RECORDING May 2022 - 58

Ingram Engineering
EQ52 500- Mastering
Quality Filter Module
This see-saw EQ does more than meets the eye.
REVIEW BY PAUL VNUK JR.
E
ric Ingram and Ingram
Engineering build highquality,
boutique audio
devices in Atlanta, GA. The latest
offering is the 500 series EQ52,
an update of the EQ50 reviewed
in December 2017, with some
well-implemented new features.
The EQ52 is not your typical parametric
or graphic style 500 Series
equalizer. Instead, the EQ52 boasts a
specialized set of filter options that offer
some far-reaching tone-shaping settings
despite minimal controls.
Similar in form and function to its
predecessor, the EQ52 comprises a pair
of low and high cut filters and a see-saw
EQ, also often described as a pivot or tiltstyle
EQ (more on this in a moment). Both
inside and out, the EQ52 is quite austere.
The circuit board is cleanly laid out with
well-chosen high-end components.
Lows and highs f
rom the top down
The EQ50 was a three-knob, twobutton
affair, while the EQ52 offers four
of each. The black front panel is sparse
58 RECORDING May 2022
but well-annotated with white and red
nomenclature. Starting at the top is an
LED-equipped, hard bypass button. Below
this is a -6dB per octave passive Low Cut
Filter designed to impart minimal phase
shift. The EQ52 offers two selectable
frequency ranges (50 to 600 Hz or 700
Hz to 5 kHz) compared to the previous
model's single sweepable range (20 Hz -
1 kHz). A new In/Out button can remove
the Low Cut Filter from the signal chain.
Teeter totter tones
Next up (or down) is the See-Saw EQ.
The original EQ50 offered a choice of two
pivot points (400 Hz or 1 kHz). The EQ52
provides a pair of fully-sweepable pivot
ranges (120 Hz - 1.7 kHz or 1.9 - 26 kHz)
that, like the original, can be boosted or
cut a minimum of 5dB.
Trimming the highs
Similar to its predecessor, the single
knob Hi-Cut now extends from 3 - 200
kHz, whereas the EQ50 offered only
5 - 200 kHz of cut.
Carving and cleaning
As mentioned, the EQ52 is a specialized
filter device. Both of its cut/pass
filters offer a much broader reach than
those found on most standard EQs and
channel strips. The Low Cut is perfect
for gently removing low rumble, thumps
and mud, or it can take a massive bite
out of your sound when needed. It can
even offer an old radio or classic telephone
sound as an effect. While I rarely
found the need to make deep cuts on
a standard instrument and vocal fare, I
found it did a great job on synths and
sound design projects to force tones into
thin, ghostly, recessed realms.
On the high side, you may be asking,
why would I need a filter that extends
beyond the range of human hearing?
The answer is because it's a great tool
to ensure that your tracks are free from
often imperceptible hiss, digital artifacts
and more. You might not be able to hear
it, but your compressors, converters and
effects can.

RECORDING May 2022

Table of Contents for the Digital Edition of RECORDING May 2022

Fade In
Fast Forward
Inside the Studio with Mark Hornsby: The Beatles: Diggin’ Into Get Back
Daking: Mic Pre 4T
JZ Microphones: NEW Vintage V12
Earthquakes and Butterflies: The songs and sounds of Lucius' Second Nature
Universal Audio: Volt 2 USB-C Audio Interface
Plugin Outlet: Sonnox Claro
Audix: A127 Omnidirectional Metal Film Condenser Microphone
Inside The Box with Joe Albano: Interface Basics
Steinberg: Dorico Pro 4
Soundware Showcase: Orchestral Tools Andea
Black Lion Audio: Auteur mkIII
Session Log: Trasfrontera at Estudios Audiovisión in Bogotá Colombia
Ingram Engineering: EQ52 500 —Mastering Quality Filter Module
Plugin Outlet: Sonible smart:limit
Mojave Audio: MA-37
Reader’s Tracks
Fade Out: One Mic? No Problem
RECORDING May 2022 - Intro
RECORDING May 2022 - Cover1
RECORDING May 2022 - Cover2
RECORDING May 2022 - 1
RECORDING May 2022 - 2
RECORDING May 2022 - 3
RECORDING May 2022 - Fade In
RECORDING May 2022 - 5
RECORDING May 2022 - 6
RECORDING May 2022 - 7
RECORDING May 2022 - Fast Forward
RECORDING May 2022 - 9
RECORDING May 2022 - Inside the Studio with Mark Hornsby: The Beatles: Diggin’ Into Get Back
RECORDING May 2022 - 11
RECORDING May 2022 - 12
RECORDING May 2022 - 13
RECORDING May 2022 - 14
RECORDING May 2022 - 15
RECORDING May 2022 - 16
RECORDING May 2022 - 17
RECORDING May 2022 - 18
RECORDING May 2022 - 19
RECORDING May 2022 - 20
RECORDING May 2022 - 21
RECORDING May 2022 - 22
RECORDING May 2022 - 23
RECORDING May 2022 - 24
RECORDING May 2022 - 25
RECORDING May 2022 - Daking: Mic Pre 4T
RECORDING May 2022 - 27
RECORDING May 2022 - JZ Microphones: NEW Vintage V12
RECORDING May 2022 - 29
RECORDING May 2022 - Earthquakes and Butterflies: The songs and sounds of Lucius' Second Nature
RECORDING May 2022 - 31
RECORDING May 2022 - 32
RECORDING May 2022 - 33
RECORDING May 2022 - 34
RECORDING May 2022 - 35
RECORDING May 2022 - 36
RECORDING May 2022 - 37
RECORDING May 2022 - Universal Audio: Volt 2 USB-C Audio Interface
RECORDING May 2022 - 39
RECORDING May 2022 - Plugin Outlet: Sonnox Claro
RECORDING May 2022 - 41
RECORDING May 2022 - Audix: A127 Omnidirectional Metal Film Condenser Microphone
RECORDING May 2022 - 43
RECORDING May 2022 - Inside The Box with Joe Albano: Interface Basics
RECORDING May 2022 - 45
RECORDING May 2022 - 46
RECORDING May 2022 - 47
RECORDING May 2022 - Steinberg: Dorico Pro 4
RECORDING May 2022 - 49
RECORDING May 2022 - Soundware Showcase: Orchestral Tools Andea
RECORDING May 2022 - 51
RECORDING May 2022 - Black Lion Audio: Auteur mkIII
RECORDING May 2022 - 53
RECORDING May 2022 - Session Log: Trasfrontera at Estudios Audiovisión in Bogotá Colombia
RECORDING May 2022 - 55
RECORDING May 2022 - 56
RECORDING May 2022 - 57
RECORDING May 2022 - Ingram Engineering: EQ52 500 —Mastering Quality Filter Module
RECORDING May 2022 - 59
RECORDING May 2022 - Plugin Outlet: Sonible smart:limit
RECORDING May 2022 - 61
RECORDING May 2022 - Mojave Audio: MA-37
RECORDING May 2022 - 63
RECORDING May 2022 - Reader’s Tracks
RECORDING May 2022 - 65
RECORDING May 2022 - 66
RECORDING May 2022 - 67
RECORDING May 2022 - 68
RECORDING May 2022 - 69
RECORDING May 2022 - 70
RECORDING May 2022 - 71
RECORDING May 2022 - Fade Out: One Mic? No Problem
RECORDING May 2022 - Cover3
RECORDING May 2022 - Cover4
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