Inspired by an early parametric design, this module offers more control than most 500‑series EQs.
Chambord Audio are a small pro audio manufacturer based in Montreal. Currently, their product range comprises a four‑slot 500 series chassis and a number of surprisingly affordable analogue modules, including two mic preamps, a high‑ and a low‑pass filter, a parametric EQ, a compressor and a headphone amp. It’s the CA‑250 EQ that’s on review here, and Chambord kindly sent a pair of them, so I could try them on mono and stereo material.
Based on the Sontec MEP‑250A, this is a solid‑state, three‑band parametric EQ: the gain, frequency and bandwidth are continuously adjustable across their range. These three functions are given colour‑coded knobs (red for gain, black for the bandwidth and grey for the frequency) and the whole ensemble looks and feels classy. That said, while the labelling around the knobs is printed clearly, the font is small, and with the shadows cast by the profusion of controls it can be tricky to discern the precise settings in low lighting. It’s a pretty conventional mixing console‑style layout, though, and it’s easy to see the knob positions, so operation soon becomes second nature.
There’s up to ±12dB of gain for every band and, as an alternative to the adjustable‑bandwidth bell (the Q can be set from 0.4 to 4), the high and low bands switch to act as shelving filters when their bandwidth knobs are fully anti‑clockwise. There’s a global EQ in (or bypass) button, and although there are no individual bypasses the gain knobs’ 0dB positions are detented, so it’s pretty easy to hear the effect of a single band in isolation or turn it ‘off’ should you wish.
The low band’s generous 15 to 815 Hz range lets you dig well into the low mids, while a very low‑frequency bell or shelving boost gives you the scope to create different curves that ‘reach up’ into the audible range. The high band again boasts a vast range (1.8 to 29.5 kHz), so is capable of anything from dipping the ‘honk’ in a vocal to gently lifting the air frequencies. The mid band (200Hz to 12kHz) offers plenty of overlap with the others so, again, it could cover anything from dipping an ugly 200Hz boxiness in a drum to massaging the breathy frequencies in a vocal or cymbal sizzle.
I’d be happy to mix on a console loaded with these EQs.
On Test
I used the modules on mono and stereo sources in a mix I happened to be working on when the CA‑250s arrived. This gave me the opportunity to test them on male and female vocals, drums, bass, and various electric and acoustic guitar and keyboard parts, including a Hammond organ. And I can honestly say I’d be happy to mix on a console loaded with these EQs. It’s a versatile design that does exactly what you’d want a parametric EQ to do: the curves are predictable, in a good way, and while the overall sonic character isn’t overly strong it definitely appeals, and sounds different from conventional digital EQ plug‑ins. That’s particularly the case at the top end, where it smooths things a touch in a pleasing way, but in general it’s delightfully smooth when boosting, helpfully clinical when cutting and, with the gains to unity, admirably unobtrusive.
The trade‑off of the broad ranges and narrow knobs that the physical form factor necessitates is that the frequency control can sometimes feel a touch over‑sensitive. It’s not really an issue when treating a mono source — I found it pretty easy to dial in the sound I wanted by ear — but when using two modules on stereo material it was trickier to quickly match their settings precisely; to do that required care and a little time. The two units were very well matched, though, an opinion I formed first by ear before confirming with a frequency analyser, matching the curves precisely and then checking the position of the controls. Top marks there.
If you can get the hang of matching the settings, a pair of CA‑250s could be very well suited to use on subgroups, the stereo bus or even for mastering. There’s also the option of using two modules to process the Mid and Sides elements of a stereo signal individually, which I tend to do a fair bit in my own DIY mastering efforts. These modules worked admirably in that role, for example enabling me to dial in a warm 50Hz bell boost on the Mid while applying a brightening high‑shelf boost only to the Sides.
Verdict
So, does this sound like a Sontec MEP‑250? I can’t say that — I don’t have one to compare it with. At this price, there are undoubtedly more cost‑effective components used than in a direct clone, and on the Sontec the shelves were separate bands. But does that matter? I don’t think so. Judged on its own merits, the Chambord CA‑250 is versatile for a three‑band EQ, it’s largely easy to use, sounds pleasingly smooth and is competitively priced. If I had a few in my rack, I could put them all to good use on most projects, so if you’re looking for a 500‑series EQ for tonal shaping or to nix resonances, the CA‑250 is well worth consideration.
Summary
A versatile and cost‑effective 500‑series EQ, the CA‑250 offers decent value for money.
Information
$499 CAD (about £286) per module. Price excludes tax and shipping.
$499 CAD (about $367 USD) per module. Price excludes tax and shipping.