Bettermaker EQ 542 User manual
BETTERMAKER EQ 542
Operations Manual
Addicted To Music
Wał Miedzeszyński 384
Warszawa 03-994Phone: +48 604649220
info@bettermaker.eu, www.bettermaker.eu
The Bettermaker crew would like to thank all the people that were deeply involved in the development of our
rst product, the EQ 230P. This product started our concept that leeded us to EQ 542. Thank you for the insight
and inspiration you gave us to make it even better.
Thanks to all the Beta-testers that gave us hands-on tips and all people involved in the conceptual stage. We
hope we have listened to you carefully so as to produce an ideal tool in the hands of every engineer.
As for this amazing manual, it would be nothing without the enormous help of Tim Boyce and Bob Katz.
Thank you guys!
Pultec™ is a trademark of Pulse Techniques, LLC
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Table of Contents
Important Safety Information 4
I. Introduction 5
II. Standards, Use and Alignment 6
III. Hardware 6
IV. Front Panel 7
V. Software 10
VI. DAW Integration 12
VII. EQ Filter Sections in Depth 14
XI. Contact info / RMA warranty 18
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Important Safety Information
WARNINGS
• Do not operate this unit in the presence of rain, liquids, or condensing moisture. Liquid entering the product
enclosure presents the risk of electric shock injury.
Practical Safety Precautions
Do not operate the Bettermaker EQ542 underwater, uncovered in the rain, in a sauna, or anyplace near water.
(We know your shower is the greatest reverb chamber ever created). In such cases we advise the use of long cable
runs (preferably balanced) from the control room to minimize potential harm to both body and equipment. Always
be sure to protect the unit from dust, particles, water, beer, groupies, and stage divers.
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I. Introduction
Congratulations on your purchase of the Addicted to Music Bettermaker Equalizer - all analog sound with
the exibility of digital control!
Welcome to the family! The hybrid audio equalizer now in your possession is the result of years of research
and development in emerging digital control technologies. The nal hand-built result is currently glowing happily
in your rack (Lucky you). The EQ542 brings the exibility, ease of use, and instant recall-ability of software
plugins to the realm of high delity analog processing like no other analog EQ on the market.
Company
Addicted to Music began in 2004 in Warsaw, Poland as a recording and mixing studio. Long before it was
a hardware company we were deeply involved in the international music and recording scene. This is not a
company run by scientists who crunch numbers all day, we are a company run by engineers who live, eat, and
breathe music (like you do). We know good sound, and know rst-hand what it takes on both sides of the glass to
capture the perfect take. We developed the EQ542 to go from the perfect take, and make it even better!
Unit
The Bettermaker EQ542 was designed to have the greatest exibility of any analog EQ, while still allowing
absolute recall and repeatability. We often found the strengths of software plug-ins wasn’t their sound, but the
ability to quickly audition different settings. This allowed us to make faster, better informed musical choices. The
ability to jump back and forth between (sometimes vastly different) settings allowed us to keep a clear vision of
the sonic goal in mind, while quickly making decisions on the best setting to use.
However, we recognized the sonic superiority of our analog gear compared to their digital counterparts. In
countless shoot-outs, the analog versions always won. Since we’re a company that cares about better sound over
processing speed, our engineers would take the extra time to use a full analog chain because it simply sounds
better. We developed the Bettermaker EQ542 to give us the speed of plugins, but the delity of analog.
In the traditional analog world the time spent in the act of having to set and reset knobs and buttons to audition
between settings often skewed our choices. More time was spent tweaking knobs trying to recover an earlier
setting than was spent listening. The limited resolution of the mechanical parts often meant only very coarse
adjustments were possible (previously only solvable by very expensive mechanical switches). A difcult situation
to say the least, but the greater delity, openness, and depth of the analog gear was always worth it to our ears.
Even after years of advancement in digital algorithms, the older analog versions always sounded better. With these
goals in mind, we strove to create a hybrid EQ that was the best of both worlds: A true analog EQ based on classic
designs, but with the repeatability, ne resolution, and consistency of digital plug-ins. Enter the inspiration for the
Bettermaker EQ542!
Design History
The EQ542 is a natural evolution of its older brother the Bettermaker EQ232P with our quality parametric
circuit. The circuits of the parametric sections are identical in both models.
We began with the analog sections. Choosing modern components and design practices over older traditional
methods helped maintain the transient response and low noise-oor necessary for today’s recording practices.
Wherever possible we choose over-spec’ed components to ensure trouble free operation and a long product life.
Where feasible we increased the gain resolution and frequency range to ensure the greatest exibility no matter
what source (from tracking to 2-bus and mastering applications). Most importantly we listened rst, tested, and
then listened again. We hope you enjoy your Addicted to Music EQ542. Now go make some music Better!
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II. Standards, Use and Alignment
The Bettermaker EQ542 is designed according to international standards, and is fully functional in any location
with proper power and 500 format enclosure available. This includes but is not limited to studio, stage, video post,
on-location, festival, corporate, and both installed and temporary audio solutions. This equalizer is excellent in
festival situations as its instant recall makes it perfect for fast resetting between multiple stages or bands. Once
you grow accustomed to the amazingly quick recall and exibility of this EQ, we believe you will nd new uses
and applications for it in your professional workow. You may never want to be without it. The Bettermaker 542
is a stand alone module to be installed into an API 500 series compatible rack frame (sold seperatly).
The current consumption is +16V 200mA and -16V 50mA. Take note that EQ542 takes two 500 spaces. Most
API 500 compatible racks will meet this requirement without problems, but there might be a limitation of how
many units can be installed in a single rack. In case of doubt please check with the manufacturer of your specic
rack.
III. Hardware
This basic overview of the hardware design approach of the Bettermaker EQ542 will help further your
understanding of its sophisticated toolset and purist design.
Internal Routing
For normal operation it is not necessary to access the interior of the EQ542. In the event of possible failure,
please see Part IX, Trouble Shooting, where many issues can be solved. The analog and digital sections of your
hybrid EQ are completely separate and isolated. This keeps any control voltage for the digital section away from
the sensitive analog components and lowers the overall noise of the unit.
Analog Section
Great care and thought went into the development and implementation of the analog section of the Bettermaker
EQ542. High quality capacitors are used throughout the analog path. All analog PCB is totally separate and
isolated from the digital section. This keeps each channel of the EQ within tight tolerances, resulting in precise
stereo tracking and thus a more natural, open stereo spread with no phase shift between channels. Exacting
performance results in nearly unmeasurable differences between channels at all frequencies and levels and 100%
repeatable preset recalls.
Digital Section
All digital circuits are 100% separated from the analog sections. Memory cells are stored in non-volatile
EEPROM Memory. This means that your custom saved states will not be lost even if power is disconnected from
the unit. The current power-on condition is retained when the unit is manually switched off. The USB type B
connection lets you use it as you would use a plugin in your DAW, including automation and recall with session
opening.
Installation in a 500 rack
The Bettermaker EQ542 can be quite easily installed in to a API 500 series compatible rack. However if
you are unsure, please ask someonse more expirienced to help out. Here are a few steps to install the 542 in to
a API 500 series rack. Switch your API 500 series compatible rack off and disconnect the power cable from
mains. Insert the module into two free slots of your rack. Make sure both PCB connectors match with the rack
connectors. Push the module in place - do not use any excessive force, they will t sung, but should easily align.
Tighten the front panel with four screws provided by your rack manufacturer. Connect XLR audio cables and
apply power to your rack. Now you are ready to make it Better!
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IV. Front Panel
The Bettermaker EQ542 front panel is divided into 2 main sections and a clip indicator. To keep a clean and
modern design aesthetic. All knobs are machined out of solid aluminum and are securely mounted to the detented
digital encoders. All knobs rotate as digitally encoded increments and decrements. The exception is the ‘Preset’
knob, which rotates as a digital encoder, but also has a special function as a push-button menu selector.
Ergonomics
You will soon discover that the EQ542 ergonomics make this EQ comfortable, easy to use, fun and addictive!
For example, the knobs are velocity-sensitive, resulting in coarse changes when spun quickly, and very precise
ne increment/decrements when turned slowly. These knobs quickly and easily let you get to the level or
frequency you desire or perform ne resolution. Experience this once and you will be hooked. The indicator lights
around the knobs and switches are easy to read and give a clear indication of the frequency, bandwidth or range,
coupled with a numeric readout in the LED display whenever a knob is turned or a bandwidth or frequency switch
is pressed. The look and feel is so comfortable that you can operate this EQ in the dark and comfortably nd all
the knobs just by feel.
Bypass Section
On the left lower corner is the ENGAGE button. The unit is IN when its engage led is LED. When the ENGAGE
button is OUT, the entire unit is bypassed. To hear any changes the EQ may be making, the ENGAGE button must
be IN. The unit will also pass signal in bypass when fully disconnected from mains power. The following picture
shows the EQ in a state of being engaged. When you use in in Unlink mode, remember that it the ENGAGE will be
unlinked too, this way you will be able to bypass only one channel, You can also bypass every lter on its own.
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Clip Indicators
Two red LEDs illuminate if the headroom has been exceeded. This can occur by driving a signal too hard into
the EQ, or by applying too much boost in any of the bands. Clip detectors are located at the output of the lter
stage. If clipping does occur, lower the input level feeding into the unit until the LEDs stop blinking.
High Pass and Low Pass Filters
The High Pass Filter is located on the lower left of the panel. The HP knob selects the corner frequency of the
24 dB-per-octave high pass lter. The range is from 30 Hz to 240 Hz in 4 steps. All signals above the selected
frequency are passed along to the next lter section and onto the outputs. This is the rst lter that the signal
passes through.
The Low Pass Filter is located on the lower left of the panel. The LP knob selects the corner frequency of the
12 dB-per-octave low pass lter. The range is from 3 KHz to 12 KHz in 4 steps. All signals below the selected
frequency are passed along to the next lter section and onto the outputs. This is the second lter that the signal
passes through.
EQ 1/2
The EQ 1/2 section occupies the space n the middle of the front panel. Each band of this reciprocal parametric
EQ has 3 controls (level, frequency, and bandwidth). The two knobs control level (EQ boost or cut) and frequency
respectively. The two buttons in the middle of each band alter the bandwidth of the lter. This can be changed
from 1/5th an octave at its narrowest, to 3 octaves at its widest. The EQ1 lter has a frequency range of 45 Hz to 1
kHz. The EQ2 lter has a frequency range of 650 Hz to 15 kHz. The gain range of each lter is +/- 15 dB. On the
right side of the lters you can nd the bypass (EQ x in) buttons of each lter.
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Presets
On the lower right corner is the PRESET section (pictured above), which saves and recalls the entire state of the
unit. The multi-purpose knob can rotate as a digital encoder and be pressed as a menu selector button in tandem
with the 3-digit LED Read-out. Operation is described in detail below in Part V, Software.
Stereo / Dual Mono
Over the preset section is a stereo/dual mono selector button (pictured above). This unlinks the channels of
the EQ542 to allow dual mono processing. For example, during tracking, one channel could equalize the main
vocal, and the other the bass. In mastering, one channel could have a different eq than the other (with caution to
avoid phase and image shift if making extreme changes). Or, an external M/S converter may be used to separately
equalize the M and S channels during mastering.
Currently the CH button cycles through three states. A long press (about 1 second) switches between LINK
(stereo) and UNLINKED (dual mono) mode. A short press switches channels when in UNLINKED mode. For
example:
1) Unit is in stereo operation and LINK is illuminated.
2) Press CH to switch the unit to dual mono; the indicator now displays 1 showing you are in control
of channel 1. The state of channel 1 is remembered from the last time the dual mono state was used, so no
information will be lost when switching back and forth between Linked and Dual Mono states. When unlinking,
both channels receive the same setting (setting of channel 1). So If you use the dual mono mode, be aware that
linking it back will copy channel 1 setting to channel 2.
3) Press CH (a short brief touch) and the indicator displays 2 showing you are in control of channel 2. You can
alternate between controlling channel 1 or 2 by a simple short press of the CH button.
4) Press and hold CH (for about 1 second) and the equalizer returns to LINK mode.
It is possible to transfer or copy settings from channel to channel using the Presets (See Part V).
USB Activity
The USB LED lights up when the equalizer is connected to a host computer. Activity shows up as USB LED
blinking.
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V. Software
The sound of an equalizer is of course based on the quality of its hardware design. This unique equalizer is also
a hybrid; all control and user interaction are performed in the digital software realm. This allows us to incorporate
options and possibilities not found in any standard analog equalizer—including:
• Save and recall of 399 states (that’s a lot of trees saved in recall sheets)
• Instant reset
• Rapid, precise and repeatable gain adjustment
• Precisely-linked stereo operation with the ease of a single control
• Undo!
Recall States
Recalling is simple. The PRESET knob is both a rotary encoder and a push button. Any preset (1-399) can be
recalled at any time. Rotate the PRESET knob until the LED display shows the correct number of the save-state
you would like to load. Once the correct number is shown on the display, press the PRESET knob once. The new
state is now loaded on the hardware, and all LED displays around the knobs represent the current state of the
hardware.
Undo
If you accidentally load settings that replace your current one, you can go back to the earlier state by loading
memory-cell number 400. This clever memory always stores the setting one step before the last change, so it
serves as an instant undo. Loving the EQ542 means never having to say you’re sorry!
Storing Custom User States
With 399 memory cells, there are many opportunities to try different setups for each source and quickly choose
the best one as needed. This is one of the greatest strengths of our hybrid EQ approach, so don’t be afraid to
experiment. To save your own custom setting into the unit, rotate the PRESET knob to an unused memory cell (or
one you wish to overwrite), then press and hold the PRESET knob for 2 seconds. The LED display will change to
a dialog saying NO. Turn the PRESET knob till the LED display shows the YES dialog and conrm your selection
by pressing the PRESET knob again. The display will now show SAVEd and you will notice a small red dot in the
lower right corner of the LED display indicating the information has been stored. The No/Yes dialog is a safety
feature—it ensures you cannot mistakenly overwrite a memory cell.
Presets and Linked Mode
Each Preset contains a single channel’s worth of information. When the unit is in Linked mode, recalling a
single Preset will control both channels equally. When in dual-mono mode controlling Channel 1, recalling a
Preset will set the state of channel 1 only and not affect channel 2. Recalling a Preset into Channel 2 sets the state
of Channel 2 and (not coincidentally) also sets the state of Linked mode, since Linked mode shares a memory cell
with Channel 2. Thus it is possible to transfer or copy information from channel to channel using the Presets.
Reset State
Pressing the PRESET knob twice in quick succession will reset the unit. This conveniently zeros out all gains
and centers all frequency selections.
Memory Clear (Delete)
Though it’s unnecessary in practice, if you ever want to clear a memory (perhaps to hide your most secret EQ
setting from prying eyes), start with the same procedure as storing: rotate the PRESET knob to a used memory cell,
then press and hold the PRESET knob for 2 seconds. The LED display will change to a dialog saying NO. Turn
the PRESET knob till the LED display shows dEL, then press the knob once. The red dot at the lower right-hand
corner of the display will disappear, indicating the memory has been cleared.
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