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Product Comparison Table

You can adjust 8 bands of Equalization to give your transmit audio that rich, full, wide-band quality ideal for rag chewing.

You can adjust Equalization for an extra edge in contest and dx work. Have pileup busting  penetrating audio with substantial high frequency content.

You can fine-tune your microphone for more natural reproduction of your voice.

You can make good microphones sound great and poor microphones sound good.

You can change Equalization settings instantly to switch from one audio "personality" to another.

You can match most any microphone to any radio, new mics/old mics, new radios/old radios.

You can boost low-output microphones to work great with your radio.

You can use the Noise Gate to get rid of background noise and give your signal more  presence.

You can use the Noise Gate to improve VOX operation by reducing false triggers.

You can switch Equalization on or off. You can switch the Noise Gate on or off.

You can connect the 8 Band EQ to the EQ Plus !

8 Band Audio Equalizer For Transmitter Microphones
• 8 bands of equalization independently adjustable +/- 16dB
• 50, 100, 200, 400, 800, 1600, 2400, 3200 Hz
• Smooth-action slide potentiometers
• EQ settings can be changed instantly
• Equalizer bypass switch (on/off)

Extremely Effective Noise Gate Eliminates Background Noise
• Adjustable threshold (level control)
• Adjustable decay for smooth trailing edge (delay control)
• LED level indicator
• Noise Gate bypass switch (on/off)

Microphone Input Connections
• Wide range of connectors rear panel accessible
• 8-pin mic connector with 3-position switch selects ICOM, KENWOOD, YAESU microphones Adapters available to support all other 4 and 8 pin microphone jacks
• XLR female connector
• RCA phono connector
• Selectable microphone input impedance 200 ohm, 600 ohm, HI-Z

Microphone Input Gain
• Wide-range input level control adjusts internal microphone amplifier gain
• LED indicator facilitates gain adjustment
• When used with a Heil cartridge provides >20 times the output to better drive your transmitter

Microphone Phantom Power Voltage Jumper
• For use with HM12, SM6 electrets and other microphones requiring phantom power
• Provides 5VDC to the microphone cartridge
• Accessible from the bottom of the case

Dual Selectable Microphone Outputs
• Allows connection to two different radios if you choose
• Adjustable output level control for ideal drive level to transmitter microphone input
• LOW-Z balanced and unbalanced outputs for modern equipment
• HI-Z output for classic rigs
• 5-pin DIN connectors

PTT input (RCA jack)
• Adds push to talk control for non-PTT microphones
• Rear panel accessible independent PTT input. Can be used with foot switch, etc.

Equalization Adjustments

Here comes the magic! You've done this on your stereo to make it sound the way you want. Now do it with your transmitter to get the kind of on-air transmit audio you want! First, a general description of the various bandpass frequencies:
   
BRILLIANCE, SPARKLE, CLARITY & PRESENCE: 3200, 2400, 1600 Hz

WARMTH & NATURALNESS: 800, 400 Hz

HEAVINESS, WEIGHT & BIG BOTTOM: 200, 100, 50 HzWith the unit properly connected and Power on, turn the Equalizer Switch on. Set all 8 equalizer slide pots to 0dB, observing the calibrations on the case. Using good headphones plugged into the PHONES jack on the rear panel, adjust Monitor Volume for a comfortable listening level as you speak into the microphone. We recommend that you start making your adjustments at the highest audio frequency (3200Hz) and, one by one, move to the next lowest frequency band. The built-in Monitor provides ample, high-quality audio output to determine your equalization settings. Go ahead and experiment! The good news is, your possibilities are virtually unlimited. The bad news is that you may find many different settings you like and will have a hard time deciding which to use. W2IHY Technologies thought you might end up in that happy predicament and includes a set of handy reference charts to keep track of your preferred EQ settings. With the smooth-action slide pots you can change from one audio "personality" to another easily and quickly, in seconds.

For the most critical EQ adjustments, nothing beats listening to your actual transmit signal on a second receiver in the shack, using good quality headphones. This lets you get "up close and personal" with how your transmit audio really sounds. You will notice that very small adjustments to the slide pots can make meaningful changes. Many of our users conduct on-air adjustments, relying on friends with good ears. Of course this is best done under low-noise, high signal conditions.

The operator's manual offers Preliminary Equalizer Settings for a wide variety of popular radios and microphones in both Rag Chew and DX modes. This database is growing quickly and we will be adding it to W2IHY.COM in the future.

Rear of 8 Band EQ

W2IHY EQ Plus

http://w2ihy.com/audio/EQPlus_WV4RAudioTest.mp3

EQplus can be used as a stand-alone unit. If the onboard Dual-Band EQ meets your needs, put EQplus between your microphone and radio. If you find you’d like to have additional adjustability and control, you can always add a W2IHY 8-Band EQ later on.

Adjustable Low Noise Pre-Amp / InputGainControl: Convenient front panel control makes setting input gain quick and easy. LED Bar Gaph indicates proper setting. The wide-range adjustable low noise pre-amp handles both microphones and line-level audio sources.

Dual-Band Equalizer: If you already use a W2IHY 8-Band EQ or other makes of audio gear, you’ll appreciate the way this stage of equalization lets you fine-tune the final audio to the radio. These Bass and Treble controls are a refined update of our original Dual-Band EQ.

Compressor: In the quest for stronger signals, compressors have been used in radio communications for decades. The theory, which always looks great on paper, but is challenging in application: Increase average power by controlling instantaneous peaks. When we consider a 100-watt SSB transceiver might generate only 15 to 25 watts of average power, the advantage of even a modest amount of compression is obvious. Unfortunately, most amateur radio speech processors add distortion, processing artifacts and background noise. While adding audio components we don’t want, they also remove audio characteristics we do want. They restrict low frequencies (typically below 300 Hz), making previously smooth and balanced audio harsh and shrill. Amateurs interested in the best possible audio from their radio often conclude the speech processor does more harm than good and operate with it turned off.

Downward Expander: This advanced technology is used to eliminate or greatly reduce background noises picked up by the microphone. Optimum signal-to-noise is a must when the goal is a clean signal that’s a pleasure to hear. The increase in signal presence and effectiveness is a plus for every style of operation including ragchewing, dxing and contesting. This processing stage logically follows the Compressor because compression raises background noise. Speech processors built-into radios do nothing to control noise, but EQplus does. Simply advance the DE control until noise disappears. Downward expansion is preferred in professional audio where faster, more transparent noise reduction is required. It works wonders in ham shacks, too!

Limiter: The pre set Limiter provides consistent output level when onboard levels reach the limiting threshold (indicated on the LED Bar Graph). Use the Limiter in conjunction with the Output Level Control for absolute management of audio signal level going to your transmitter. And there is more to the Limiter in EQplus: Its harmonious relationship with the Compressor gives your audio a commanding presence.

Another plus of the EQplus Compressor/Limiter combination: Instantaneous peaks from an unmanaged voice signal can overshoot transmitter ALC causing momentary overdrive, distortion and splatter. With EQplus, the audio going to your transmitter is leveled for precise control. Result? A cleaner transmitted signal.

Effects Processor: We think of this feature as creative icing on the cake. After all other processing functions are set up, a slight amount of acoustic enhancement can add a finishing touch of top-end brightness, smoothness and presence. Two tasty flavors are included with user-adjustable delay and level.

Adjustable Audio Output Amplifier: Gives you precision control of signal level going to your radio. At low output, a mic-level signal is sent to the radio’s mic jack. Or increase output to achieve up to a line-level signal for “rear panel” feed to your radio’s balanced modulator or DSP input. With front panel control it’s easy to set the level that’s just right for your radio.

MICROPHONE Note:

not necessary to spend a lot of money for a microphone. It is important to insure your microphone is matched to your voice. Full range (20-20khz) dynamic microphones with a cardioid or unidirectional pattern work the best. Microphones designed for Public Address (100-6khz) are a compromise. Most amateur radio microphones are spec'd around 300-3khz. Typical telephone audio is 300-3khz.Results will vary greatly depending on microphone used. It is HEADPHONE

Note:
properly set up the equalizer. Frequency response, Impedance matching, feedback

isolation are very important issues. Be advised there are many qualities of headphones

but very few really good ones.If you can't hear what you are doing, you will not be able to

properly drive your rig, with a minimal ALC reading, to get the desired output

talk power. Start with too much mic. gain and gradually reduce it until the

output R.F. power starts to fall off Gain on the rig again.

Equalizer On/ Bypass (off) switch S3 ON setup/adjust the EQ -8 (while

talking into the mic.) to equalize "EQ" your voice. While talking into the mic.

turn on and bypass the Equalizer using switch (S3). If equalized audio is

louder than bypass audio , decrease/cut all slider levels, the same amount in

2-6 dB increments, until bypassed loudness is the same loudness as

equalized loudness. If equalized audio is weaker than bypass audio ,

increase/boost all slider levels, the same amount, in 2-6 dB increments, until

bypassed loudness is the same loudness as Equalized loudness.

- Equalizer on/off (S3) = OFF

- Comp/ Downward Expander on/off (S2) = OFF

- Effects Processor (S4) = OFF

- Audio Input Impedance Switch = 600

- Mic Power Switch (S6) on/off= OFF

- Effects Processor (S4) 1/off/2 = OFF

Plug your mic. directly into your rig, Adjust the radios Mic. Gain to. Once adjusted, do not touch the Mic.Plug stereo headphones into the 8 Band Equlaizer (EQ-8). With the EQ-8EQplus INITIAL Setup :EQplus Power-UP:First, connect power to EQplus POWER INPUT JACK using the supplied

power cube/power cables. Next, plug Power Cube into Wall Outlet.

Preliminary Setup: Connect your microphone into the 8 Pin Mic, connector on the EQplus. Turn

the mic select switch for the manufacturer of the Mic. If you are using a Yaesu

mic then select Y. If you are using an ICOM Mic. then select I etc.

Power up your EQplus SYSTEM. Talk into Mic. while adjusting EQplus

Audio Input Gain Control (R12). Look for 2 or 3 Green LED's on the bar graph

light up.

Adjust the EQplus controls to the "Ball Park" settings shown below:

EQUALIZER Setup: Plug  Monitor Level Control (R22) to adjust the headphone audio level.

COMP/DE is OFF.stereo headsets into the EQplus. Listen to output of EQplus usingAdjust EQplusEQUALIZER Bass/Treble to suit. Turn controls clockwise to increase/boost.

Turn the controls counter-clockwise to decrease/cut. EQplus EQUALIZER

should only be a minor adjustment. Switch EQplus EQUALIZER On/Off.

Set Audio Input Gain Control (R12) for 3 or 4 Green LED's on the Bar

Graph. With COMP/DE OFF the Bar Graph is a Level Indicator. The Bar

Graph is strictly a level indication so you might occasionally see Amber LED's

but never set it to see RED

COMPRESSOR Setup: Turn COMPRESSOR/DOWNWARD EXPANDER ON and turn the DE fully counterclockwise(OFF). The EQplus compressor makes transmit audio

significantly louder without degrading audio fidelity/clarity. Note compression

level ( step6) is an effective general setting. Turning the COMPRESSOR

CONTROL clockwise increases compression. Turning the COMPRESSION

CONTROL counterclockwise reduces compression.DELAY LEVEL

EFFECTS PROC

BASS TREBLE

EQUALIZER

COMP DE LEVEL

COMP / DE

LEVELOUTPUT

DOWNWARD EXPANDER Setup: With the Compressor / Downward Expander On/Off Switch ON:, while

listening in the headsets, turn the Downward Expander (DE) clockwise

until the Audio sounds Muted/Scratchy. (Talk into Mic.). Turn the DE Control

counterclockwise until audio passes thru with no distortion.The DE Level is affected by any adjustments to AUDIO INPUT

GAIN, AUDIO EQUALIZER or COMPRESSOR Controls.Step 9: EFFECTS PROCESSOR Setup:The primary use of EFFECTS is to optimize audible top end clarity/articulation

not to create " Breaker one nine Good Buddy" audio echos. The goal here is

transparency, to brighten the audio not to sound like you are in an echo

chamber. Program #1 / UP simulates an endless dampening loop/multiple

dampening reflections. Program #2 / DOWN simulates single audio loop/single

reflection. The DELAY CONTROL sets audio time-delay before MIX. The

LEVEL CONTROL sets the amplitude of the delayed audio mix. Have fun

adjusting the Effects Processor DELAY and LEVEL Controls.

key here is clarity/articulation, not overdone "echo".Remember the

OUTPUT LEVEL Setup: Adjust the EQplus OUTPUT LEVEL CONTROL to properly drive your Rig with minimal ALC reading to get desired output talk power. Start with too

much EQplus Output Level gain. Gradually reduce until output R.F. power starts to fall off.