high-frequency detail. When used in the side-chain of
the 1960 or other suitable compressor, the 1961 provides extremely precise control
of de-essing or de-popping.
CONTROL DESCRIPTION
Both channels of the 1961 are identical and may be used independently, or together
to process a stereo signal. Because the filters use switched frequency controls, it is
easier to set up both channels in an identical manner when processing a stereo
signal such as a completed mix. From left to right, the front panel controls are as
follows:
Input Enables the input gain to be varied over the range -20 to +20 dB.
A five-segment LED meter shows the input level over the range
-10 to +10dB, measured after the input stage but before the
equaliser sections. The optimum setting is when the amber LED
is normally illuminated and the +5dB LED lights occasionally.
High-Pass: This is a continually variable 12dB per octave shelving, high-
pass filter which may be adjusted over the range 15Hz to 500Hz.
In: This Bypass switch, when pushed in will illuminate the red LED,
indicating that the High - Pass is in circuit.
PARAMETRIC FILTERS:
The four filter sections marked Bass, Low-Mid, High-Mid and
Treble constitute a fully parametric equaliser, capable of
providing up to 18dB of cut or boost at the selected frequency as
set by the rotary Hz switch. The six switchable frequencies have
been chosen to correspond to key musical areas in the relevant
area of the musical spectrum. The bandwidth or Q of the filter is
determined by the Octave control which is continuously variable.
This control is calibrated in octaves making it easier to assess
its likely effect in a musical context. Each filter section follows
the same basic layout: