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This article was originally published in a previous issue of Playback Magazine. Subscribe to Playback for free to stay up to date with our latest articles, interviews, product reviews, and more.
From the moment the first hand-built Pulse Techniques EQP-1 equalizer landed in studios in 1953, the name Pultec began to acquire an almost mystical connotation. With its expertly engineered passive EQ circuit, characterful tube output stage, and limited but musical controls, the EQP-1 has garnered a reputation for effortlessly enhancing any signal.
When the original Pultec ceased production in the 1980s, the studio world was left with the units that had been created and nothing else. Smash cut to several decades later when Dr. Steve Jackson teamed up with founder Eugene Shenk to revive the storied EQs. Now, the Pultec EQP-1A is the official reproduction, engineered to the exact specs of the original by the same folks who created it.
With a passive signal path full of transformers, capacitors, resistors, and inductors that each impart their own idiosyncrasies on the program material, the EQP-1A flavors everything that passes through it with a subtle harmonic enrichment and analog fingerprint. The tubes that provide about 16 dB of makeup gain on the output also hit the signal with their own color and saturation. This is even before any boosting or attenuation.
The EQP-1A’s controls are split across a few seperate sections: one combination boost/cut circuit for the low-end and two separate boost and attenuation bands for the high-end. The low boost and attenuation frequency are both tied to the same control, with four options: 20, 30, 60, or 100 Hz (labeled as CPS). The low boost creates a broad shelf centered on the chosen frequency, while the attenuation knob engages a low shelf with a gentle rolloff curve that begins a few octaves above. Simply by adjusting the amount of boost and attenuation, it’s possible to dial in complex but extremely smooth and musical EQ curves.
With plenty of experience coaxing tones out of the Pultec, Vintage King Senior Audio Consultant Jacob Schneider provided a few starting points for getting that signature Pultec sound. Check out these unique presets for each specific source in your own studio.
Vintage King Senior Audio Consultant
“We all appreciate the accessibility and recallability of plugins, but anybody who gets the chance to hear one of these realizes there's something magical there. You don't hear the EQ; you just hear the instrument's tonal balance changing, which I think is super musical in a way that's different than other types of EQs. The transformer complexity, the imaging, and the depth of just running through the circuit alone has a quality to it that represents the highest level of audio.”
Vocals are one of the primary uses of Pultec EQs, due to their ability to subtly thicken and enhance any voice in any register. Much of this effect is due to the slight harmonic distortion incurred by the transformers and tubes, which give vocals (especially lead vocals) a bit of extra weight and thickness to establish their place in the mix. Subtle use of the High and Low bands can help sweeten and reinforce the most pleasing frequencies while taming muddiness and sibilance.
Of the limited low-frequency settings available, 100 Hz is the obvious choice, as the range around this frequency is where the body of almost all vocals sits. If your vocals sound muddy after the boost, the low attenuation will quickly clean it up, leaving you with a robust sound without any extra fat. On the top end, a medium to broad high-frequency boost at 12 or 16 kHz is great for bringing out vocal presence and adding a sense of air, while a bit of high attenuation at 5 kHz can help reduce (but not eliminate) sibilance.
From clean pop and jazz tones to gritty distortion and booming 808s, the EQP-1A can improve pretty much any bass track. For extra low-end power and thump, set the Low Frequency to 20 or 30 Hz and boost to taste. Even at these extremely low frequencies, the bandwidth is broad enough that you’re actually boosting a few octaves on either side, providing a nice, round low-end reinforcement that doesn’t make any particular note stick out. A bit of low attenuation can help scoop out some of the low-mids to keep the sound from becoming too boomy and make room for drums in the mix.
Whether your bass track is electric, acoustic, or synthesized, a slight boost at 3 or 4 kHz is perfect for brightening up the sound to ensure it cuts through. On bass guitars, use a narrow bandwidth to focus on the attack of the pick or fingers. For synth basses or distorted 808 samples, use a broader bandwidth to bring out the upper harmonics for added bite. High Attenuation is not always necessary on bass tracks, but if you need to get rid of some room noise, tape hiss, or harsh synth overtones, a slight rolloff at 10 kHz will do the trick.
Along with basses, kick drums are a natural fit for the EQP-1A’s flattering low-end curves. To reinforce the thump of the kick without getting in the way of a bass track, start by setting the Low Frequency to 60 Hz and boost to taste. If it starts sounding a little too boomy, a bit of low attenuation will clean it right up. Don’t be afraid to use fairly extreme boosts and cuts to create the perfect curve for a hefty but well-defined kick sound.
To bring out the attack of the beater, dial in a fairly narrow bandwidth boost around 3 kHz. Even at the Sharp end of the bandwidth control, the Q factor isn’t too extreme, just enough to bring out some snap to help the kick stand out. Depending on the context of the mix, you may or may not need the High Attenuation. If you need to get rid of any cymbal bleed or just tame an overly bright shell, simply set the high shelf at 5 kHz and cut only as much as you need to.
The EQP-1A’s smooth sound and flexible high-frequency section make it ideal for sculpting the sound of overhead drum mics (especially ribbon mics) to bring out sizzle and sparkle without adding harshness. Focus the high-frequency boost at 10 or 12 kHz with a broad bandwidth to bring up the most flattering range of the cymbals and give the snare a little extra bite. If a bright hi-hat pokes out a little too much as a result, a bit of high attenuation at 5 kHz can help bring it back into balance.
To clean up the low-end and leave room for the kick and bass tracks, gently attenuate the lows at 100 Hz; remember, it will affect frequencies in the low midrange as well. On room mics or whole drum busses, you can use similar high frequency settings, but instead of rolling off the bass, give it a slight boost at 60 or 100 Hz to thicken the kick, snare, and toms.
Although mixes can vary drastically in their tonal balance, the EQP-1A’s limited frequency options are specifically focused on the most musically useful options, making it fairly easy to enhance any track with just a few knob twists. In fact, many high-level mixing engineers keep a dedicated pair of Pultec EQs across their mix bus at all times. Some even park the knobs at their favorite settings and never change them.
The EQP-1A’s high boost is perfect for bringing out the crispness of cymbals and rich overtones of guitars around 3–5 kHz, enhancing already well-balanced mixes with extra bite. To balance the mix with a fuller low-end, apply a slight boost at 60 Hz, keeping in mind that the curve might reach two or more octaves on either side. To even out the low midrange and keep it from becoming muddy, dial back the low attenuation as needed.
Take advantage of the EQP-1A’s beefy transformers and characterful tube output stage to harmonically enrich any track without altering the overall tone.
