SPL Stereo Vitalizer Jack 9530 User manual

Model 9736
Manual
Programm-Equaliser

By Hermann Gier and Paul White
Version 2.2 - 6/1999
The information in this document has been
carefully verified and is assumed to be
correct. However Sound Performance Lab
(SPL) reserves the right to modify the product
described in this manual at any time.Changes
without notice.This document is the property
of SPL and may not be copied or reproduced
in any manner, in part or full without the
authorisation of SPL.
Limitations of Liability:
In no event will SPL be liable for any
damages, including loss of data, lost profits,
cost of cover or other special, incidental,
consequential or indirect damages arising
from the use of the unit, however caused and
on any theory of liability. This limitation will
apply even if SPL or an authorised dealer has
been advised of the possibility of such
damage.
SPL electronics GmbH
P.O.Box 12 27
D- 41368 Niederkruechten,Germany
Phone +49 - 21 63 / 98 34-0
Fax +49 - 21 63 / 98 34-20
eMail: [e-mail]
Stereo Vitalizer Jack
Model 9530
Manual
© 1999 SPL electronics GmbH. All rights reserved.VitalizerTM is a registered trademark of SPL electronics GmbH.

3
Contents
Foreword .................................................................................................. 3
Thanks ....................................................................................................... 3
Introduction ............................................................................................ 4
Operation safety .................................................................................... 4
Connections ............................................................................................ 5
Applications
Recording Studio ................................................................................... 5
Sound Reinforcement .......................................................................... 7
Video & Film Post Production ............................................................ 7
First steps
Starting positions .................................................................................. 8
Control elements
Active ........................................................................................................ 9
Bass ............................................................................................................ 9
Mid-Hi Tune ............................................................................................. 9
Process ......................................................................................................10
Brilliance ...................................................................................................11
Stereo Expander ....................................................................................12
Specifications .........................................................................................13
Warranty ...................................................................................................14
Foreword
Dear customer,
thank you for the confidence you have shown towards SPL elec-
tronics GmbH by purchasing the SPL Stereo Vitalizer Jack, one of
the most powerful and creative signal processors currently avai-
lable.The Stereo Vitalizer Jack is a first-rate sound processor with
exemplary performance, unrivalled sound quality and excellent
workmanship.
Please read this manual carefully to ensure ease of use and
operation.
We wish you every success with the Stereo Vitalizer Jack.
Your SOUND PERFORMANCE LAB-Team
I would like to start with my thanks to all our staff, who created
what is to be described here.The importance of their exceptional
qualification and talents can not be overestimated.
Our products are often tested and compared in many publica-
tions and by our customers themselfs and constantly valued with
best results. I would like to pass on this broad appreciation to
those,who deserve it – my excellent colleagues.
Hermann Gier
Thanks

4
The new Stereo Vitalizer Jack, model 9736, is an entirely re-desi-
gned and improved version of the successful predecessor, model
9319.
The Stereo Vitalizer Jack is an equaliser concept which makes
use of audiometric technology to process audio signals. The
unique combination of dynamic equalisers, amplitude-controlled
phase correction, harmonic filtering and stereo expanding opens
up a whole new listening dimension by adapting the sound
pattern to the non-linearities of the human ear.
The new Stereo Vitalizer Jack represents the entry level of the
Vitalizer product range, but utilises the same principles as
employed in the more professional models.It is the ideal choice in
cost-conscious situations for processing stereo signals, for
example in project studios, audio edit suites and small sound
reinforcement systems.
The StereoVitalizer Jack is built to the same high manufacturing
standards as all SPL units,using 1% metal film resistors,MKT capa-
citors and a toroidal transformer. The control topography has
been streamlined to give easy access to the Vitalizer functions
without compromising on flexibility or audio quality, freeing the
engineer to be creative.
The design is optimised for ease and speed of use with one set
of controls handling both channels; this approach also ensures
both channels are processed identically.
Already the predecessor of the new Stereo Vitalizer Jack was
awarded the 'Stage Design Award' in 1994 by the 'Artist' maga-
zine for successful use in live applications.
The housing of the Stereo Vitalizer Jack has the standard 19" EIA
format and occupies 1U (44 mm) in your rack.When installing the
unit in a 19"-rack, the rear side of the unit needs some support,
especially in a touring case.The Stereo Vitalizer Jack should not be
installed near units which produce strong magnetic fields or
extreme heat. Do not install the unit directly above or below
power amplifiers or digital processors. If possible, the Stereo
Vitalizer Jack should be placed in an “analogue rack” where the
majority of (or all) the equipment installed is analogue.This elimi-
nates problems which could result from interfering high-
frequency signals such as clock frequencies, MIDI or SMPTE
control signals. If, during operation, the sound is interrupted or
indicators no longer illuminate, or if abnormal odor or smoke is
detected, or if liquids are spilled on the unit, immediately
disconnect the power cord plug and contact your dealer.
Only clean your Stereo Vitalizer Jack with a soft, lint-free cloth.
Use only standard cleaning agents. Never use alcohol or paint
thinner, because they damage the finish. Before connecting the
Stereo Vitalizer Jack switch the power off at all connected units.
Important security advices
Introduction
Operation safety
“Stage Design Award”from
Artist Magazine for the
Vitalizer’s ”exceptional
performance on stage“.

5
The Stereo Vitalizer Jack is equipped with unbalanced inputs
and outputs.The connection can either be made with mono jacks
or gold-plated RCA connectors. The output is split to both
connectors, so that you can record on two media simultaneously.
Make sure to connect only one input signal to either the RCA or
the jack connector.
Connections
Applications
Recording studio
1. In recording studios, connecting the Stereo Vitalizer Jack into
the master or subgroup inserts is the most efficient mode of
operation. A stereo mix can be treated either during mixdown
from multitrack, or while re-recording in a sweetening session,
while processing stereo samples or keyboard sounds is another
useful application. In particular, drum and string samples benefit
from the Vitalizer process. It is essential to listen to a full-range
monitor system to evaluate the bass processing.You should also
switch between processed and unprocessed signal fairly regu-
larly.“Less is more”is especially true when using the Vitalizer on a
full mix.Your hearing adapts quickly to the quality of the Vitalizer
sound. A good advice when setting up any processing in a mix is
to use a known CD, played over the speakers, to help you keep a
sense of perspective.
Do not connect the Stereo Vitalizer Jack between master-
outputs and amplifier.The major disadvantage of this connection
is the varying input sensitivity with each fader movement.
Application 1
The Stereo Vitalizer Jack
inserted into the master-
inserts of the console
Rear front Stereo Vitalizer Jack, Model 9736

6
When patching the Stereo Vitalizer Jack into the sub-groups or
master-breaks of the console, note if the master breaks are swit-
ched »pre« or »post« fader. They should best be switched »pre«
fader, so that a variation of the master fader does not affect the
input level of the Stereo Vitalizer Jack. The effect level and the
treated sound will then remain unchanged.
2. Another popular stereo application is the processing of
existing master tapes during post-production such as when
reprocessing archive material for CD release.
If a single-ended noise reduction system is used to clean up the
original, the Stereo Vitalizer Jack can make a significant contribu-
tion in restoring the high end detail that invariably suffers during
such treatment. In many cases, the restored master can be made
to sound appreciably better than the original.
3.When electronic music is produced, the Stereo Vitalizer Jack
can be used to add new range and depth to samplers and synthe-
sizers and also to further process existing effects such as delay
and reverberation. Even budget instruments and processors with
limited audio bandwidths can be made sound full-bodied and
detailed.
If you want to use a compressor in the master chain after the
console, use your Stereo Vitalizer Jack after the compressor. You
can then be sure that the Stereo Vitalizer Jack will receive a level-
corrected signal which helps to operate even more precise.If you
use the Stereo Vitalizer Jack before the compressor negative side-
effects such as pumping could be more audible.
Applications
Application 2
The StereoVitalizer Jack
inserted between noise-
reduction and recorder to
improve archived recordings
Application 3
The StereoVitalizer Jack
inserted between compressor
und recorder

7
Applications
In live performance or in club installations, the Stereo Vitalizer
Jack is a powerful ally in maintaining speech intelligibility under
difficult conditions. It is also of great benefit in systems designed
to play recorded music because the illusion of loudness can be
maintained at lower absolute SPLs. This could be particularly
beneficial with the introduction of new noise level legislation. On
the subjective side, the Stereo Vitalizer Jack helps produce a
detailed, tight sound, even from indifferent speaker systems
giving an improvement in perceived audio quality.
The Stereo Vitalizer Jack can be of great value when mixing
under time-pressure. You can almost leave the onboard EQs flat
and create the FOH sound with the Stereo Vitalizer Jack in the
master inserts.
As in other areas, the Stereo Vitalizer Jack can be used to
sharpen and enrichen dialogue, even when the microphone
placement is less than optimum as is often the case when filming
due to the need to keep the mic out of shot. Music soundtracks
benefit in the ways already described for audio-only applications
and the fact that the Stereo Vitalizer Jack is so quick to set up can
save a lot of wasted time spent tuning multi-band equalisers.
Time-compressed audio can also be treated to restore the lack
of timbre so often caused by such intensive processing. This is
particularly valid in the case of vocal narratives as even a relatively
small amount of time-compression or expansion can dramatically
compromise the sound quality.
On the post production work on Spike Lee´s "Malcom X" movie
the voice of Denzel Washington playing Malcolm X was treated
with the Vitalizer for dramatical reasons:
“We wanted to make sure that there was a dramatic quality diffe-
rence between the voice-over and the sync dialog," Fleischman adds,
offering a mixer´s view."You try to find a balance between two center
mics then balance that with whatever you´re using from left-right
pair. We then treated it with the SPL VITALIZER, a psychoacoustic
equalizer. It brings a lot more presence to the upper end of the spec-
trum and a very deep low end so that the voice sounds full.”
Mix Magazine
Sound
reinforcement
Video & film
post production

8
When setting up the Stereo Vitalizer Jack for the first time, it is
wise to approach the controls in a specific order to avoid confu-
sion and to achieve positive results right from the start. Use a CD
as source.
- Bass to zero (center position)
- Mid-Hi Tune to 3,5 kHz (center position)
- Process to zero (counter clockwise)
- Brilliance to min (counter clockwise)
- Stereo Expander to zero (counter clockwise)
1.Press the Active switch.You will yet hear no audible change in
the sound.
2. Slowly move the Process control in from the extreme left.You
will find that starting from the 10 o'clock position all frequencies
above 3.5 kHz (initial setting Mid-Hi Tune) are becoming more
intense. Freqencies below this point are diminished. First set the
Process control at 2 o'clock.
3. The next step is to shift the Bass control from the zero posi-
tion to both sides.Turn to the right:The bass sounds tight and dry.
Turn to the left:The bass sounds soft and round. Decide on a bass
sound of the desired amplitude.
4. Now start varying Mid-Hi Tune.The original setting is 3.5 kHz.
Turn to the right: The programme material sounds brighter and
gets more mids from about 1.5 kHz.The Mid-Hi Tune control sets a
starting frequency above which all frequencies are processed. If
this starting frequency is lowered, the frequency spectrum
included in processing increases. The programme material then
sounds brighter and clearer. Turning the control to the left shifts
the starting frequency from 3.5 kHz to higher frequencies. The
programme material then sounds increasingly dull, because
fewer and fewer frequencies are being included in the process,
the higher the frequencies become. The setting you choose is a
matter of personal taste.
5.The Brilliance control helps you to give voices or other instru-
ments in improved presence. Set the Brilliance control in to
around 12 o´clock.This makes the processed signal more natural
with a soft, silky-sounding top-end.
6. Finally, turn in the Stereo Expander control to the 12h-posi-
tion.Note the spreading stereo image.
First steps
Starting
positions

9
The Active switch switches a
relay hard-bypass circuitry for
XLR and jack operation.
Selecting a soft or
a tight bass sound
Control Elements
56
3
241
Active
1
Bass
2
The Active function switches the Stereo Vitalizer Jack on or off.
It is a relay-hard-bypass function that works on both RCA and Jack
connections. In the event of a power failure the Stereo Vitalizer
Jack is automatically switched to hard-bypass (power failure
safety). To increase the operational safety of the monitor loud-
speakers you should not switch the Stereo Vitalizer Jack on or off
at high monitor volume.At high amplitudes inside the filter,there
may be residual charges on the switching contacts which may be
discharged when you switch over.These may become apparent as
audible click sounds. If applicable, reduce or mute the monitor
loudspeakers before switching on or off.
The Bass control is responsible for the“colour”of the bass sound
your signal is to have. If you move the Bass control to the right,
you get a drier, percussive bass sound, known as Tight. As a result
of this, on the right-hand side of the scaling points, there are
squares which increase in size, in line with increased intensity.
They symbolize the contoured bass sound. If the Bass control is
moved from the center position (0) to the left, the bass sound
becomes very deep, soft and warm. This sound is known as Soft.
This is symbolized with round scaling points which also increase
in size as the intensity increases. The further the Bass control is
shifted to the right or left of the center position, the more inten-
sive the bass sound in question. However, Process (see 4) must be
positioned around 12 o´clock or higher for the bass to be
audible.You can always hear the original (dry) bass if the Bass
control is in the center position.
The Process control determines the processing ratio between
the set bass sound colour and the original signal. This results in
varying bass sound structures: if you combine high bass amplifi-
cation on the Bass control with a lower Process value, you get a
different bass structure than with a lower bass amplification
combined with a higher Process value.Choosing the best solution
is a matter of personal taste and also depends on the type of
original signal involved.

10
The Mid-Hi Tune control is used to set the starting frequency of
a broad-band shelving filter. In line with the setting of Process
control, all frequencies above this value right through to the end
of the audio range are processed.
The control range of the Mid-Hi Tune control is between 1 kHz
(extreme right) and 20 kHz (extreme left). In practice, common
settings vary between 3.5 kHz and 8 kHz (12h to 10h positions).
As the human ear perceives the range between 1 kHz and 3 kHz
particularly clearly, at all volumes between 0 and 120 phon it
makes sense to adapt this frequency range. You might feel
inclined to say“Yes, but I do that with my graphic EQ as well”. The
main difference is that the graphic EQ really reduces the effective
loudness of the frequency, i.e. cuts out the appropriate frequen-
cies,thus changing the spectral content of the original signal.The
Stereo Vitalizer Jack, however, relies on a more musical method of
amplitude-depending phase shifting. This does not involve alte-
ring the spectral composition of the signal but it does maintain
the subjective impression of loudness. Moreover, graphic equali-
zers produce comb-filter effects because of the interaction
between adjacent filters, when broad-band frequencies are
raised.The Mid-Hi Tune filter can raise the broad-band spectrum
with a very linear frequency response, without colouring the
signal.
Above the Mid-Hi Tune value set, the Stereo Vitalizer Jack filters
create a linear increase, i.e. one that is adapted to the human ear.
This compensates any inability of our hearing as regards percei-
ving frequencies ranging between 5 kHz and 10 kHz. The Mid-Hi
Tune filter works with a wide bandwidth and always sounds
musical, never »bell-like«. Gradually go down from 20 kHz
(extreme left) to lower frequencies.The further down you go, the
brighter the sound image becomes, as an increasing number of
frequencies are included in the process.
The Mid-Hi Tune control can also be used to tone down excessi-
vely sharp-sounding material, by setting frequencies of 10 kHz or
higher, and setting the Process control on Max. Seeing as the
Process control is also responsible for deleting dominant mid
frequencies, all frequencies are gradually reduced down to the
application frequency, in conjunction with high starting frequen-
cies of the Mid-Hi Tune control.
The Process control determines the ratio between Bass and
Mid-Hi Tune to the original signal.The Process control also deter-
mines the damping intensity of dominant mid frequencies. This
allows rapid adaptation to the loudness curves (Fletcher-Munson
curves,“curves of equal loudness”).The human ear perceives the
audio frequency spectrum at varying sound pressure levels very
differently. Perception is by no means “linear”. The Stereo Vitalizer
Jack alters the frequency spectrum in such a way that the balance
is maintained between all frequency ranges even at varying
monitor volumes.
Control Elements
Mid-Hi Tune
Setting the starting frequency
for the shelving filter to adapt
the frequency range to the
hearing sensation.
No comb-filtering effect as
with graphic EQs.
Process 4
3

11
Control Elements
For the human ear, the sound is more pleasant and easier to
perceive than the original. In other words, increasing the Process
value also increases the intensity of the Mid-Hi Tune filter and the
Bass filter, whilst dominant mid frequencies are damped by
amplitude-controlled phase shiftings. This improves the percep-
tion of loudness, clarity and the bass punch, i.e. the strength and
fullness of the audio signal.
The Stereo Vitalizer Jack works with coil filters and controlled
changes of the phase relationships of the high frequencies and
harmonics.
We consciously did without the generator principle of“Exciters”.
The Stereo Vitalizer Jack's Brilliance circuitry does not add any
distortions to the original signal, unlike with the generator prin-
ciple. It extracts all the information it needs from the original
signal.This significantly reduces the hearing fatigue effect on the
listener. By influencing the phase relationship in an intelligent
fashion, the filtering emphasizes the perception of high and
harmonical frequencies. The effect significantly improves the
speech intelligibility and the transparency. Old archived recor-
dings sound fresh and silky again. The brilliance of any audio
signal can be improved without it sounding sharp.
If you close the Process control (extreme left), the Bass and Mid-
Hi Tune controls do not function any more.You can then listen to
the Brilliance circuitry control separately.
The Mid-Hi Tune and the Brilliance circuitry complement each
other in an ideal fashion. While the Mid-Hi Tune sets the
frequency above which the programme material is lifted and
below which the damping takes place, the Brilliance circuitry
comes in place to extract certain frequencies from this process.
This is very helpful, when you are processing material with lead
vocals: Using the Mid-Hi Tune will generally damp some speech
frequencies and the voice moves into the mix loosing a bit of its
presence.Use the Brilliance circuitry to bring it back up front.
Sound Pressure Level in dB
threshold of pain loudness level
Frequency in Hertz
The Fletcher-Munson curves
(“curves of equal loudness”).
Improved high and harmonic
frequencies result in a silky
top-end with better separa-
tion and intelligibility.
Brilliance
5

12
The Stereo Expander potentiometer controls the width of the
stereo image.Working on estabilshed inter-channel phase princi-
ples, the Stereo Expander control is be used to increase the
subjective soundstage width of any stereo source.The off-center
signals of the stereo source are detected and fed back to the
opposite channel phase inverted.
This effect can be applied to overall mixes as well as to single
instruments.Very interesting is the spreading of the stereo image
of overhead mics of drum-sets or choruses or horn sections.
In case you want to monitor the Stereo Expander in isolation,
switch Active on and set the Process and Brilliance controls fully
counter clockwise.
Control Elements
Stereo
Expander 6

13
Specifications
Input & output stages
Instrumentation amplifier,transformerless
Connectors ......................................................... Jack and RCA
Nominal input level ......................................... 0 dB
Input impedance ............................................. 20 kOhms
Output impedance .......................................... 75 Ohms
Max.input level ................................................. +24 dBu
Minimum load ohms ...................................... 600 Ohms
Hard bypass switch ......................................... yes
Measurements
Overall Frequency Response ....................... 10 Hz-100kHz
(100 kHz = -3 dB)
EQ Frequency Response ................................ 20 Hz-22 kHz
THD & N ............................................................... 0,002% @1kHz
S/N CCIR 468-2................................................... -87 dBu
Power Supply
Transformer ........................................................ 2,4 VA
Fuse ....................................................................... 200 mA (230 V/50 Hz)
... 400 mA (115 V/60 Hz)
Dimensions
Housing ............................................................... Standard EIA 19"/1U
... 482 x 44 x 200 mm
Weight.................................................................. 3 kg
Subject to change without notice.

14
SPL electronics GmbH (hereafter called SPL) products are
warranted only in the country where purchased, through the
authorized SPL distributor in that country, against defects in
material or workmanship. The specific period of this limited
warranty shall be that which is described to the original retail
purchaser by the authorized SPL dealer or distributor at the time
of purchase.
SPL does not warrant its products against any and all defects:
1) arising out of materials or workmanship not provided or
furnished by SPL, or 2) resulting from abnormal use of the
product or use in violation of instructions, or 3) in products
repaired or serviced by other than authorized SPL repair facilities,
or 4) in products with removed or defaced serial numbers,or 5) in
components or parts or products expressly warranted by another
manufacturer.
SPL agrees, through the applicable authorized distributor, to
repair or replace defects covered by this limited warranty with
parts or products of original or improved design, at its option in
each respect, if the defective product is shipped prior to the end
of the warranty period to the designated authorized SPL warranty
repair facility in the country where purchased, or to the SPL
factory in Germany, in the original packaging or a replacement
supplied by SPL, with all transportation costs and full insurance
paid each way by the purchaser or owner.
All remedies and the measure of damages are limited to the
above services. It is possible that economic loss or injury to
person or property may result from the failure of the product;
however, even if SPL has been advised of this possibility, this
limited warranty does not cover any such consequential or inci-
dental damages.Some states or countries do not allow the limita-
tions or exclusion of incidental or consequential damages, so the
above limitation may not apply to you.
Any and all warranties, express or implied,arising by law,course
of dealing, course of performance, usage of trade, or otherwise,
including but not limited to implied warranties of merchantabi-
lity and fitness for particular,are limited to a period of 1 (one) year
from either the date of manufacture. Some states or countries do
not allow limitations on how long an implied warranty lasts, so
the above limitations may not apply to you.
This limited warranty gives you specific legal rights, and you
may also have other rights which vary from state to state,country
to country.
SPL electronics GmbH
41372 Niederkrüchten,Germany
Warranty