Parasound eq f210 en

Page 1

Stereo Graphic Equalizer
Owner's Manual

Thank you .for your purchase of this Parasound Equalizer. It has been
engineered to provide a whole new dimension in sound quality and control
over your music system. When you Use it properly, it can help overcome
limitations in your loudspeakers or deficiencies in the actual listening en-

vironment. Please take a few moments to read these instructions before
proceeding.

Before making any connections, turn off the power to both the equalizer
and the rest of the system. This will prevent any annoying and potentially
damaging surges of sound while you plug in signal wires.

CONNECTIONS

There are several ways that the equalizer can be connected. In each case, the point is to insert it into
the signal path'right before the amplification stage or actual amplifier.

If you have a separate preamp and power amplifier, than simply attach the leads from the preamp
output into the LINE INPUT of the equalizer. Then connect LINE OUTPUT i from the equalizer to
the input of the power amplifier. Make sure Its power is OFF.

if your amplifier or receiver has jacks marked pre out-main in then you can use these. First remove
any jumpers bridging them or set the adjacent switch to separate." Then you may connect the -
pro-om jacks tothe LINE iNPUT JACKS and the LINE OUTPUT i lacks to the main in jacks
on the receiver.

Finally (and most frequently), you can use the tape monitor connections on nearly any receiver.

The equalizer hooks Up Just like a tape deck and in turn provides connections to the deck that you may
have had to disconnect from the receiver. The lacks marked Tape out or "Rec out" on the receiver
are connected to the LINE INPUT jacks on the equalizer. The j'acks marked "Tape Mon" or "Mon in
on the receiver are connected to the LINE OUTPUT 1 Jacks on the equalizer.

If you are using a tape deck, you may reconnect it to the TAPE IN and TAPE OUT jacks on
the equalizer.

In each case, make sure that you are consistent when wiring left and right channels. This will prevent

the Sound image from reversing as you switch the equalizer in and out of the circuit. To facilitate
identifying channels, the jacks and cables supplied are color coded.

Page 2

EQUALiZlNG MUSIC Approximate Frequency Homes for Musical Instruments and Voice

This chart correlates familiar
musical instruments with the
frequency range they produce.
Note that the fu ndamantal range
for most instruments is under
4.5kHz, several octaves below -----

C; - Approximate ivndomenlal range (and lower harmonics)

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'mantals instruments sound
surprisingly similar. The over-
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cause the amplifier to distort or the
speakers to be damaged by being.
pushed past their capabilities. For this
reason exercise moderation and do not
use both the to no controls on the pre.
amp or receiver and the controls on the

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Hz

The Bass range: 30-60Hz. There is little music that contains fundamental frequencies below about BOHZ.

Pipe organ, piano and contrabassocn music is likely to .have some of these lower fundamentals. The best use
of the 3OH2 equalizer setting is to cut the lowest frequencies that may contain mestly excessive turntable
rumble or feedback that causes excess demands on amplifier power and strains speaker woofers.

The BOHz and i2OHz controls will have a greater audible effect on what is generally considered "low bass."

The Mid-bass range; 120.24OH2. This range determines whether the music will sound thick and muddy or
thin and weak. it is also the range where a mismatch of speaker positioning can create unwanted effects.
When a Speaker designed for shelf placement is used on the floor, the controls can reduce the resulting
muddiness with a judicious cut.

The Mid range: 500Hz-4kHz. This is the range in which the ear is most sensitive and where very small
equalizer changes will have very pronounced effects. Some records are unnaturally boosted in this range to

sound more aggressive when broadcast. You can resrore a natural balance using the 500Hz and iki-lz controls.
You can also bring a solo guitar or singer forward by a slight boon in this range.

The Upper-mid range: 4kHz-8kHz. This is the presence" range which can determine whether music sounds

harsh and strident or muffled and distant. The 4kHz control will let you compensate for effects that you
do not like.

The High end: BkHz-lBRHz. Most of what is heard as high and" is really below iZkl-lz. Adjustment of the
8kH-z control will affect the brilliance of music and can remove glaring harshness or restoreprOper balance if
your listening room absorbs these frequencies. The lBkHz control may have only the slighteSt effect for many
adults whose hearing rolls off rapidly after i4kHz. Even so, its use can add an almost delicate sense of
alriness to many recordings or compensate for off-axis high frequency deficiencies of tweeters.