NSEQ-4

Discrete Solid State Two Channel Parametric EQ

truth in engineering

Overview

Full Timbral Control, Total Signal Integrity

World's first (and only) all-discrete, true differential Class-A input buffer/amplifier.
Selectable balanced or unbalanced input.
Greatly improved 3rd generation FSA-03 all-discrete EQ amplifier
Improved output stage
True hard-wire bypass when EQ not selected
Upgraded power supply
Fully parametric stereo EQ with unprecedented sonic purity and integrity
All discrete J-FET solid state signal path
Minimalist design: only one active stage in the audio path (Dove Topology)
Identical EQ stage used in Library of Congress archiving path
Four EQ bands: 20 Hz to 20 kHz center frequency, 0.4 to 4.0 Q
Extremely low noise: -106 dBu
Constructed for demanding professional applications
Ultra-Premium components throughout
Gold relays, connectors, switches,
Silver Teflon power wiring, Mogami Neglex OFC audio wiring
Lovingly hand-crafted in Northern California

$4,400 US Street Price

Options

NSEQ-2 can be converted to an NSEQ-4

Specifications

“Q” Range	Q = 0.4 to 4.0 Adjustable on middle ranges
	Q = 1.0 Fixed on low & high ranges
Maximum Output Level	> + 28 dBu
Maximum Input Level (EQ Flat)	+ 28 dBu
Maximum Input Level (EQ Full Boost)	+ 17 dBu
Frequency Response
+0 / -3 dB	sub 2 Hz to beyond 300 kHz
Frequency Response, Stereo Deviation	+/- 0.5 dB (with Mastering Option)
Noise (All EQ Stages In, Controls Flat)	-106 dBu
Maximum Boost (21 Step Detented)	+20 dB (+10 dB with range switch in)
Maximum Cut (21 Step Detented)	-20 dB (-10 dB with range switch in)
EQ Frequencies
Low Range Switch (Centers - Peak/Shelf Selectable):	20, 34, 56, 100, 180, 270
Low Mid Sweep:	20 Hz - 220 Hz or 200 Hz - 2.2 kHz. 10X Range switch selectable.
Hi Mid Sweep:	250 Hz - 2.5 kHz or 2.5 kHz - 25 kHz. 10X Range switch selectable.
High Range Switch (Centers - Peak/Shelf Selectable)	4.8 k, 5.8 k, 8.0 k, 10 k, 16 k, 21 k
THD + Noise
20 Hz - 30 kHz, All EQ Bands Switched In	< .009%, typ < .003 %
Common Mode Rejection Ratio
10 Hz - 20 KHz, 100 mV C.M.	> 60 dB, Typ > 80 dB
Slew Rate, +27 dBu Out	> 50 volts per microsecond
Main Hard-wire Bypass Switch For Each Channel?	Yes
Peak/Shelf Selection On High & Low Range?	Yes
Hard-wire Bypass Switching On Individual EQ Bands?	Yes
Input Impedance	25 kilohms
Minimum Output Load Impedance	50 ohms
Recommended Load	> 500 ohms
Output Impedance	5 ohms
EQ Amplifiers	Pure Class-A Discrete J-FETs

Reviews & Awards

A great sounding EQ! I had the NSEQ-2 which I Liked a lot. I used the solid state mode on most of the tracks I mastered, so once I had heard that the NSEQ-4 came out I was very interested in checking it out. When I hooked it up and worked with it ,I fell in love with it. Its clear, its full and it can really sparkle..
Maor Appelbaum Mastering Engineer

Wonderful wonderful low end..
Sweet, transparent, clean - loved the original NSEQ-2, but this was quite an improvement!
Rafa Sardina, Grammy award winning engineer/producer

The NSEQ-4 has brought new meaning to "elegance" in audio control and sound quality. Where the NSEQ-2 was head and shoulders above many other equalizers in musicality, control, and audio quality, the NSEQ-4 has taken all those attributes to a new level. I ran a 2 vs. 4 test with a solo piano recording: One channel only split to both the 2 and the 4 and returned back to the monitor. I set the same frequency on each EQ and pushed both units to the max at that frequency since I wanted to learn what the worst case scenario might be. With piano, this would usually yield a hopeless result - even the slightest shortcoming will show in most any EQ unit when pushed this way. The NSEQ-4 actually held up quite well to this sort of abuse! Additionally, I found the residual noise level of the NSEQ-4 to be subjectively quite a bit lower than the NSEQ-2. I liked the "character" of the residual noise of the 4 much better. The noise is so low that it is no concern whatsoever in listening or use.
Michael Bishop, Grammy award winning engineer/producer

1. Holy s**t! Awesome! Combines the musicality of the 2's with a substantial increase in soundstage.
2. The presentation is different -- more "etching" around the instruments .. a good thing.
3. Bass is tighter, but a little leaner -- not necessarily bad... just different.
4. More articulation in the mid freqs, and seems to have more extension on the top.
5. The presentation of the soundstage is definitely bigger. I attribute that to tighter phase "agreement" between the units, and within each unit. A VERY good thing!
Bruce John Leek, Grammy award winning engineer/producer