电子管级位于最前面Lemur Audio Ester 2 v2.1.0 [WiN]

Team R2R | 15 October 2026 | 18.3 MB

电子管级位于最前面。
这种被动均衡器在输入端和输出端各有一个电子管，中间连接着被动电路。ESTER 2 将电子管在驱动时的特性——密度、谐波、声音在受到推动时的变化以及短暂的回弹——汇集到均衡器前面的一个电子管级中，就像一个前置放大器，并提供两种不同的音色。

这样的布局是经过精心设计的。如果电子管位于均衡器之后，每次提升都会使其驱动力更强，每次调整频段时都需要不断调整饱和度。而放在前面，音色和音调就变成了两个独立的控制点：只需使用输入微调 (INPUT TRIM) 设置一次驱动，然后就可以自由地进行均衡调整。饱和度保持不变，曲线也精确地保持您设置的位置，均衡器还可以塑造谐波——高切 (HIGH CUT) 可以平滑驱动带来的尖锐感，低切 (LOW CUT) 可以消除驱动带来的厚重感。

通道排之间的指示灯是该级电路自身的电平表，用于读取实际产生的谐波产物。SAT（饱和度调节）功能会在不改变任何设置的情况下关闭整个电路。

两支电子管，两种不同的音色
。顶部横杆上的旋钮用于在两支音色分别不同的电子管之间切换，它们的驱动方式也不同。6072A 的音色在输入微调旋钮的整个行程中开始变得饱满，并逐渐增强。6N1P 则保持更长时间的干净音色，然后迅速失真，并在高频段更具冲击力。两者的响度匹配，因此切换会改变音色特性，而不是音量。此时，6072A 的音色会重新开始。

输入微调旋钮——一个旋钮控制整个电子管。
输入微调旋钮用于设置输入到电子管的电平，其刻度范围为 ±24 dB，而这一个旋钮决定了饱和度的所有参数——在电子管电路中，更多的谐波和更多的电子管自身的圆润音色从来都不是两回事。该电路会补偿自身的直通电平，因此输入微调 (INPUT TRIM) 调节的是密度和音色，而非音量，这使得 A/B 对比可以比较旁路模式下的声音特性，而非响度。

被动式电子管均衡器，
每个通道配备五个滤波器——低切 (LOW CUT)、低频提升 (LOW BOOST)、中切 (MID CUT)、高频提升 (HIGH BOOST) 和高切 (HIGH CUT)——每个滤波器都有其独立的刻度。频率选择器是真正的旋转开关，旋钮会停在刻度上，不会停在中间的任何位置，因此您喜欢的设置每次都能精确地恢复。曲线设计宽广而柔和：它们旨在平衡混音，而不是对其进行雕琢。

五个滤波器，一个网络。
正确设置一个滤波器只是第一步。在被动式均衡器中，各个部分共享一个网络，因此五个滤波器同时工作得到的曲线并非五个滤波器的简单叠加——调整其中一个滤波器，其他滤波器也会随之调整，这种相互作用正是此类均衡器声音的主要特征。ESTER 2 兼顾了两者：每个滤波器独立工作，以及五个滤波器共同构成的完整曲线。而且，它呈现的是整个单元的曲线，而不仅仅是被动网络的曲线——放大器和变压器的安静、线性特性也是其中的一部分——最终呈现出的声音是它独有的。

低频部分，两种模式同时
实现：LOW BOOST 功能可在 20、40、60、100 或 140 Hz 处提升 +16 dB；LOW CUT 功能可在 30、40、100 或 400 Hz 处衰减 -18 dB。它们是对同一个无源网络进行两项控制，经典用法是将它们结合使用：在同一频段进行提升和衰减，就能在底部获得厚重感，同时去除上方浑浊的声音。任何单一的均衡器都无法做到这一点。

中频衰减——为其他频段
留出空间，在 200、300、400、500、600 或 700 Hz 处最多可衰减 -16 dB。该曲线宽广，因此 2 到 3 dB 的衰减就能打开整个中频，而不是留下一个凹陷——与低频提升配合使用，这是此类均衡器最古老的用法：底部获得厚重感，上方则去除浑浊的声音。

顶部则保持通透，Q 值可自定义
。高频提升可在 1.5 kHz 到 16 kHz 的八档网格范围内达到 +14 dB，高频 Q 值决定了提升的宽度——0.6 可获得宽广、开阔的音色，1.7 则可将能量精确地分配到您想要的位置。高切功能可在 1.7、4、10 或 28 kHz 处进行高达 -14 dB 的衰减，让您能够同时提升空气感并消除尖锐感。

两个通道，每个通道都拥有独立的音量控制
。两个完整独立的通道——每个通道都拥有五个独立的滤波器、独立的高频 Q 值以及独立的音量控制（±24 dB），所有设置完成后均可进行调整。L/R 模式提供真正的双单声道均衡器；M/S 模式将相同的两行分别设置为中置和侧置，让您可以在不影响人声的情况下提升侧置的空气感，或在不收窄任何频段的情况下增强中置的清晰度。在 M/S 模式下，这两个音量控制旋钮变为宽度控制。LINK 模式可在需要对称调整且仅需一次时，将两行信号联动。

The tube stage comes first
A passive equalizer of this kind carries a valve on the way in and another on the way out, with the passive network between them. ESTER 2 gathers what a valve does when you drive it – the density, the harmonics, the way the sound shifts under a push and takes a moment to come back – into one tube stage in front of the equalizer, like a preamp, in two voicings of its own.

That placement is deliberate. With the valve after the EQ, every boost would also drive it harder, and you would be chasing the saturation each time you touched a band. In front, colour and tone become two separate decisions: set the drive once with INPUT TRIM, then equalize freely. The amount of saturation stays where you put it, the curves stay exactly where you set them, and the EQ gets to shape the harmonics too – HIGH CUT can smooth the edge a hard drive adds, LOW CUT can tidy the weight it builds.

The lamp between the channel rows is the stage’s own meter, reading the harmonic product actually being generated. SAT takes the whole stage out without disturbing a setting.

Two tubes, two chapters of history
The cell in the top bar switches the stage between two tubes, voiced separately, and they drive differently. 6072A starts early and thickens gradually across the whole travel of INPUT TRIM. 6N1P stays clean for longer, then breaks up quickly and hits harder in the upper half. Both are matched in loudness, so switching changes the character, not the volume. A fresh instance opens on 6072A.

INPUT TRIM – one knob for the whole tube
INPUT TRIM sets the level arriving at the valve across the full ±24 dB its scale is engraved for, and that one knob decides everything about the saturation – on a valve stage, more harmonics and more of the tube’s own rounding were never two separate things. The stage compensates its own through-level, so INPUT TRIM buys density and colour instead of volume, which is what lets an A/B against bypass compare character rather than loudness.

A passive tube equalizer
Five filters per channel – LOW CUT, LOW BOOST, MID CUT, HIGH BOOST and HIGH CUT – each on its own engraved scale. The frequency selectors are real rotary switches that land on their engraved stops and nowhere between them, so a setting you love comes back exactly, session after session. The curves are broad and gentle by design: they lean the balance of a mix rather than carve it.

Five filters, one network
Getting one filter right is the easy half. In a passive equalizer the sections share a network, so the curve you get from all five at once is not the sum of the five – move one and the others move with it, and that interaction is most of what this kind of equalizer sounds like. ESTER 2 keeps both: each filter on its own, and the whole curve the five of them make together. And it is the curve of a whole unit, not of the passive network alone – the quiet, linear imprint of its amplifiers and transformers is part of it – and the voice that comes out of it is its own.

The low end, both ways at once
LOW BOOST lifts up to +16 dB at 20, 40, 60, 100 or 140 Hz. LOW CUT takes up to −18 dB back out at 30, 40, 100 or 400 Hz. They are two controls over one passive network, and the classic move is to use them together: boost and cut around the same region and you get weight underneath with the mud pulled out above it. No single shelf will do that.

MID CUT – room for everything else
Up to −16 dB out at 200, 300, 400, 500, 600 or 700 Hz. The curve is broad, so two or three dB opens the whole midrange instead of leaving a hole in it – and set against LOW BOOST it is the oldest move this kind of equalizer has: weight underneath, the box taken out just above it.

Air on top, with a Q you choose
HIGH BOOST reaches +14 dB across an eight-position grid from 1.5 kHz to 16 kHz, and HF Q sets how wide that lift is – 0.6 for a broad, open sheen, 1.7 to put the energy exactly where you want it. HIGH CUT then trims up to −14 dB at 1.7, 4, 10 or 28 kHz, so you can add air and take off edge in the same gesture.

Two channels, and each one ends in its own VOLUME
Two complete, independent channels – each with its own five filters, its own HF Q, and its own VOLUME over ±24 dB after everything else. L/R gives you a true dual-mono equalizer; M/S turns the same two rows into centre and sides, so you can lift the air on the sides without touching the vocal, or firm up the middle without narrowing anything. In M/S those two VOLUME trims become a width control. LINK gangs the rows when the move should be symmetrical and made once.

https://lemuraudio.com/plugins/ester/