SONTEC MEP-250EX Parametric Equalizer General Information and Specifications

December 12, 1999

No Dual-concentric Controls. Eliminates accidental mis-adjustment of critical settings

Full +/-12 dB eq Curves. Zero dB position detented. Equalizer noise does not increase with increased eq, but can decrease with less eq

Greater Shape range compared to earlier models Now variable from very broad to moderately sharp.

n Ease of maintenance - Each equalizer is accompanied by a spare modular amplifier. In the event of a failure, the user swaps this module with the defective one and returns the defect to ITI for exchange. The modular nature of the design allows for use even with one or more damaged panel boards. Also, there are no exotic integrated circuits or other hard-to-find semiconductors anywhere in the circuitry. Complete schematics and parts lists for all nonproprietary circuits are included with the unit. n Universal Power Supply the power transformer will accommodate 100/120/240 VAC power at either 50 or 60 Hz, and the change between voltages is quite simple. n Flexible interconnections Both pin 2 and pin 3 high connections are supported through placement of internal shunts.

High input impedance Low input noise High slew rate (>200 V/usec) Low open-loop distortion characteristics Ability to drive common audio loads at levels to +26 dBm Graceful recovery from overload conditions. We soon found that the primary tradeoff for this performance was a poor failure rate. Extensive investigation into semiconductor failure mechanisms has resulted in an amplifier with an average failure rate of less than 1 per 60,000 operating hours. However, a low failure rate is small consolation to someone with a nonfunctioning equalizer. For this reason, each 250EX equalizer is shipped with a spare plug-in amplifier module to be used to replace a failed amp. Just plug it in and return the defect to us for replacement. CONTROLS - Each channel consists of five frequency band groups, each with a Level, Shape and Frequency control (figure 2). Unlike all earlier models there is a knob for each parameter. Although this feature consumes more panel space, it is functiona l l y s u p e r i o r. S t i c k i n g o f d u a l concentric knobs is eliminated without the use of extremely small knobs lacking in adjustment sensitivity.

Parallel Path EQ Switching for Low Distortion and Low Noise.

EQ frequencies overlap by more than 2 octaves, enhancing flexibility

Both Hi & Lo bands have a shelving switch at the CCW position. The shelf slope is 6 dB/octave with a wide range of corner frequencies.

The MEP-250EX Parametric Equalizer is the sixth generation of the basic topology originally designed at ITI in 1971. The success of this architecture is evidenced by the ever-increasing popularity of equalizers employing it. Prior to the EX model, each change represented a modest incremental increase in performance. The 250EX, however, represents a major change; improvements so sweeping that no additional changes are contemplated in the foreseeable future. Before undertaking a change of this magnitude we studied maintenance records of previous units, requests from both present and prospective users, availability of various technologies, and trends in recording. After sorting out priorities we established the following goals:

chassis the amplifier modules are contained by a vibration-resistant mounting system.

n Even lower noise - the increase in the use of digital systems and more sophisticated noise reduction methods generated requests for an even quieter equalizer. Not only are the new discrete tuning amplifiers quieter overall, but they are substantially quieter at low frequencies. Another benefit of these amps is the elimination of ten bias compensation controls inside the chassis - the amps are DC stable and will stay that way without user intervention. n Greater range of shape adjustment - The parameters of the earlier 250C units were established in 1975. Since users are now requesting the availability of even milder eq curve shapes, the minimum Q has been reduced from .60 to .38. a considerable change. The maximum Q remains unchanged - sharp enough to use but not so sharp that it sounds ringy. n Greater flexibility in use - each function has its own control knob. This panel layout, arrived at after much observation of user activity, greatly reduces the chance of a user accidentally turning the wrong knob of a dual concentric pair. It also eliminates the possibility of knob drag where turning one knob of a pair causes the other knob to turn. EQ functions are toggled with a push-button switch. A new switching scheme eliminates the use of relays, with their metal-to-metal contacts, and replaces them with a solid-state method that contributes virtually no noise or distortion to the signal.

n The basic principle behind each generation of Sontec equalizers was to produce, at a reasonable price, a sound modification tool that was as sonically neutral as the state of the art and the availability of compo-

Figure 2 - One band

nents allowed. In order to achieve this goal every component in the signal chain and the power supply had to be extensively qualified and tested. Some components which were previously considered to be state-of-the-art were discarded and replaced. Surprisingly, the final circuit was cleaner and less complex than any of the previous versions.

The Level control has an adjustment range of +/- 12 dB (with a detent at zero), a span which offers good resolution and resettability. As a result of requests from users, the Shape control range has been extended to include a much more gentle curve at one extreme while retaining the original moderately sharp family of curves at the other end of rotation. The Frequency controls continue to embody one of the more controversial features of the original ITI units a frequency tuning range extending from 10 25,000 Hz. At the low end it is possible to reduce room noise or other infrasonic material, while a gentle high end boost at 22 kHz can add a wonderful sheen and luster to strings. New users will be surprised by the lack of distortion at high frequencies, even if substantial equalization is employed. very low resistance redundant metal-to-metal contacts in the panel switches. The primary reason for use of the MES series is the ability to reset the equalization to any previous condition and carry the EQ settings between equalizers, even between units (even units differing in age by ten or more years). This, combined with the easy-to-use front panel and wide choice of switch settings, has made the MES series the equalizer of choice for mastering professionals for over 25 years. Separate literature on the many variants of the MES430 and 460 series is available upon request.

n AMPLIFIERS - Although the circuit topology requires a minimum number of amplifier elements, the characteristics of these amplifiers is critical to audio performance. n The basic Sontec amplifier circuit (circa 1976), although not perfect, was our best attempt at producing an amplifier that exceeded the performance of any IC with a combination of the following characteristics:

n Improved tuning amplifiers - Replacement of the 5534 IC op-amps, used in the older tuning circuits, with discrete amplifiers of a performance level commensurate with that of the Sontec HS series amplifiers used as pass amps. The 5534s contributed system noise as well as mild, but potentially audible, high frequency distortion. n Improved mechanical stability - As more of the prior units had been installed in portable systems, users encountered problems with printed circuit board stress, as well as a tendency for circuit modules to become airborne inside the chassis. 250EX units are 40% smaller than their predecessors, but include hardware with 300% greater strength. Inside the

Choosing an Equalizer In discussions concerning choice of equalizers, sooner or later the question arises What is the difference between the Sontec MEP-250EX and the MES-430C or MES460C series? From an audio performance perspective, there is only a small difference in sound quality. Although the construction is entirely different, the two series are both based on the same circuit architecture. The use of pots in the 250EX causes slightly greater high-frequency distortion in the EQ mode, compared to the MES series which rely on

How It Works One of the beauties of the basic equalizer is its simplicity. As you can see in Figure 2 the audio signal follows a very straightforward path - through the first stage (an input buffer amplifier which feeds all the tuning sections) then through the second amplifier and out of the box. There are no transformers or coupling capacitors of any type in the direct signal path. With such a simple signal path it is easy to trim it for optimum transmission characteristics. Each of the tuning circuits exists on its own printed wiring board, located behind the front panel, easily disconnected and exchanged in the event of malfunction. Special versions of the basic equalizer are achieved by changing components on these boards and producing new front panels. One of the drawbacks to this equalization method is the buildup of noise caused by the parallel processing of the five tuning stages, which sums the noise of all the tuning amps into the output amplifier. If you want a really quiet equalizer you need really quiet tuning amplifiers. This is what you get in a 250EX. The discrete tuning amplifiers are so quiet that the total noise of the unit can be four to six dB quieter than earlier models. The equalization signals for all bands are summed together through a low-distortion photo-

Parametric Equalizer - Model MEP-250EX

conductive resistor. Since it is possible for this resistor to exhibit small signal errors, in the on mode the resistor is bypassed by a lowresistance solid-state switching element. The current which operates the switching elements also vide the proper driving impedance for normal audio cables. Power is supplied to all parts of the system from a lowparts-count, low-ripple power supply. A specially wound transformer minimizes stray hum fields within
Some Comments Concerning Specifications
The specifications listed here are for guidance in the selection of a piece of equipment to perform a specific function. Some specs, such as physical dimensions and power consumption, are rather straightforward. However, specifications concerning response, slew rate, noise, and distortion are often mistakenly thought to be absolutely correlated with audible performance. It would be convenient for all if this correlation existed; if it did, all devices with high distortion would sound worse than devices with low distortion. and low slew rate devices would sound worse than ones with high slew rate. Since we can observe that this often is not true, you might ask why we bother to publish performance specificationss. A partial answer lies in viewing the specifications as a composite of performance. Is slew rate achieved at the expense of phase shift or distortion? Does distortion vary with load? Are the measurements meaningful and representative? For example, many spec sheets list distortion at 1 kHz at +4 dBm. This usually gives a very low reading. The frequency is high enough to not be affected by stage coupling problems and low enough not to reflect the diminishing open-loop gain of most op-amps at high frequencies. The level is low enough not to stress the output stage and manifest the presence of crossover distortion. We consider our published specifications to be conservative, but not complete. In equalizers much of the characteristic sound of a unit is a function of both the architecture and the amplifier devices used. A complete specification would include both static and dynamic frequency response and distortion plots, which would be meaningless to most people. As a general statement, it is fair to say that we list specifications because people expect to see them, not because they are overly useful. Persons interested in the performance of equipment should stop reading and start listening.

Specifications
INPUT
Connectors Impedance Nominal Level Maximum Level XLR-style, selectable Pin 2 or 3 high 10 kohms - Balanced or Unbalanced +4 dBV +26 dBV

Input Terminating Resistors and Gain Trim

Input Amplifier and EQ Buffer

Output and EQ Amplifier

THROUGHPUT
Gain (no eq.) 0 +/- 2 dB adjustable Self-Noise -88 dBV (equalization on) -94 dBV (equalization off) Slew Rate Greater than 200 V/usecond Overload Recovery Better than 200 nanoseconds from 100% overload Frequency Response 10-100,000 Hz +/- .2 dB Distortion (at any level from -20 dBV to +20 dBV) SMPTE IM 0.01% THD+N (any freq. from 20-20,000 Hz.) 0.01%

Panel EQ Switch

EQ Summing and Switching

Low Frequency Parametric and Shelf Tuning

Low Frequency Parametric Tuning

Mid Frequency Parametric Tuning

High Frequency Parametric Tuning

High Frequency Parametric and Shelf Tuning

EQUALIZATION
Level +/- 12 dB Any one band Q (Shape) .4 to 4 Frequency Range Low Bands 8-800 Hz Mid Band 80-8,000 Hz High Bands 120 - 25,600 Hz Switching Low distortion, Solid-state Remote control of Switching Function

flows through a front panel LED lamp, giving positive indication of actuation. Since the output amplifier has no internal current limiting circuitry, a pair of resistors are in series with the output. They provide not only current limiting, but pro-

the chassis without the use of extra shielding. Power supply filtering and bypassing is provided by oversized high-temperature capacitors, while the effects of trace inductance are minimized by polypropylene bypass capacitors located adjacent to the main amplifier bank. plifiers with other circuit elements which yield a system with a distinctive audio signature. If you compare an ITI with the 250EX with the same EQ added at the same frequencies and same shape, the ITI will appear to be adding much more. However, measurements will show that for sine-wave, steady-state signals the EQ added is identical in both units.

OUTPUT
Connector XLR-Style, Pin 1 grounded, Signal on either Pin 2 or 3 Source Impedance 80 ohms, unbalanced Maximum Level +26 dBV into 500 ohms or greater

PHYSICAL
Chassis 3.5 x 19 x 7 inch (88 x 482 x 177 mm) Steel with Black Epoxy Finish Deep-Etched Black Panel with silver lettering Weight 15 lbs. (7 kg.) net Power 100/115/230 VAC 50/60 Hz 21 VA Fuse .25 Amp @ 115 V - .15 Amp @ 230 V

How It Sounds One of the first questions asked by persons unfamiliar with the system is How does it sound? or How does this compare to earlier Sontec units or to the ITI ME(P) -230?. The first impression upon comparing a 250EX to other equalizers is that the Sontec isnt doing anything. More listening gives the impression that EQ is taking place the highs are emphasized, the midrange is slightly suppressed and the boomy low end has van-

ished. However, the basic quality of the audio is unchanged. Stereo imaging has not deteriorated and noise has not been added. Compared with older Sontec models the upper midrange and high frequency EQ appears appreciably less distorted. In fact, the very low distortion of the EX version may not be the best choice for all music. If a much more aggressive equalization is required we suggest the ITI-230R. This reissue of the original ITI Model 230 embodies very low slew rate am-

ITI Audio, LLC

100 Audio Drive Ripplemead, Virginia USA 24150 888-410-4842 (USA only) info@iti-audio.net

The specifications and descriptions contained herein were accurate when published, but ITI reserves the right to make product enhancements, modifications, and improvements without notice.
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