Crane Song INSIGNA 500 SERIES User manual

INSIGNA
500 SERIES TUBE EQ
A COLORING / SHAPING EQ
WITH 3 BANDS, HI CUT AND LOW CUT FILTERS
LTD.
VER 1.0
2117 East 5th Street
Superior, WI 54880 USA
tel:[phone]
fax: [phone]
www.cranesong.com
© 2015 Crane Song, LTD. Subject to change without notice. Printed in the U.S.A.

Thank you and congratulations on your Cranesong Insigna acquisition.
The Cranesong Insigna is a 500-series module tube EQ designed by Dave Hill and comes from a
long line of industry standard, high quality audio hardware.
The unit is based around a dual triode circuit with a 12AX7 tube, featuring 2 shelving EQs, a paramet-
ric band and a low and high pass filter set.
The filters are both 24 dB/Octave with 7 frequencies each.
The high and low frequency bands are both shelving with 8 frequencies a piece.
The mid frequency band is a peak EQ containing 8 frequencies.
All three bands employ buffered RC circuitry in the negative feedback path around the tube amps.
The output stage features a shielded Lundahl high level line output transformer, all the stepped fre-
quency pots are high quality Grayhill series 56 Rotary Switches and Bourn pots for the gain.
The Frequencies
Let's have a closer look at the frequency ranges you'll get to work with.
The high pass filter ranges from 25 Hz to 150 Hz (25 - 40 - 50 - 60 - 90 - 120 - 150) and the low pass
filter from 6kHz to 20 kHz (6 - 7.5 - 9 - 10.5 - 12 - 15 - 20).
The filters will give you enough power to clean up low rumble, tidy up the low end on LF centric instru-
ments and control harshness at the top like guitars for example. We'll cover some more application
examples a little further on in the manual.
The HF shelf gently ranges from 3.2 kHz to 20kHz (3.2 - 5 - 8 - 10 - 12.5 - 15 - 20) with the addition of
an ultra high AIR band centred around 40kHz.
On the other side of the spectrum, the LF band shelves from an extremely low 10 Hz up to 200 Hz.
Straddling the middle, the MID peaking band deals with anything from 150 Hz to 7.2 kHz and is
centred around a proportional Q (bandwidth).
All three bands give you +/- 12 dB boost and cut.

LOW PASS FILTER
HF GAIN
MF GAIN
LF GAIN
BYPASS
HF FRQUENCY
MF FRQUENCY
LF FRQUENCY
HIGH PASS FILTER

INSTALLATION
The install is as straightforward as any other 500-series module; just slide it in, secure the screws and
you're done.
Don't forget to power down before you embark on any installation!
Once you're unit is securely installed in the 500-series slot, you can wire it in with the XLRs on the
back of the 500-series rack. If you've installed the unit in a 500-series ready console, you're good to
go.
The Insigna's 12AX7's voltage supply is 210 V, regulated down to an operating voltage of 185 V. The
EQ draws about 120mA and won't generate too much heat. However, make sure that your 500-series
rack is always well ventilated.
When it comes to the rack's power supply, it really pays to invest in a decent and stable one. This way
you won't run into trouble if some of your 500-series modules draw more power, potentially leaving
other slots underpowered.
The insignia's shielded output transformer will help reduce crosstalk and the inevitable noise gener-
ated by inferior rack PSUs.
OPERATION
The Insigna couldn't be more intuitive to use.
It's as simple as putting the unit out of bypass mode, set your desired frequencies and boost or cut to
taste.
Even though you have 12 dB of cut and boost, the Insigna remains very musical, even at extreme
boost levels.

IN USE
One thing the Insigna is not, is a one trick pony!
This EQ is an extremely versatile recording and mix EQ.
If you track with EQ in the recording chain, the Insigna is a very powerful tool to help you clean up
any low rumbles trying to sneak onto the recording through the mic stand.
The filter set is extremely effective in tidying up the low end in any low frequency emphasised instru-
mentation like kick drums, floor toms, bass, piano and guitars. At the high end of the spectrum , the
low pass filter will aid in controlling any harsh content in acoustic and electric guitars and brass instru-
ments.
When you're recording in lively environments, the high roll-off can come to your rescue when you're
trying to get those higher room frequencies under control.
The Insigna will handle everything you throw at it. Here are a couple of practical "in the studio" appli-
cations.
Kick Drums: Since the High Pass drops as low as 25 Hz, you can safely set it for 25 Hz on kicks
without losing any of the kick's body. It'll keep the unnecessary low frequency mush out of your re-
cording or mix and make space for the other instruments. This will also allow you to dial in some extra
thump anywhere between 40 and 100 Hz. Combine this with a healthy cut in the 250 Hz area to get
rid of the mud and "cardboard" sound, add a touch of bite somewhere near 5kHz for some beater
click if so desired and you're well underway to a killer kick sound.
If you've miked the kick from a slight distance, then you can use some of that Low Pass roll-off in
order to get rid of the snare, hat and cymbal spills.
Snare Drums: These things can be pretty problematic and you'll probably end up EQ'ing them quite a
bit. Once again, the High Pass filter will be very useful to clean out some of the kick spill and gener-
ally any low stuff that's not required on the snare channel. You can use the LF band to either roll out
low thud if you're after a very crisp and snappy snare. On the other hand, if you want that rock gut
punch snare, you'll want to magnify those lower frequencies between 100 and 150 Hz.
A lot of snares have that annoying shell ring in the 400Hz territory and the MID peak band can sub-
due that nicely. Add some 10kHz for that snare rattle or go a bit more extreme and open up the space
around the snare by boosting the AIR band. This band will start sloping up gently from 10k onwards.
This way you can address the snare rattle and spaciousness in one tweak.

Overheads: If you run two Insignas in your rack, you can strap both across the overhead channels (or
any stereo application for that matter). Again, roll off some of that unwanted low rumble and open up
the AIR band for those silky cymbals without making them harsh.
Basses: Electric and acoustic basses are two different entities entirely and the Insigna treats them
both amazingly well.
On upright bass, you can achieve a lot of definition by rolling out the ultra low end, boost the body of
the instrument if required, but more importantly, you can dial in some of the upper harmonics and
allow the instrument to cut through the mix more. There's quite a bit of high end action going on like
finger noise and string clatter that will just distract within the song, so you can tame that down with the
Low pass filter.
You can treat the electric bass in a similar fashion, but you'll find you have to be a little more delicate
with the frequencies. It'll be dependent on where the bass sits in the track versus the kick drum. That
relationship will define what you do with the low frequencies. You can kick the MID band in to either
get some of that extra harmonic content to make the bass sing ( in the case of P-bass near the 800
Hz mark) or you may need it to get more slap out of a funky bass part.
Once again, the high roll-off can be employed to discard some of those pesky string squeaks and
then add a little 3.2kHz if you want some extra string zing.
Guitars: Whether electric or acoustic, guitars need to cut through the mix with a lot of definition,
otherwise they'll just add mud to the story.
The filters will be your best friends in this instance. They'll allow you to steer the guitars away from
that solid Kick-Bass foundation you've established and you can keep the shrill top end at bay at the
same time.
You can reach for the LF band to give more body to an instrument by boosting or making it thinner
and bite more by cutting. The MID band will supply you with all the cut through you need and the HF
band is particularly nice on the higher frequencies when you're working on acoustics. It'll allow them
to breathe and give you that lovely organic and open sound.

Vocals: Maybe it's because the vocals are so important in a song, but this is where the Insigna
shines.
The possibilities are vast on how to EQ a vocal. The Insigna's filters will tidy up the low end mess.
You can add a lot of body on a vocal with the low band, making it sound nice, full and intimate.
The mid frequency band will allow you to make the vocal cut through the mix with extreme clarity and
the high band can do wonders when it come to putting air around the vocal.
With some creative tweaking this EQ can bring lifeless vocal recordings back from the dead.
Keys, Brass etc.: We are living in a world where, at some stage, we'll have to deal with a plethora of
programmed, in the box keyboards, strings pads, synths and brass sections.
This EQ will give you the power to creatively alter these sounds and make them sound more unique
than just some template DAW sounds.
Even the real deal instruments can be turned into exciting song components when you push the
Insigna to its limits.
Try boosting more than you normally would on bland key or synth sounds and let the tube create
some second harmonic distortion for you.
Maybe that Hammond isn't growling enough or the Rhodes isn't quite as gnarly as it could be. Drive
that tube circuit. See and hear what happens.
And don't forget to use the EQ on some horns. If you're looking for more barking from a sax or you
want that trumpet solo to soar, you're reaching for the right unit.
Before we get into the geek speak, I can only tell you that there are no rules to EQ. If it sounds good,
do it!
Now get back to work, be creative and have fun with your new EQ.
Enjoy the fat, analogue and rich tube colour the Cranesong Insigna brings to the digital recording
world.

LOW
CUT
FILTER
TUBE AMP
HI & LOW
SHELF
EQ
TUBE AMP
MID
EQ
HI
CUT
FILTER
BALANCED
INPUT TRANSFORMER
OUTPUT
SIGNAL FLOW