- Class A (DSOP-2) Output specs. Frequency response: 20Hz to 20kHz +- 0.5dB
- Maximum Output Level: +26dBu @ 1kHz
- Noise: -90dB @ 20Hz to 20kHz.
- Phoenix Audio’s unique Class A, buffer DSblip stage.
- Input level range: -10dBu to +10dBu
- Self-contained on-board “boost” PSU.
- Gain Meter: LED Metering. (Green = -2dB, +4dbu & +10dbu Yellow = +13dB, Red = +16dbu.
- High Pass Filter: Roll-off starts at 80Hz @ 12dB per Octave.
- Gyratory-based EQ Frequency Centres: (4 Bands) High – 15K, 10K, Hi Mid – 6K, 3K, 1K6, Low Mid – 800Hz, 400Hz, 200Hz, Low – 130Hz, 80Hz, 40Hz
- EQ Cut/Boost Levels: 16dB Cut/Boost Per Band, all EQ bands are stepped/detented to 21 positions for easy recall & stereo operations for mastering or the mix bus.
- DRS-EQ/500 has an overall output level with 15db of additional gain even when the EQ is in bypass, allows the output fader to be used to drive the output stage & transformer to colour & saturate your sound, again even when the EQ is in bypass.
The Phoenix Audio DRS-EQ/500 is a mono 4 band EQ for the API 500 series, it was designed to be identical in terms of features and sonics as the other Phoenix products in our range, and the EQ circuit is found in the DRSQ4M mk2 but in a new exciting format.The Gyrator EQ circuit was designed around 40 years ago and was originally designed to emulate the characteristics of a coil or inductor EQ circuit without the issues that they can cause, the result is that our EQ circuit found in the DRSQ4M mk2 is a very powerful but musical EQ perfect for sculpting or crafting vocals, drums or instruments etc whilst still being able to be used on mix bus duties.
The unit runs at 24v thanks due to the special power supply built into the unit so it offers no sonic sacrifices whilst still maintaining a very low current use needed for the API format and is well within its API VPR limits and has been approved by API.
Test i Sound on Sound, UK:
"I immediately appreciated a little boost at 3kHz when recording a heavy electric guitar part, and I felt confident when engaging the 80Hz high-pass filter. On a 24-inch kick drum, removing either 400 or 800 Hz helped remove some annoying low-mid ‘tubbiness’, and I found the 400Hz band really useful for getting a more ‘scooped mid’ sound out of a bass guitar. A little boost at 200Hz and 3kHz really helped to bring a rather average-sounding snare drum to life, and the high band, at 10 and 15 kHz, provided a nice ‘air’ control for vocals and acoustic guitar. Combine all this with the ability to do more extreme EQ work when mixing, or driving the output stage to get colour and character out of the transformers, and what you have here is an outstanding EQ."