Focusrite Green 2 focus EQ User manual

product information
FOCUS EQ
dB
Mic Input Trim
60
10
20
30
40
50
dB
12
12
7
2.5
2.5
7
+48
-20 -10 -7 -5 -3 -1 0+1 +2 +3
+
–
Ø Mic Inst
Green 2
Focus EQ
The focus EQ has two main uses
1. Replace a console EQ
2. A high quality recording path for Microphones and
instruments
Better than an average console EQ because:-
More Inputs:-
Mic (A superb quality MicPre
stage)
Line
Instrument (Guitar)
More EQ bands, 6 stages:-
High & Low Filters
High and Low Shelving
Filters
2 Mid Parametric (Bell shape)
EQ can also be switched to either
4 bands of bell shape curves or 2
bands of bell plus 2 bands of
shelving for greater control and
flexibility
Has the legendary Focusrite EQ
sound

FOCUS EQ
Green Focus EQ (introduction) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Section (i): Setting Up
Power Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Signal Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Section (ii): Functions
Preamplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Selecting the input signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Setting the Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Setting the Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Equaliser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Low and High Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Using Low and High Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Low and High EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Using the Low and High EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Low Mid and High Mid EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Using Parametrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
How to use equalisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
When to use equalisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Bringing an instrument forward in the mix . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Section (iii): Trouble Shooting
Non-Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Changing A Fuse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Worldwide Distributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
contents

Focus EQ
The Focus EQ is a single channel parametric equaliser that you can use to equalise
individual vocals and instruments. It accepts line level input (such as from a tape
machine, high output level instruments, or the insert of a channel), instrument level
input (such as from a guitar), and microphone input.
An equaliser is a sophisticated tone control, that boosts or cuts selected frequency
bands, and so alters frequency response. By modifying different frequency bands in
this way, you modify the tone quality of instruments and vocals, which can fix prob-
lems with the original sound, or for example help a track s tand out in the mix. For
more details, see the section How to Use Equalisation.
When you are getting to know the unit, particularly if you are not familiar with using a
parametric equaliser, use it on a track that you are familiar with (for example, run a
favourite CD through the unit). Try all of the controls in turn, and hear how they affect
the sound. Working with a familiar track makes interpretation of the results easier.
There are two separate parts to the Focus EQ: • Preamplifier • Equaliser
Within the equaliser, there are three types of equalisation:
Low and High filters
Low and High Eq
Low Mid Eq and High Mid Eq (parametrics)
Power Connections
There is an IEC mains lead supplied in the package which should have the correct
moulded plug for your country. The wiring colour code used in all Focusrite products is:
For units shipped to the USA, Canada, Taiwan and Japan
Live - Black Neutral - White Earth - Green
For units shipped to any other country
Live - Brown Neutral - Blue Earth - Green and Yellow
The chassis is connected directly to the mains safety earth. We do not provide an earth
lifting switch, since such a switch can allow for a dangerous wiring arrangement.
Warning:For safety reasons, it is absolutely IMPERATIVE that the mains safety earth
is connected.
f o c u s e q
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Power Supply
The Focus EQ will work correctly from either 50 Hz or 60 Hz power supplies, and
draw approximately 35VA from the mains supply at highest load.
The module will operate on a range of voltages, and has a two-position switch on
the rear panel that should be set to the correct voltage:
115V Set to this position if the module is to be used with
voltages in the range 85V to 120V
230V Set to this position if the module is to be used with
voltages in the range 200V to 250V
To comply with the safety codes in some countries, modules may be supplied with-
out a voltage selector. In this case, the module is preset to the local supply voltage,
which is clearly marked on the rear of the module. Check that the voltage is set cor-
rectly.
Signal Connections
All the signal connections are via connectors mounted on the rear panel. Standard
XLR connectors are used for all mic and line level signals, and are wired to the AES
standard, which are:
Pin 1 Screen chassis
Pin 2 Live audio 0°
Pin 3 Return audio 180°
For all inputs and outputs, the screen (pin 1 of the XLR) is connected to the chassis
earth point.
In the Green range, jack inputs are used only for external switching applications or
as unbalanced guitar inputs on some units.
When the screen and earth wiring of the module is completed correctly, all modules
which are marked with the European Community CE marking comply fully with the
CE EMC regulations.
s e t t i n g u p
5
i

Preamplifier
Controls
The Mic and Input Trim rotary controls set the gain on the input signal (see the sec-
tion Setting the Gain).
+48 is the phantom power button. When lit, it provides phantom power to the
microphone connected to the channel.
Ø is the phase button, and reverses the phase of the channel when lit (see the sec-
tion Setting the Phase).
The Mic and Inst buttons select the input signal (see the section Selecting the
Input Signal).
Selecting the Input Signal
On the back of the unit are three input sockets:
Mic For microphones only.
Line For line level signals (such as the output from a tape machine).
Inst For instruments (from guitars with single coil pickups to keyboards). Note
that connecting anything into this input disconnects the line input.
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The Mic and Inst switches on the front of the unit determine which of the inputs is
used. The Mic switch is dominant - when it is lit, the Mic input is always used. When
the Mic switch is not lit, the Inst switch determines whether the Inst or Line input is
used: when the Inst switch is lit, the Inst input is used; when the Inst switch is not lit,
the Line input is used. These switch positions are shown in the above diagram:
Setting the Gain
Depending on the input you are using, you may use either the Mic rotary control or
the Input Trim rotary control to set the gain:
Input Rotary control
Mic Mic and Input Trim
Inst or Line Input Trim
Use the meter and the correct rotary control to match the incoming level and gain to
the internal operating level. With an input signal coming into the channel, watch the
meter as you use the rotary control to modify the gain, and set the control so that
the meter registers between -3 VU and 0 VU. This sets the level above the noise
level of the unit, and leaves room for any sudden increase in performance level (it
gives about 20 dB of usable headroom).
Off position: To turn off the Input Trim (for example, when using the mic input), set
the control in its centre (click) position. There is no off position for the Mic rotary
control, since it only operates when using the mic input.
f u n c t i o n s
7
ii
Mic switch lit, Mic input is dominant
Inst switch is lit, the Inst input is used When the Mic & Inst switch are not
lit, the Line input is used

Setting the Phase
When recording a single source using more than one microphone, it is possible for
the signals from the microphones to be out of phase, which affects the quality of the
recording since signals that are out of phase tend to sound “thin”.
For example, when recording a snare drum with two microphones (one on the top of
the snare, the other on the bottom) they will be out of phase. Use the phase switch
to reverse the phase on one of the microphones (but not both) - it normally doesn’t
matter which microphone you reverse. However, if the source is being picked up by
another microphone (for example, by an ambient microphone) then you need to
ensure that you do not put your two close microphones out of phase with the ambi-
ent microphone.
If you think two signals are out of phase, listen for phase as follows:
1. On your monitor system, pan one signal to the left and the other to the right.
2. Use the phase switch to reverse the phase on one of the signals. When the two
signals are in phase, the signal sounds bigger.
Equaliser
Selecting the Type of EQ
The Filters and Eq switches select the type of EQ that is active.
The Filters switch activates the Low and High filters only.
The Eq switch activates the Low and High Eq, and the parametrics.
Therefore, if you want to use all sections of the equaliser, then both switches must
be on.
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Low and High Filters
The Low filter allows everything above a certain
frequency to pass through, hence it removes very
low frequency signals. Setting the Low filter to a
certain frequency attenuates (reduces the volume
of) all frequencies below that. Similarly, the High fil-
ter removes high frequency signals, so setting the
High filter to a certain frequency attenuates all fre-
quencies above that.
Controls
Note that you cannot change the amount of attenuation - setting one of these filters
always attenuates the af fected frequencies by a preset amount of 12 dB per octave.
For example, setting the High filter at 12 kHz attenuates the signal at 24 kHz by 12
dB and the signal at 48 kHz by 24 dB (for any frequency, the octave above it is at
double the frequency).
Off position: For practical purposes, the off position for the Low filter is 10 Hz, and
for the High filter is 30 kHz.
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9
-12dB

Using the Low and High Filters
The Low and High filters are usually used to correct problems with a signal rather
than being used in a creative way (for example, to create a special ef fect).
Use the Low filter to remove:
Unwanted rumble.
Bass lift (a proximity effect of microphones, giving a bass boost as the singer gets
closer to the microphone). This is most apparent with unidirectional microphones.
Hum from noisy sources.
Use the High filter to remove:
Unwanted hiss.
High-frequency bleed-through from other sources when recording bassy signals
(such as bass drum).
A possible creative use of the Low and High filters is to put them full on together,
which gives an effect similar to a telephone or transistor radio.
Low and High Eq
The Low and High Eq are very flexible, as they can be used in either shelf mode or
bell mode. When the switch is not lit, the Low and High Eq are in shelf mode,
which is described in the rest of this section; when the switch is lit, the Low and
High Eq are in bell mode, and act like the parametrics (Low Mid and High Mid Eq),
except that they have a fixed Q. For more details of using parametrics, see the sec-
tion on Low Mid Eq and High Mid Eq.
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